The Language of the Eyes: Science, Sexuality, and Female Vision in English Literature and Culture, 1690-1927State University of New York Press, 1 jun 2006 - 286 páginas While Darwinian and Freudian theories of vision and sexuality have represented women as lacking visual agency, Daryl Ogden's The Language of the Eyes argues that "the gaze" is not merely a masculine phenomenon, and that women have powerfully desiring eyes as well. Ogden offers a comprehensive cultural history of female visuality in England by analyzing scientific writings, conduct books, illustrated periodicals, poetry, painting, and novels, and he makes important and hitherto unrecognized connections between literary history, cultural studies, and science studies. In so doing, Ogden accomplishes what numerous feminist critics—especially film theorists—have not: the recovery of the modern female spectator from historical obscurity. |
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Índice
| 1 | |
Feminine Discourses of Vision in EighteenthCentury England | 21 |
2 Ocular Reproduction Sexual Difference and Romantic Vision | 73 |
Evolution and the Politics of Female Vision in Victorian England | 117 |
4 Sigmund Freud Virginia Woolf and the Modernist Female Spectator | 179 |
Clarissa Dalloway and Modern Female Visuality in England | 203 |
Notes | 211 |
Bibliography | 245 |
Index | 263 |
Términos y frases comunes
Adam Bede amatory fiction Anna appear argues artistic Bathsheba beauty Belinda Betsy Cambridge Cecilia Charles Darwin Clarissa classical-subject Clerval Collier critical critique cultural Dalloway Darwin’s theory Darwinian depicted desire Dinah discourses of vision domestic vision dominant Dorothy Dorothy's eighteenth century Eliot Ellis England English Erasmus Darwin Essay evolutionary female spectator female vision female visuality feminine feminist feminized Fiction figure flâneur Frankenstein Freud gaze Gender George Eliot Hardy heterosexual Hetty human Hume ideological imagination important language lesbian Lighthouse Lily London look Lovelace Lovelace's Lyndall Lyrical Ballads Mad Mother male eyes masculine monster narrative nature nineteenth-century novel object observation Olive Schreiner Oxford University Press painting Pamela perception philosophical poem political psychoanalysis Punch Ramsay representation Richardson role Routledge Schreiner scopic scopo-sexual scopophilia sexual selection social spectatorship surveillance theory of sexual Tintern Abbey tion Trotter Victorian Virginia Woolf William William Wordsworth woman women Wordsworth York young Zoonomia
Pasajes populares
Página 29 - Let us then suppose the mind to be, as we say, white paper, void of all characters, without any ideas; how comes it to be furnished? Whence comes it by that vast store, which the busy and boundless fancy of man has painted on it with an almost endless variety? Whence has it all the materials of reason and knowledge? To this I answer, in one word, from EXPERIENCE; in that all our knowledge is founded, and from that it ultimately derives itself.
Página 30 - Secondly, the other fountain, from which experience furnisheth the understanding with ideas, is the perception of the operations of our own minds within us, as it is employed about the ideas it has got; which operations, when the soul comes to reflect on and consider, do furnish the understanding with another set of ideas which could not be had from things without : and such are perception, thinking, doubting, believing, reasoning...
Página 99 - What then I was. The sounding cataract Haunted me like a passion : the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.
Página 1 - THAT'S my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra Pandolf...
Página 197 - What art was there, known to love or cunning, by which one pressed through into those secret chambers? What device for becoming, like waters poured into one jar, inextricably the same, one with the object one adored?
Página 60 - Every idea that had been brought forward by the housekeeper was favourable to his character, and as she stood before the canvas, on which he was represented, and fixed his eyes upon herself, she thought of his regard with a deeper sentiment of gratitude than it had ever raised before; she remembered its warmth, and softened its impropriety of expression.
Página 92 - I never saw daffodils so beautiful they grew among the mossy stones about and about them, some rested their heads upon these stones as on a pillow for weariness and the rest tossed and reeled and danced and seemed as if they verily laughed with the wind that blew upon them over the lake, they looked so gay ever glancing ever changing.
Página 30 - This source of ideas every man has wholly in himself; and though it be not sense, as having nothing "~, to do with external objects, yet it is very like it, and might properly enough be, called internal sense.
Página 59 - ... descended, receiving increased abruptness from the distance, was a beautiful object. Every disposition of the ground was good; and she looked on the whole scene, the river, the trees scattered on its banks, and the winding of the valley, as far as she could trace it, with delight. As they passed into other rooms, these objects were taking different positions; but from every window there were beauties to be seen.