Jeanette Winterson Research Papers - Academia.edu (original) (raw)

The Nets of Modernism and Postmodernism People are accustomed to the terms "modernism" and "postmodernism", however, pointing out the thin line between them is nearly impossible. Some of us may grasp the idea and attempt to draw boundaries, but they often fall into one another. The term "postmodern" suggests the fact that it comes after the "modern", that there is a relationship between the two. This essential relationship can shed light on the fact that modernism should be highlighted in order to lay hold of postmodernity. In this fashion, literature can set the tone and situate a framework, and tell us what they are or what they are not. James Joyce's A Portrait of the Artist as a Young Man and Jeanette Winterson's Sexing the Cherry are the cornerstones of English literature and they can set out a basic understanding of these two phenomenons through three classifications: the concept of truth, form, totalization and/or deconstruction. Modernism has a tendency towards being precise with its clear-cut classifications. Its main objective is to reveal the universality and absolute truth. (Hutcheon 23) Postmodernism, on the other hand, manifests itself through multiple fragmented layers. In contrast to modernism, it does not promise an absolute truth; but uses playfulness and irony as its ultimate tools which often result in hyperreality. (Hutcheon 9) In this regard, Joyce's point of view uncovers the inclination of modernism because he claims that the object of art is the mere 'truth'. A true (and modern) artist should portray life in all its tedious reality. (Parsons 35) In A Portrait, Joyce presents the life and the development of an artist, Joyce himself, from his childhood until maturity. In doing so, however, Joyce experiments with the new styles of narrating. His idea of being 'true' does not follow conventional forms like chronological plots. Instead, he captures the disjointed moments and focuses on the interior monologue, thus portrays the identity of the character through his expressions. Language, in this case, plays a significant role in unfolding this technique. For instance , the opening line of A Portrait-'Once upon a time and a very good time it was there was a moocow coming down along the rod and this moocow…met a nicens little boy named baby cuckoo…' (Joyce 5)-sets forth the psychic state of the character while revealing the fact that he is just a child. Hence, his loyalty to the truth becomes apparent. Jeanette Winterson, however,

- by Esra Kaya
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- James Joyce, Postmodernism, Modernism, Jeanette Winterson
- by Barış Özkuzey
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- English Literature, Literature, LGBT Issues, Jeanette Winterson

Jeannette Winterson’s novels can always be studied from a postmodern perspective. Postmodernism, though a loosely-defined term, makes reference to a cultural, intellectual, or artistic condition which does not
have a direct predominant hierarchy, and epitomizes extreme entanglement, discrepancy, uncertainty, diversity, and heterogeneity. In this sense, The Passion (1987) is written to deconstruct the various domineering cultural, social and moral conventions or constructed realities and norms of Western civilisation. Techniques of postmodernism – temporal and spatial distortions, gender roles, parody, pastiche, historiographic metafiction, irony – are often used by postmodernist writers in their works. This article aims to pinpoint that Winterson is resisting dominant ideologies and discourses in The Passion, and trying to reconstruct a free and alternative discourse in the same society through postmodernist techniques in the narrative of the novel.

BOOKS Alice in Transmedia Wonderland. Curiouser and Curio ser New Forms of a Children’s Classic. Jefferson: McFarland, 2016. (forthcoming) Body-Texts in the Novels of Angela Carter. Writing from a Corporeagraphic Point of View . Lewiston, Lampeter: The Edwin Mellen Press, 2008. ( pp. 372, ISBN10: 0-7734-48926 ISBN13: 978-0-7734-4892-6) EDITORIAL WORK 5. Co-editor of EJES special journal issue Feminist Interventions in Intermedial Studies (forthcoming in 2017) with Dr Catriona McAra 4. Exploring the Cultural History of Continental Europ ean Freak Shows and Enfreakment. Eds. Anna Kérchy and Andrea Zittlau. Newcastle Upon Ty e: Cambridge Scholars Press. 2012. (Isbn13: 978-1-4438-4134-4 Isbn: 1-443 8-4134-X) 3. Postmodern Reinterpretations of Fairy Tales: How Ap plying New Methods Generates New Meanings. Ed. Anna Kérchy. Lewiston, Lampeter: The Edwin Me llen Press, 2011. (pp. 520, ISBN10: 0-7734-1519-X ISBN13: 978-0-7734-151 9-5) 2. The Iconology of Law and Order . Legal and Cosmic . (P...

- by Anna Kerchy
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- Art, Literature, Narratology, Adaptation
- by Elisa Bolchi
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- Virginia Woolf, Ecocriticism, Jeanette Winterson, Ecocriticism and Ecofeminism

This essay springboards from a discussion of _Written on the Body_ (1992) to _The Powerbook_ (2000), drawing from critics like Celia Shiffer and Susann Cockal, to understand the goal of Jeanette Winterson's postmodern experimentation.

- by Paul Fecteau
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- Jeanette Winterson

This essay placed second in the Blackwell's Essay Competition and explores how we read, and the role of the reader. Through analysis of Jeanette Winterson's 'Written on the Body' (a postmodernist text) and drawing on the critical thought of Umberto Eco and Roland Barthes, I argue for a mode of reading which is inherently interactive and has subversive consequences for our understanding of the role of the reader. “Written on the body is a secret code only visible in certain lights; the accumulations of a lifetime gather there”, writes Winterson. Just as the body is text, so is the text body. The body-text grows with its readers [...] who take on the role of authors.

In questo contributo affronterò il tema della complessa relazione tra sessualità, identità di genere e spazi, muovendo da un interrogativo centrale: qual è il ruolo dello spazio nella costituzione della/e sessualità e, contestualmente, qual è il ruolo della/e sessualità nella costituzione degli spazi e dei luoghi sociali e comunitari? Discuterò se e in che modo le sessualità possono essere spazializzate e gli spazi sessualizzati, cercando di porre in luce il ruolo che essi svolgono nella formazione e nella teorizzazione delle identità di genere, facendo riferimento agli studi più recenti di teoria queer e di geografia umani e sociali. Nella seconda parte di questo lavoro discuterò due esempi narrativi che rappresentano la reciproca costituzione tra gli spazi, le comunità sociali e culturali che li abitano e la costruzione socioculturale della/e sessualità. In particolare, la mia analisi si incentra su due romanzi a firma di due autrici lesbiche inglesi contemporanee, Jeanette Winterson e Sarah Waters. Entrambe le scrittrici modellizzano nei loro romanzi una realtà narrativa dove spazi e identità queer sembrano forgiarsi reciprocamente. Oggetto della mia indagine sono due romanzi, The Passion (1987) e Tipping the Velvet (1998), ambientati rispettivamente a Venezia e a Londra, che negli universi narrativi delle due scrittici attualizzano la complessa relazione tra identità e spazi queer.

- by Silvia Antosa
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- Performativity, Jeanette Winterson, Queer spaces, Sarah Waters

This thesis investigates acts of 're-telling' in four selected novels by Jeanette Winterson and Alan Warner. Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature.

- by Jenna C
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- Scottish Literature, Comparative Literature, Mythology, English Literature

With my fingers too, rather than with my eyes, I read these poems. Ionic volutes-delicate and ringed-white shells with the inner side of pearl-indented cup with the chiseling as fine as the pattern of the under-leaf lining of the wine itself … all this-more and much more-and to concentrate my senses, struggling now with faint, exotic perfumes, pungent and stimulating, not quite familiar, with colours, rose and the violet of the rainbow, I close my eyes and with my fingers like one blind would find my way about this poetry.

- by Brinda Bose
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- Humanities, Feminist Theory, Literature, Queer Theory

An exploration into self-reflexivity and linguistic virtuosity in Ishiguro and Winterson's work.

- by Katarina Polonsky
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- English Literature, Languages and Linguistics, English, Jeanette Winterson

Jeanette Winterson’s novel, Oranges Are Not the Only Fruit (1985)
illustrates the story of a young girl, Jeanette, who experiences suppressive
upbringing at the hands of her mother and her surroundings. Through the
portrayal of her transition into adulthood, the novel touches on numerous
challenging issues such as gender, identity, and the reliability of the
mainstream patriarchal discourse. The main character’s gradual
transformation reveals the controversial aspects of her society juxtaposed
with her sexual orientation as a lesbian and her oppositional stance against
the ingrained doctrine of the Church. This study will, in this respect, discuss
Jeanette’s rebellion as an individual against her oppressive society in
Winterson’s Oranges Are Not the Only Fruit through specific references
from the primary source and relevant secondary sources in an ultimate
attempt to reveal how identity, gender roles, and truth are all discursive
practices.

- by Emrah Atasoy
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- Gender Studies, Jeanette Winterson

After two devastating world wars, humanity witnessed the collapse of all of their facts, values and judgments one by one that had been accepted as absolute truth. However, this destruction did not mean the disappearance of everything that they owned; it was simply a radical reassessment of previous judgments which were perceived as determined stereotypes and certain facts. Thus, from the middle of the twentieth century, the intense relationship between human history and the postmodern movement has gained speed. With this movement, all of the traditional judgments in a society and culture began to be questioned. Along with postmodernism, the phenomenon of gender, history and reality was reconsidered, and so it showed people the existence and possibility of other perspectives. This study aims to analyse Sexing the Cherry by Jeanette Winterson who is one of the most important postmodern writers of the literary world, in accordance with the postmodernism theory in terms of gender, history and fiction that the author has questioned and reinterpreted in her book. Throughout this study, how the postmodern elements, which the author has used meticulously, problematize the mentioned facts and what kind of results they bring about have been examined. Combining the seventeenth and twentieth centuries in her work, Winterson tells the historical facts of the previous century through perspectives of her fictional and extraordinary characters, on the other hand, she reveals how history is accepted in the twentieth century with similar characters of previous ones. Consisting of interchangeable narrators, this work paves the way for its readers to question the place of women in a society, the concept of time and the reliability of truth with experiences through each of her characters.

- by Mehtap Demirtürk
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- Women, Postmodernism (Literature), Jeanette Winterson, Women and Culture

Sexing the Cherry problematises the relationship between reality and fiction. Magic Realism, introduced by a German art critic Franz Roh in 1925 which got popular only in 1940s, is a literary genre which is a twisted form of reality with magical elements added in it. Many writers prefer to put such elements in their stories in order to grab and maintain the attention of their audience as the audience gets more engaged wandering about the magic in the story. One such story is of Sexing the Cherry which is a postmodernist work by Jeannette Winterson and the elements of magic realism and intertextuality have been prominently featured in it. It was published in 1989 and is set in 17th century London. Along with the magical instances in it, the novel gives us an insight about gender, sexuality, religion, politics, innovation and desires. It further forces us to doubt the reality and think about the lies that exist within it, which we tell ourselves to make the world a believable place to live. Sexing the Cherry is a historiographic metafiction and is a product of Winterson's process of rewriting and retelling of stories with defining time as fluid which is not absolute and is rather relative. In this text, Winterson plays with the flow of narrative along with the timeframe it's set in while playing with the idea of reality and fiction. This piece of writing not only challenges the reality but also challenges the usual narrative structure. RELATIONSHIP BETWEEN REALITY AND FICTION IN SEXING THE CHERRY We begin the story with Jordan's narration where he gives us a hint that the novel is about some unusual journeys. At this point, we try to conclude that the text is a travelogue but he breaks our notion and alerts us that it is not going to be an ordinary travelogue. He claims to tell a story about places that don't lie within maps. He then makes us doubt if the journeys are real or

- by Erom Jasmine
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- English Literature, Magic, Postmodernism, Magical Realism

In this essay, I explore the myths presented within two contemporary novels, Jeanette Winterson’s Oranges Are Not the Only Fruit and Jonathan Safran Foer’s Everything Is Illuminated. I propose that myths are used within these two texts as a meta-modern device to transcend post-modern theories, such as post-structuralism and deconstruction. Fictional narratives, either passed down through the Jewish shtetl’s generations or those created by Jeanette for her own sake, ultimately enable a better understanding and connection to reality even while these narratives are separate from that reality due to their imagined origins. While examining these cultural/personal myths, I draw a closer connection between religion and myth-telling as both Jeanette and the townspeople of Trachimbrod are deeply religious (Christianity in Oranges… and Judaism in EII). While both Christianity and Judaism are called into question due to traumatic experiences within these novels, the characters remain devoted to their religious heritages and in order to remain devout the characters develop new stories, new myths in order to reconcile the past to the present and offer a new hope for the future. It is important to note that within this meta-modern analysis similar themes are found within these novels, yet they belong to different countries, one to British literature and the other American; the novels were written almost twenty years apart by opposite genders regarding two different religions. The comparison of these novels demonstrates that certain concerns and subjects can be universal, or perhaps a better term for this day and age would be trans-global. Differences such as generation, gender, nationality, creed, etc. can be negotiated when authors and readers recognize a common humanity, a common history, and the common myth-making that bridge us together in a desire to belief in something and not nothing. I include research from Nicoline Timmer, a meta-modern scholar, Amy Hungerford, a professor at Yale who researches the reinvestment of religious practice in contemporary American fiction, as well as authorial commentary from Winterson and Foer.

- by Ashlie M Kontos
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- Jewish American Literature, Religion, Literary Theory, Holocaust Studies

Jeanette Winterson attempts to provoke a new consciousness of existence in her 2007 novel The Stone Gods and stir the masses to re-evaluate the human condition under the encroaching shadow of death awaiting our mother earth. The Stone Gods can be read as the continuation of her 2005 novel Weight where she already implied an alternative perception of space/universe. Along with its apparent postmodern tissue, The Stone Gods offers a lament for the human condition which is acutely suffering from the deprivation of dreams, future hopes and sense of reality on one hand, the ongoing corruption of our ecological system on the other. In the novel the citizens of Orbus (an unknown future world) are presented as dehumanized figures for whom "age is only an information failure" stemming from the body's loss of fluency, nerve disconnection and cell mutation occuring in DNA nucleus. This paper aims at analysing how Winterson detects the postmodern superficiality, obsession with appearance, lack of hope, memory and conscience in The Stone Gods which, contrary to being a postmodern text, concentrates on giving a moral message with its satiric as well as parodic double voice about the changing experience of ageing for man and mother earth in the new millenium.

- by Zekiye Antakyalioglu
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- Ecology, Postmodern Fiction, Jeanette Winterson, Dystopia
- by Silvia Antosa
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- Sexuality, Performativity, Jeanette Winterson, Bodies

This paper seeks to examine the depiction of the evil step-mother Queen in Snow White. The focus will be on examining the characterization of the Queen as both step-mother and evil witch as depicted in the traditional fairy tale and subsequent revisions in the short stories: "Blancanieves" (Snow White) by Carmen Boullosa and Neil Gaiman's "Snow Glass Apples". These texts will be compared alongside films that also look at recasting the Queen as victim of her socio-cultural environment and patriarchal standards of beauty in films such as: Mirror, Mirror and Snow White, The Fairest of them All and the television series Once Upon a Time. This presentation proposes to explore how the Queen's monstrosity is replaced with a more humanistic understanding of her behaviour thereby resulting in a more sympathetic and less monstrous depiction of the "old evil Queen".

- by Cristina Santos
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- Gender Studies, Aesthetics, Women's Studies, Feminist Theory

This thesis examines Jeanette Winterson's use of fantasy to explore and offer alternatives to the rationalised world of modernity. In doing so, this thesis proposes Winterson exhibits cultural politics which are Romantic in nature. Using Kathryn Hume's theory of fantasy as a literary approach to give meaning to the world of reality, Winyerson offes another vision of the world. Through close reading analysis, this study focuses on Tanglewreck (2007) and The Battle of the Sun (2009) and offers a brief analysis of the Romantics and fantasy found in her other works. In determining Winterson as a Romantic, this thesis directs its attention to her use of the artistic imagination, use of language and style and her themes of love and connection. Winterson is recognised as offering a post Christian spirituality which develops love as transcendent. This irrational approach to understanding life is Winterson's alternative to rationalised reality.

- by Felicity Stoetzel
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- Romanticism, Literary Criticism, Literary Theory, Jeanette Winterson

The tradition of telling stories starting with the oral tradition continued with the emergence of fairy tales. Although their primary object is to instruct the readers and to impose what is good and what is bad, fairy tales throughout the years have been a perfect resource for especially postmodern writers who aim at deconstructing metanarratives. The main purpose of this study is to discuss Angela Carter's and Jeanette Winterson's feminist approach to the patriarchal understanding of the traditional fairy tale by dealing with issues such as gender, marriage, love and gender roles through postmodern techniques of rewriting, parody and intertextuality.

- by Naile Sarmaşık
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- Postmodern Literature, Angela Carter, Jeanette Winterson, Rewriting Fairytales
- by Johanna Rullo Gurny
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- Jeanette Winterson, Jeanette Winterson (Literature), Androgyny

Jeanette Winterson’s infamous use of intertextuality and self-quotation, often dismissed as arrogance, compels her readers to locate her works within an interconnected cycle. This thesis argues that Winterson’s reference and repetition are evidence of a poststructuralist project: she reconceives the unities of autobiography, history, and identity as networks of relations. Foucauldian archaeology, the study of discourse as a system of references rather than a thematic unity, provides an appropriate toolkit in studying Winterson’s discursive method. Her memoir Why Be Happy When You Could Be Normal? returns to many of the same events of her semi-autobiographical novel Oranges Are Not the Only Fruit, suggesting that any attempt at writing the authoritative version of one’s life story is always partial or fractured. Much the same, the fantastic elements and self-deprecating narrators within her historical novels The Passion and Sexing the Cherry imply authoritative or historical facts are as fictions, open to the surreal or contradictory and accessed through the personal. Last, in Written on the Body, Winterson encourages her reader to interpret the narrator’s gender from textual clues, just as the reader of Weight confronts biographical parallels between author and character; in both cases, identity is a narrative, open to play and revision.

- by Maximillian Coghlan
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- Poststructuralism, Postmodernism, Jeanette Winterson

The last decades have seen a resurgence of fragmentation in British and American works of fiction that deny linearity, coherence and continuity in favour of disruption, gaps and fissures. Authors such as Ali Smith, David Mitchell and David Shields have sought new ways of representing our global, media-saturated contemporary experience, which differ from modernist and postmodernist experimentations from which writers nevertheless draw inspiration. This volume aims to investigate some of the most important contributions to fragmentary literature by British and American writers since the 1990s, with a particular emphasis on texts released in the twenty-first century. Contributors theorise and classify literary fragments, examine the relationship between fragmentation and the Zeitgeist (influenced by globalisation, media saturation and social networks), analyse the mechanics of multimodal and multimedial fictions, and consider the capacity of literary fragmentation to represent personal or collective trauma and to address ethical concerns. Besides the already mentioned authors, the volume makes reference to the works of J.G. Ballard, Julian Barnes, Mark Z. Danielewski, David Markson, Jonathan Safran Foer, David Foster Wallace, Jeanette Winterson and several others.

- by Wojciech Drąg and +1
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- Electronic Literature, Contemporary British Literature, Contemporary American Literature, David Foster Wallace

The refrain of Jeanette Winterson’s Written on the Body, “It’s the clichés that cause the trouble,” speaks to a lover’s anxiety: how to articulate love without resorting to practised tropes. Are the words “I love you” still potent when bodily boundaries are disrupted, or when the history behind these words is held with suspicion? Winterson’s genderless narrator responds by constructing a love-poem to her/his beloved in search of an original expression of love. In appropriating colonial, medical, and chivalric discourses—that is, in emptying out the historical and political content of these words, and reapplying them to the object of queer desire—the lover attempts to tailor language to match the beloved: exploring, fragmenting, and worshipping her body.

- by Maximillian Coghlan
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- Queer Theory, Reader Response, Performance Theory, Jeanette Winterson

Philip K. Dick's Do Androids Dream of Electric Sheep? (1968) and Jeanette Winterson's The Stone Gods (2007) manifest an environmentalist awareness of the increasingly destructive power of human technologies while challenging the prevalent models we employ to think about the planet as well as its human and non-human inhabitants. Both novels probe what it means to be human in a universe plagued by entropy in the era of the Anthropocene. For the purposes of this essay, I will concentrate particularly on Dick's and Winterson's portrayals of the dystopian city as a site of interconnections and transformations against a backdrop of encroaching entropy and impending doom. Drawing on the work of several (critical) posthumanists who are primarily interested in dissolving oppositions such as between nature/culture, biology/technology, I show how the displacement of the centrality of human agency due to the intrusive nature of advanced technology is happening in the broader context of the Anthropocene. I also argue that the dystopian cityscapes envisioned in both novels become places that allow for the possibility of new forms of subjectivity to emerge.

- by Hatice Övgü Tüzün
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- Posthumanism, Philip K Dick, Science Fiction, Critical Posthumanism

Gender and Power in the New Europe

- by Manuela Rossini
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- Gender Studies, Feminist Theory, Posthumanism, Bodies and Culture

RESEARCH MA THESIS: The main research question this thesis investigates is: "how is the notion of the Anthropocene challenged, refined and reimagined in contemporary feminist theory and fiction and in what ways does an approach via narratives negate a binary and teleological reading of the Anthropocene?" A multiple and threaded approach of theory and fiction is explored in this thesis. How the story is told is always at least as important as what that story consists of. So, the questions this thesis is asking and after are: "what kinds of narratives, what kinds of metaphors in narratives are being deployed to talk about the Anthropocene?". In order to come to an understanding of what it might mean to live in the Anthropocene attention is drawn to storytelling and the notion of narrative. It is clear that Earth is in constant change. The idea of the Anthropocene frames this change into a narrative of human responsibility and consequences for the human inhabitants of Earth. Only through particular narratives and metaphors does a changing Earth become socially and culturally meaningful. The work of feminist theorists and fiction writers that is analysed (i.e. the work of Braidotti, Haraway, Zylinska, Colebrook, Atwood and Winterson) reflects this practice of knowledge production. In both the theoretical and literary approaches to the Anthropocene that are considered here, a meaningful engagement with a changing planet is key. Whether through coming up with alternatives, pushing the boundaries of what the Anthropocene has come to stand for, or engaging with it through a particular lens, contemporary feminist theory and fiction have taken the challenges the Anthropocene represents and faced them head on.

- by Susanne Ferwerda
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- Gender Studies, Feminist Theory, Feminist Philosophy, Literary Theory

This dissertation contributes to scholarship on contemporary fairy-tale fiction and film by looking at the figures of the storyteller and listener and the act of storytelling itself in a range of texts produced or translated into English within the last thirty years. My focus texts include the television mini-series Arabian Nights (1999); the feature length film Pan’s Labyrinth (2006); the collection Kissing the Witch: Old Tales in New Skins by Emma Donoghue (1997); and the embedded cycle of stories ―The Story of the Twelve Dancing Princesses‖ in Jeanette Winterson‘s novel Sexing the Cherry (1989). All of these texts thematize the act of narration in a variety of ways and to various ends. I consider how the relationship of narrator and listener is played out in relation to gendered and sexual subjectivity and the desires that the tales inscribe. I ask how each of these texts engages with normative and queer desires, and how these desires are represented and narratively produced through an exploration of the textual dynamics of metanarrational comment, narrative framing, and narrative authority.
In the first half of the dissertation I examine the dynamics of narrative authority in two cinematic engagements with the fairy tale. These chapters take the cinematic narrator into account as a prime mover in directing the ways narrative authority flows. I contend that in both cases narrative authority is related to gender and political and familial hierarchies. The second half of my dissertation explores narrative and sexual desire from a perspective that allows for a broader understanding of how hetero-normative and non-normative subjects are textually produced both thematically and formally. I demonstrate a reading practice that seeks ―queer possibility‖ and emphasizes flexibility and epistemological constructs rather than the ontological status of a text as either inherently queer or straight.

Sigmund Freud's notion of the " phallic mother " is a significant concept to examine gender, sexuality and power relations not only in social life but also in a literary work. Although phallic mother/woman concept is mostly used to describe omnipotent women in many texts, mostly based on its psychoanalytic origin, this study argues that it is an inadequate portrayal to describe feminine potential and power. In this respect, this study aims to propose another concept that should be used to describe powerful, feminine, securing, un-authoritatively maternal, and freeing mother/woman as " vulvic mother/woman " instead of " phallic ". To examine the differences between phallic woman and vulvic woman, the study analyzes two woman/mother characters from Jeanette Winterson's two novels – Oranges Are Not the Only Fruit and Sexing the Cherry. Based on the theories from psychoanalysis and a survey on mythology, this study tries to take attention to feminine conceptualizations in relation to the analyzed novels.

Jeanette Winterson's The Stone Gods (2007) pictures a futuristic world in which every body is technologically, discursively, and materially constructed. First of all, The Stone Gods foregrounds the futuristic conceptualization of embodiment and posthuman gendered bodies in relation to biotechnology, biogenetics, and robotics, interrogating contemporary dimensions of the interface between the human and the machine, nature and culture. Secondly, the novel focuses on environmental concerns relevant to our present age. More specifically, however, drawing our attention to posthuman toxic bodies in terms of " trans-corporeality, " as suggested by Stacy Alaimo, The Stone Gods is an invaluable literary means to speculate on our " posthuman predicament, " in Rosi Braidotti's words, and global ecological imperilment. In The Stone Gods, Winterson provides not only a warning against the dehumanization of the human in the process of posthumanization, but also a salient picture of posthuman trans-corporeal subjects through a discussion of the beneficial and deleterious effects of biotechnology and machines on human-nonhuman " naturecultures. " On this view, looking at both human and nonhuman bodies through a trans-corporeal lens would contribute to an understanding of how material-discursive structures can profoundly transform human-nonhuman life on Earth.

- by Kerim Can Yazgünoğlu
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- Cultural Studies, Gender Studies, Posthumanism, Literary Theory

The usage of self-reflexivity in Jeanette Winterson's Written on the Body serves to emphasize the fictionality of its own narrative. By doing so, it highlights to readers the fact that many aspects of life's experiences, such as love, though perceived as objective reality by most people, can only in fact exist as a subjective experience for individuals. Jeanette Winterson's metafictional novel Written on the Body employs the technique of self-reflexivity, drawing attention to its fictional nature " in order to pose questions about the relationship between fiction and reality " and to " explore the possible fictionality of the world outside the literary fictional text " (Waugh 2). By making prominent the artificiality of the narrator's 'real experiences' within the narrative, the metafiction is suggesting to readers the probable fictionality of their similar experiences in the actual world. The ungendered narrator in the novel struggles with the concept of love; he or she desperately wants to objectify his or her experience of love into concrete reality but realizes that it is almost impossible to do so. The inability to turn his or her individual experience of love into objective reality consequently causes the narrator to believe that the notion of love itself is perhaps fictional, existing merely as a subjective reality for him or her. Therefore, in this metafiction, self-reflexivity is used to point readers out to the fact that since the experience of love, perceived by most people to be an objective reality, disallows objectification, 'love' can only remain as an abstract concept and exist as subjective experiences for individuals.

- by June Lee
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- Love, Metafiction, Objectivism (Philosophy), Postmodern Literature

In this paper, I strive to demonstrate how Jeanette Winterson, in The Powerbook, challenges the binary functioning of the Western Tradition and enacts the blurring of boundaries between male and female gender, between material and virtual
ontologies, and between author and text, thus exposing the fluidity of these apparently opposing categories. Winterson‟s text is explored in ways that show how she, by writing
in a way that can be related to Donna Haraway‟s cyborg manifesto and to Karen Barad‟s agential realist ontology, both confronts the idea of a self-evident author and makes evident how both sides of the binary “intra-act,” a term suggested by Barad, and contaminate each other.

- by Melina Savi
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- Cyborg Feminism, Jeanette Winterson, Feminist Literary Criticism
- by Andrew Keegan
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- Creative Writing, Semiotics, Philosophy, English Literature

از میان سروده های مهدی اخوان ثالث «زمستان» از همه مشهورتر است. در سروده های کردی پرتو کرمانشاهی هم ظاهراً شعری که به «ارمنی» مشهور شده از همه نام آور تر است. در این پژوهش این دو سروده از دیدگاه محتوایی و نشانه شناختی بررسی و تحلیل شده است. نتایج نشان می دهد که پرتو در سرایش «ارمنی» در دو سطحِ تصویر کلی و نشانه‌ها از «زمستان» اخوان ثالث متأثر بوده است. در طرح کلی، پناه بردن شبانه فردی بی خانمان به ساقی، درخواست از او، عدم اعتماد به افراد و هراس از محیط و در سطح نشانه شناسی تقابل نشانه‌هایی همچون: لولی/ آواره، ترسا/ ارمنی، جام/ شیشه و مانند آن، از موارد مشترک در دو اثر است. اما در سطح تأویل معنایی نشانه هایی که شعر اخوان را تأویل پذیر کرده، بسیار روشن تر از شعر پرتو است. هر چند دو بیت از سرودۀ پرتو نیز امکان تأویل متن و هم‌خوانی با سروده اخوان را فراهم می سازد. وجه افتراق دو اثر، طراوت و طنز سروده پرتو در مقابل جدیت شعر اخوان است.

- by Journal of Kurdish Literature
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- Jeanette Winterson, Mehdi Akhavan-Sales

The phrase "glimpsing the balance between earth and sky" in the thesis title is taken from Jeanette Winterson's Oranges Are Not the Only Fruit. In this novel, the central character Jeanette believes she has glimpsed the possibility that human relationships can find their mirror in the relationship with God, as she understands the divine Other. This glimpse has set her wandering, trying to find such a balance.

- by Ross Edwards
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- Christianity, Postmodernism, Jeanette Winterson, John Irving

This chapter examines recent changes in the treatment of time and temporality – past, present and future – in the work of Jeanette Winterson. Since she first started writing, Winterson’s work has corresponded closely with queer theory and lesbian and gay studies, and like many canonical queer theorists, Winterson repeatedly questions the concept of time and the writing of history. Her fiction not merely challenges sexual and gender difference, but collapses the divide between past and present to create an interstitial space where empowering experiences abound and significant encounters may grow and prosper. Recently, and especially in The Stone Gods, Winterson’s interstitial space has acquired a more fatalistic tone, circulating around a sense of finality and impending doom. This chapter argues that this reflects a more explicit nihilistic turn in critical and queer theory. Post-9/11 queer theory, like Winterson’s recent fiction, rejects reproductive continuance and circularity – and embraces temporal ends.

- by Karin Sellberg
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- Queer Theory, Gay And Lesbian Studies, Autobiography, Contemporary Literature