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The woman reader in Rebecca Mead’s My life in Middlemarch

Dados Bibliográficos

ID19004841
AutoresMaša Grdešić (University of Zagreb, autor correspondente)
Ano2021
Volume36
Fascículo5
Páginas780-798
Data de publicação2021-12-10
Peer ReviewedSim
Open AccessNão
TipoARTICLE
PeriódicoCultural Studies (JOURNAL)
Identificadores do periódicoISSN: 0950-2386 • E-ISSN: 1466-4348
EditoraRoutledge (PUBLISHER • GB)
DOI10.1080/09502386.2021.2012708
OpenAlexW4200588286
IdiomaEN
Referências citadas16

Before the entry of feminist scholars into the field, literary theory either had no interest in the woman reader or used her to represent the type of reading that favours identification, escape and pleasure over engagement with the aesthetic and formal aspects of a text. According to feminist cultural and literary theorists such as Charlotte Brunsdon and Rita Felski, the woman reader has typically been defined as passive and uncreative, her interests as trivial and sentimental, her reading as consequently apolitical. Feminist literary theory and feminist cultural studies have long challenged the sharp divide between feminist and ‘ordinary’ women readers, academic and non-academic readers, creative and uncreative readers, pointing out that they are more alike than we are led to believe because they share certain affective and cognitive attributes. This artificial dichotomy is also called into question by popular memoirs on books and reading, which showcase the creativity of non-academic reading. One example is the 2014 book My Life in Middlemarch, journalist Rebecca Mead’s account of her lifelong relationship with George Eliot’s novel. Mead’s book, which combines literary criticism, biography and memoir, highlights the impact literature can have on its readers. I read Mead’s book as an example of Rita Felski’s theoretical concept of a ‘positive aesthetics’, a framework for reading texts that blends criticism and analysis with attachment and love. Using Felski’s categories of textual engagement, such as recognition, enchantment and knowledge, I argue that Mead’s project, by giving equal weight to emotional and intellectual aspects of reading, represents an important step in bridging the divide between academic and non-academic readers

Aesthetics · Art · Biography · Creativity · Criticism · Linguistics · Literary criticism · Literary theory · Literature · Memoir · Pleasure · Sociology · Irish and British Studies · Philosophy · Postcolonial and Cultural Literary Studies · Psychology · Race, History, and American Society · Social Psychology

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    Rita Felski•Limits of Critique•2015

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  • Cultural Theory and Popular Culture

    Jennifer Storey, John Storey•Cultural Theory and Popular Culture•2018

  • Critical capital

    N Holm•Cultural Studies•2020

  • The Resisting Reader

    Melvin J Friedman, Judith Fetterley•American Literature•1979

  • Viewing, Reading, Listening

    Norman K Denzin, Jon Cruz et al.•Social Forces•1998

Velocidade de citaçãohistorical
Altamente citadoNão
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