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.5.Berlant, Poor Eliza, 636.6.The vociferous debate about the politics of sentiment is ongoing.Forthe classic texts in the field, see Douglas, The Feminization of AmericanCulture; Tompkins, Sensational Designs; and Samuels, Culture of Sentiment.For excellent overviews of and interventions in these debates with regardto nineteenth-century literature in particular, see Dobson, ReclaimingSentimental Literature ; Gilligan, Reading, Race, and Charles Chestnutt ;and Hendler, The Limits of Sympathy. For arguments that connect thetradition of nineteenth-century American sentimental literature to thecontemporary political landscape, see Berlant, Poor Eliza and The Subjectof True Feelings. For recent critical returns to Douglas s thesis, see Gould, ed.,Revising the Feminization of American Culture.7.Since 1980, a substantial body of criticism has been produced that focuseson the mother/daughter narrative.For classics in the field, see Hirsch, TheMother/Daughter Plot; E.Ann Kaplan, Motherhood and Representation; David-son and Broner, eds., The Lost Tradition; and Pearlman, ed., Mother Puzzles.Both The Lost Tradition and Mother Puzzles contain bibliographies of mother/daughter criticism surveying the state of the field at the time of their pub-lication.Guillory-Brown, ed., Women of Color, offers a useful survey of thenovels by women of color most frequently read and consumed as mother/daughter texts.While indebted to these crucial taxonomies and theorizationsof feminist mother/daughter narratives, particularly Hirsch s, my approachdiffers from this body of work by reading the feminist mother/daughternarrative as a register for overarching problems in national time.8.Berlant, The Subject of True Feelings, 53.9.See Chapter 5, section titled The Figure of the Woman of Color and theReturn of Narrative Fulfillment, in this book.10.Morrison, Beloved, 275.11.Armstrong, Why Daughters Die, 10. 196 NOTES12.Jameson, The Seeds of Time, 18.13.Much of the literary criticism written about The Joy Luck Club focuseson mother/daughter dynamics.See, for example, Braendlin, Mother/Daughter Dialog(ic)s ; Heung, Daughter-Text/Mother-Text ; Mountain, The Struggle of Memory ; Shear, Generational Differences ; andWong, Sugar Sisterhood. 14.Tan, The Joy Luck Club, 241.Hereafter cited in text as Tan.15.Wong, Sugar Sisterhood, 181.16.Friday, My Mother/My Self, 201.17.Friday s fixation on the zero-sum economy of the mother/daughter rela-tionship is reflected in more academic work as well for example, in theinsistence on the mutually exclusive desires for autonomy and nurturancedescribed by Jane Flax.For Flax, the mother/daughter relationship instillsin us the sense that we can only have closeness either with the mother orwith our own autonomous self, and a gain in one means a loss in the other.See Flax, The Conflict Between Nurturance and Autonomy. 18.Wells, Divine Secrets, 180, emphasis in the original.Hereafter cited in textas Wells.19.Rich, Of Woman Born, 232.20.Although Rich s description makes clear the way in which this merg-ing was represented as a threat, in the late 1970s and 1980s such fluidityincreasingly came to be valorized as a vestige of the pre-Oedipal or presymbolicand was often associated with modernist or avant-garde experimentalnarrative practices.On water imagery, the feminine, and the modernistimagination, see DeKoven, Rich and Strange.On mothers and daughtersand the pre-Oedipal and/or pre-Symbolic, see, in particular, Chodorow,The Reproduction of Mothering; and Kristeva, Stabat Mater. E.AnnKaplan offers a useful overview of psychoanalytic paradigms of the mother/daughter relationship (Motherhood and Representation, 27 56).21.Berlant, The Subject of True Feelings, 58.See also Berlant s discussion ofwater imagery in Toni Morrison s Beloved; and Berlant, Poor Eliza, 665.22.Hendler, The Limits of Sympathy, 691.23.Chow, Women and Chinese Modernity, 159.24.Ibid., 159 60.25.Lim, Japanese-American Women s Life Stories, 293, quoted in Heung, Daughter-Text/Mother-Text, 28.26 [ Pobierz całość w formacie PDF ]
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.5.Berlant, Poor Eliza, 636.6.The vociferous debate about the politics of sentiment is ongoing.Forthe classic texts in the field, see Douglas, The Feminization of AmericanCulture; Tompkins, Sensational Designs; and Samuels, Culture of Sentiment.For excellent overviews of and interventions in these debates with regardto nineteenth-century literature in particular, see Dobson, ReclaimingSentimental Literature ; Gilligan, Reading, Race, and Charles Chestnutt ;and Hendler, The Limits of Sympathy. For arguments that connect thetradition of nineteenth-century American sentimental literature to thecontemporary political landscape, see Berlant, Poor Eliza and The Subjectof True Feelings. For recent critical returns to Douglas s thesis, see Gould, ed.,Revising the Feminization of American Culture.7.Since 1980, a substantial body of criticism has been produced that focuseson the mother/daughter narrative.For classics in the field, see Hirsch, TheMother/Daughter Plot; E.Ann Kaplan, Motherhood and Representation; David-son and Broner, eds., The Lost Tradition; and Pearlman, ed., Mother Puzzles.Both The Lost Tradition and Mother Puzzles contain bibliographies of mother/daughter criticism surveying the state of the field at the time of their pub-lication.Guillory-Brown, ed., Women of Color, offers a useful survey of thenovels by women of color most frequently read and consumed as mother/daughter texts.While indebted to these crucial taxonomies and theorizationsof feminist mother/daughter narratives, particularly Hirsch s, my approachdiffers from this body of work by reading the feminist mother/daughternarrative as a register for overarching problems in national time.8.Berlant, The Subject of True Feelings, 53.9.See Chapter 5, section titled The Figure of the Woman of Color and theReturn of Narrative Fulfillment, in this book.10.Morrison, Beloved, 275.11.Armstrong, Why Daughters Die, 10. 196 NOTES12.Jameson, The Seeds of Time, 18.13.Much of the literary criticism written about The Joy Luck Club focuseson mother/daughter dynamics.See, for example, Braendlin, Mother/Daughter Dialog(ic)s ; Heung, Daughter-Text/Mother-Text ; Mountain, The Struggle of Memory ; Shear, Generational Differences ; andWong, Sugar Sisterhood. 14.Tan, The Joy Luck Club, 241.Hereafter cited in text as Tan.15.Wong, Sugar Sisterhood, 181.16.Friday, My Mother/My Self, 201.17.Friday s fixation on the zero-sum economy of the mother/daughter rela-tionship is reflected in more academic work as well for example, in theinsistence on the mutually exclusive desires for autonomy and nurturancedescribed by Jane Flax.For Flax, the mother/daughter relationship instillsin us the sense that we can only have closeness either with the mother orwith our own autonomous self, and a gain in one means a loss in the other.See Flax, The Conflict Between Nurturance and Autonomy. 18.Wells, Divine Secrets, 180, emphasis in the original.Hereafter cited in textas Wells.19.Rich, Of Woman Born, 232.20.Although Rich s description makes clear the way in which this merg-ing was represented as a threat, in the late 1970s and 1980s such fluidityincreasingly came to be valorized as a vestige of the pre-Oedipal or presymbolicand was often associated with modernist or avant-garde experimentalnarrative practices.On water imagery, the feminine, and the modernistimagination, see DeKoven, Rich and Strange.On mothers and daughtersand the pre-Oedipal and/or pre-Symbolic, see, in particular, Chodorow,The Reproduction of Mothering; and Kristeva, Stabat Mater. E.AnnKaplan offers a useful overview of psychoanalytic paradigms of the mother/daughter relationship (Motherhood and Representation, 27 56).21.Berlant, The Subject of True Feelings, 58.See also Berlant s discussion ofwater imagery in Toni Morrison s Beloved; and Berlant, Poor Eliza, 665.22.Hendler, The Limits of Sympathy, 691.23.Chow, Women and Chinese Modernity, 159.24.Ibid., 159 60.25.Lim, Japanese-American Women s Life Stories, 293, quoted in Heung, Daughter-Text/Mother-Text, 28.26 [ Pobierz całość w formacie PDF ]