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Jeanette Winterson, Written on the Body (1992) Oranges Are Not the Only Fruit (1985) Boating for Beginners (‘comic book with pictures’, 1985) The Passion (1987) Sexing the Cherry (1989) Written on the Body (1992) Art and Lies (1994) Gut Symmetries (1997) Art Objects (essays, 1995) The World and Other Places (short stories, 1998) The.PowerBook (2000) The King of Capri (for children, 2003) Lighthousekeeping (2004) Tanglewreck (for children, 2006) The Stone Gods (2007) Weight (Canongate Myth Series, 2007) The Battle of the Sun (for children, 2009) The Lion, The Unicorn and Me (with Rosalind MacCurrach, for children, 2009) Laura Miller‟s interview from 1997, foregrounding the difference between Winterson‟s public and private personae: http://www.salon.com/april97/winterson970428.html A summary of the direction Winterson took in recent years: “To infinity and beyond” Stephanie Merritt‟s review on The Stone Gods by Jeanette Winterson, 27 September 2007 http://www.newstatesman.com/books/2007/09/stone-gods-jeanette- winterson The British Council‟s literary website on Winterson, with a “critical perspective” essay from 2009: http://www.contemporarywriters.com/authors/?p=auth100 Jeanette Winterson‟s own website: http://www.jeanettewinterson.com/ + a website on names and concepts related to Postmodern thought, by Martin Ryder, University of Colorado at Denver, USA: http://carbon.ucdenver.edu/~mryder/itc/postmodern.html „I‟m telling you stories. Trust me‟. The Passion (1987) narrators and their relationships to each other – personal (How do they relate to one another?) – structural (How do they relate to the story they are telling? How do they relate to others‟ stories?) narratives and their relationships to each other – within the story (collaborate or contradict one another) – outside the story, on the level of the book as a work of art (parallel or contrasting structures, embedded stories, frame stories, adaptations of stories) characters and their relationships to other characters, narrators, narratives repetition, variation, contrast, reversal, symmetry Written on the Body (1992) love and possible ways to discuss it – carnal – emotional – intellectual, spiritual how to avoid stereotypes how to create a new, true way to talk about love writing – translation, library, texts, literary references language used for special purposes body described in – medical terms – poetic terms narration: voice: no name, no gender specified focus: Louise (cf. Fowles) Why an ungendered narrator on love? opening up space by using fewer limitations for identification not all languages can present ungendered narrators – translations often have to make a decision then why a Lesbian narrator on love? the pleasures of a perspective other than mainstream: forms of defamiliarization, like Brecht‟s alienation effect, like recognizing a dead metaphor for a metaphor a chance to see things for new, from a different aspect further examples: Roland Barthes, A Lover’s Discourse Edwin Morgan, “One cigarette” http://www.ltscotland.org.uk/literacy/ findresources/edwinmorgan/poems/onecigarette/poem.asp How to write an essay for the exam: 1) Text 2) Help from criticism or other works 3) Focus on the question/theme specified Preparation before the exam: Read the works specified in the list of readings for the course. See if call words from the lectures can help you focus. Check if any of the critics, books, web sites referred to offer any helpful angle or approach to make sense of your reading. See if you can establish connections (similarities, differences, parallelisms, in terms of themes, issues, images, characters, narrators, methods of writing, etc.) among the works you are reading. While you are writing the essay during the exam: Concentrate on the question or title offered. Organize your reading experience and present it focusing on the question/title/theme. Make references to parts of the text you remember, also relying on the excerpts provided. Offer examples for your points, details you remember (words, characters, ideas, motifs, scenes) proving that you actually read the work. If you remember any remarks or comments from your critical readings, please include them. You can use them to support your points, you can argue against them, you can use them to provide background information. Remember to make your answer relevant to the question or theme specified. Make your own argument – do not quote long stretches of critical commentary borrowed from your sources. For example: “The technique of contrast in Jeanette Winterson‟s Written on the body” See if you remember anything that was presented in contrasting pairs in the novel. Perhaps jot down a few ideas, such as - an externally described character, Louise (beauty, body, illness) and an internally described nameless, genderless narrator - Louise‟s husband and lover - the language of medicine and the language of poetry See if there is anything you can remember about other works or critical commentary about contrasts. Remember how Barnes, Fowles, Carter, Ishiguro used contrasts – what was it that they presented in contrasting pairs, what kind of contrasts did they present. Try to present your thoughts in correct (and legible) English sentences. Remember that whatever is in your mind will only become visible to those reading your paper if you present those thoughts in writing – you will not be there to explain what you meant when reading, correction and grading happen. Your paper will have to speak for you.
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