13 found
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  1.  31
    What Ails Feminist Criticism?Susan Gubar - 1998 - Critical Inquiry 24 (4):878-902.
  2. Feminist Misogyny: Mary Wollstonecraft and the Paradox of "It Takes One to Know One".Susan Gubar - 1994 - Feminist Studies 20 (3):453.
  3.  38
    Representing Pornography: Feminism, Criticism, and Depictions of Female Violation.Susan Gubar - 1987 - Critical Inquiry 13 (4):712-741.
    It is hardly necessary to rent I Spit on Your Grave or Tool Box Murders for your VCR in order to find images of sexuality contaminated by depersonalization or violence. As far back as Rabelais’ Gargantua, for example, Panurge proposes to build a wall around Paris out of the pleasure-twats of women [which] are much cheaper than stones”: “the largest … in front” would be followed by “the medium-sized, and last of all, the least and smallest,” all interlaced with “many (...)
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  4.  5
    In the Chemo Colony.Susan Gubar - 2011 - Critical Inquiry 37 (4):652-670.
    When I first agreed to undergo chemotherapy, I found myself haunted by Franz Kafka's parable “In the Penal Colony.” The grisly short story was easy to translate into language pertinent to my ominous sense of the standard treatment of advanced ovarian cancer. About to be attached to a remarkable piece of apparatus, the condemned woman tastes fear rising off her tongue as she finds herself led forward into a maze of equipment, but is assured that the machinery should go on (...)
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  5.  16
    II An Incredible Shrunken History: A Response to Sean Shesgreen.Sandra M. Gilbert & Susan Gubar - 2009 - Critical Inquiry 35 (4):1057-1061.
  6.  14
    The Differences Barbara Johnson Makes: Introduction.Susan Gubar - 2004 - Diacritics 34 (1):73-73.
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  7.  10
    An Exchange on "The Norton Anthology of English Literature" and Sean Shesgreen: II. An Incredible Shrunken History: A Response to Sean Shesgreen.Sandra M. Gilbert & Susan Gubar - 2009 - Critical Inquiry 35 (4):1057.
  8.  48
    "The Blank Page" and the Issues of Female Creativity.Susan Gubar - 1981 - Critical Inquiry 8 (2):243-263.
    Woman is not simply an object, however. If we think in terms of the production of culture, she is an art object: she is the ivory carving or mud replica, an icon or doll, but she is not the sculptor. Lest this seem fanciful, we should remember that until very recently women have been barred from art schools as students yet have always been acceptable as models. Both Laura and Beatrice were turned into characters by the poems they inspired. A (...)
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  9.  7
    "The Tongue of Power"The Madwoman in the Attic: A Study of Women and the Literary Imagination in the Nineteenth Century.Myra Jehlen, Rachel Blau DuPlessis, Sandra Gilbert & Susan Gubar - 1981 - Feminist Studies 7 (3):539.
  10.  11
    Masterpiece Theatre: An Academic Melodrama.Sandra M. Gilbert & Susan Gubar - 1991 - Critical Inquiry 17 (4):693-717.
    We’d like to do a little hypnosis on you. Imagine that you’re ensconced in your own family room, your study, or your queen-sized bed. Settling back, you pick up the remote, flick on the TV, and naturally you turn to PBS. This is what you hear:Host 1: Good evening. Welcome to Masterpiece Theatre. Because Alistair Cooke is away on assignment in Alaska, we’ve agreed to host the show tonight, and that’s both a pleasure and a privilege because our program this (...)
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  11.  9
    Falling for Etty Hillesum.Susan Gubar - 2006 - Common Knowledge 12 (2):279-301.
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  12.  7
    Notations in "Medias Res".Susan Gubar - 1999 - Critical Inquiry 25 (2):380-396.
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  13.  16
    The Man on the Dump Versus the United Dames of America; Or, What Does Frank Lentricchia Want?Sandra M. Gilbert & Susan Gubar - 1988 - Critical Inquiry 14 (2):386-406.
    That the pattern into which Lentricchia seeks to assimilate Stevens is politically charged becomes clearest when we turn to the following oddly incomprehensible statement: “In the literary culture that Stevens would create, the ‘phallic’ would not have been the curse word of some recent feminist criticism but the name of a limited, because male, respect for literature” . At the point where he makes this assertion, Lentricchia has been persuasively demonstrating that Stevens was “encouraged … to fantasize the potential social (...)
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