By Abigail Rine
Drawing at the provocative fresh paintings of feminist theorist Luce Irigaray, Irigaray, Incarnation and modern Women's Fiction illuminates the important and subversive function of literature in rewriting notions of the sacred. Abigail Rine demonstrates via cautious readings how various modern girls writers - from Margaret Atwood to Michèle Roberts and Alice Walker – imagine past conventional non secular discourse and masculine versions of subjectivity in the direction of a brand new version of the sacred: person who seeks to reconcile the schism among the human and the divine, among the physique and the observe. alongside the way in which, the booklet argues that literature is the precise house for rethinking faith, accurately since it is a realm that cultivates mind's eye, secret and incarnation.
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Example text
In a patriarchal society, however, the power of ‘shaping experience through storytelling has not been in women’s hands’; women, rather than recognizing, naming and celebrating their experiences of the world, have been forced to suppress and deny these experiences (1980, p. 5). Though she affirms this dialectic between stories and experience, Christ is careful to state that stories are not merely about recounting experience; building on the work of Michael Novak and Stephen Crites, Christ asserts that stories have a sacred dimension in that they ‘create a sense of self and world’ (1980, p.
12 The question of the divine, then, is central to the model of phallogocentrism, and therefore must be refigured if an alternative to this model is to be conceived. Yet, as Elizabeth Grosz recognizes, although Irigaray critiques and significantly revises the traditional concept of God, she also insists on the necessity of retaining the concept of divinity itself: God provides the genre, the context, the milieu and limit of the subject, and the horizon of being against which subjectivity positions itself.
As a mode of writing that invites openness and multiplicity, that seeks to engage with and evoke the realm of the senses, that exceeds the closed boundaries of abstract theological and philosophical discourses, I would argue that literature could be considered fluid. In ‘the darkness of Western culture’, where religion is still seen as a stable realm of codified absolutes, the fluid nature of literature is seen as oppositional to the religious, or at least less capable of revealing religious ‘truths’ than the more abstract mode of theology.
