By Lispector, Clarice; Lispector, Clarice; Fitz, Earl E

This ebook argues that poststructuralism bargains vital and revealing insights into all elements of Lispector's writing.

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pushed through an unfulfilled hope for the not possible, the protagonists of the novels and tales of acclaimed Brazilian author, Clarice Lispector exemplify and humanise the various concerns vital to Read more...

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Extra resources for Sexuality and being in the poststructuralist universe of Clarice Lispector : the différance of desire

Example text

In reading Lispector, we are made aware that the most fundamental force in her world is the semantic elusiveness of language itself, the system or structure that, always in play, generates ever more plausible meanings or interpretational strategies. Against high structuralism’s belief in stabilized, and therefore explainable, orders, forms, and meanings, Lispector’s texts, constantly probing the undecidability of language, challenge the notion that any such stability can be achieved through language, and especially through writing and reading, the two focal points of her work.

In comparing the two novels on this point, it seems as if Lispector were trying, in The Chandelier, to see how far she could take the role of language in the psychocultural development of a main character. And, indeed, Virginia’s development as a protagonist constitutes another major distinction between the two novels. Although, like Joana, Virgínia grows as a character largely in terms of the different relationships she has with various people, what is unique to her case is her particular relationship to the men in her life.

And that calls into question the assumption that a text can ever possess a single, stable meaning or that such a meaning could ever derive from it; • There is the importance that is attached to the acts of writing (best understood in Lispector’s case as écriture, a term Ann Banfield links to the use of “style indirecte libre,” or free indirect discourse, a narrative mode extensively cultivated by Lispector)8 and reading, activities that, by virtue of their ability to unlock and mix the various levels of meaning that a text can generate for us, are demonstrative not only of poststructural theory but of its connection to reader-response theory; • And as we see in nearly all of Lispector’s texts, there is a refusal to make distinctions between “literary” and “nonliterary” language use, between genres, and between language and metalanguage; • There is the widespread if not unanimous emphasis placed by poststructural critics on language and its relationship to psychoanalysis (Lacan and Julia Kristeva), to the sociopolitical context (Jameson, Lyotard, Spivak, Cixous, Belsey, and Baudrillard), and to the formation of a splintered and conflicted subject (Lacan’s linguistically informed unconscious and Kristeva’s “subject-in-process”), an unstable “site” (as in The Passion according to G.

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