Extreme Faith in the Work of Elizabeth Smart and Luce Irigaray
This article reflects upon Elizabeth Smart's prose work By Grand Central Station I Sat Down and Wept. This text is frequently condemned because it places the author's sexual passion in opposition to the tragic events of the Second World War and proclaims that the passion overwhelms the pai...
| Κύριος συγγραφέας: | |
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| Τύπος μέσου: | Ηλεκτρονική πηγή Άρθρο |
| Γλώσσα: | Αγγλικά |
| Έλεγχος διαθεσιμότητας: | HBZ Gateway |
| Journals Online & Print: | Φόρτωση...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Έκδοση: |
Oxford University Press
2002
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| Στο/Στη: |
Literature and theology
Έτος: 2002, Τόμος: 16, Τεύχος: 1, Σελίδες: 40-50 |
| Διαθέσιμο Online: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Σύνοψη: | This article reflects upon Elizabeth Smart's prose work By Grand Central Station I Sat Down and Wept. This text is frequently condemned because it places the author's sexual passion in opposition to the tragic events of the Second World War and proclaims that the passion overwhelms the pain; ‘love is as strong as death’. It is argued that rather than constructing a romantic retreat from the horrors of war Smart is making a radical response to the conflict. She places the trope of the desiring and fertile female body in powerful opposition to the disembodied ethical and spiritual systems which are implicated in the crises of her times. Furthermore, similar devices are frequently, if unreflectively, used by feminist academics who, following Luce Irigaray, employ the female morphology to oppose the violence of our own times. |
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| ISSN: | 1477-4623 |
| Περιλαμβάνει: | Enthalten in: Literature and theology
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| Persistent identifiers: | DOI: 10.1093/litthe/16.1.40 |