By Martha C. Carpentier, Barbara Ozieblo (Eds.)
For the 1st time, this quantity brings jointly essays via feminist, Americanist, and theater students who follow numerous refined severe techniques to Susan Glaspell's complete oeuvre. Glaspell's one-act play, "Trifles," and the quick tale that she comprised of it, "A Jury of Her Peers," have drawn the eye of many feminist critics, however the remainder of her writing-the brief tales, performs and novels-is principally unknown. The essays collected right here will enable scholars of literature, women's reviews and theater reports an perception into the diversity and scope of her oeuvre. Glaspell's political and literary pondering used to be radicalized by way of the turbulent Greenwich Village atmosphere of the 1st a long time of the 20 th century, by way of progressive-era social activities and by way of modernist literary and theatrical innovation. the point of interest of Glaspell reviews has, until eventually lately, been ruled by means of the feminist relevant to get well a canon of silenced ladies writers and, particularly, to revive Glaspell to her rightful position in American drama. Transcending the constraints generated via any such particular time table, the members to this quantity technique Glaspell's paintings as a dialogic intersection of genres, texts, and cultural phenomena-a strategy that's relatively apt for Glaspell, who moved among genres with a distinct fluidity, developing such modernist masterpieces because the Verge or Brook Evans. This quantity establishes Glaspell's paintings as an "intersection of textual surfaces," ensuing for the 1st time within the advanced aesthetic appreciation that her diverse life's paintings advantages.
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Extra info for Disclosing Intertextualities: The Stories, Plays, and Novels of Susan Glaspell
Debate centers on what elements in these dreams may mean, but does not, as in Tickless Time, call into question the ability of a representational system to apprehend an unmediated Truth. 17 In 16 Victor Turner, Dramas, Fields and Metaphor: Symbolic Action in Human Society, Ithaca: Cornell University Press, 1974, 24. 17 Susan Glaspell, The Verge, in Plays by Susan Glaspell, ed. E. ”18 He sneers at clocks as “approximations” of time (287) and convinces his wife to abandon and bury the clocks as inadequate representations of pure time and thus escape from representation altogether.
For a fuller discussion of Glaspell’s treatment of the modernist quest to transcend the limitations of form, see Marcia Noe’s “The Verge: L’Ecriture Feminine at the Provincetown,” in Susan Glaspell: Essays on Her Theater and Fiction, ed. Linda Ben-Zvi, Ann Arbor: The University of Michigan Press, 1995, 129-42. 18 Glaspell and Cook, Tickless Time, 290.
But in this case the lesson learned is not merely the limitations of a particular theory but the incapacity of theory to embody Absolute Truth because it can only be apprehended through some sort of representation, which inevitably becomes a barrier to that truth. What Ian and Eloise come to terms with, in other words, is the inescapability of representation itself. ”16 In Suppressed Desires, representation makes an appearance chiefly in the form of Mabel and Stephen’s dreams. Debate centers on what elements in these dreams may mean, but does not, as in Tickless Time, call into question the ability of a representational system to apprehend an unmediated Truth.