Download Labyrinth of Desire: Women, Passion, and Romantic Obsession by Rosemary Sullivan PDF

By Rosemary Sullivan

A fantastically woven tapestry of insightful corollaries and private tales, delivering clean conjectures into the psyches of girls and males in love." -- Elle .

Think of torch songs and the tango. ponder motion pictures comparable to Casablanca and The English sufferer , of novels similar to Wuthering Heights and Rebecca . contemplate romantic, obsessive love, the new mattress of ardour we fall into, the emotion we name real love. this can be the topic of Rosemary Sullivan's provocative and interesting e-book. starting along with her personal telling of a fictional love tale, she then, bankruptcy via bankruptcy, deconstructs it, skillfully pushing again the layers of desiring to examine what's relatively occurring. utilizing literature, mythology, movie, and private anecdote; with sleek writing and an intimate wisdom of the topic, Rosemary Sullivan has written a super exploration of our wish for romantic love as she makes an attempt to respond to the query, Why do girls love as they do?

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Additional resources for Labyrinth of Desire: Women, Passion, and Romantic Obsession

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In order to distinguish such fragments of pre-articulation, that is to say, verbal clusters that may yet come to cohere to a full-scale sentence, they will be termed ‘sents’ – not full-scale, complete or unruffled sentences, but their rudimentary potential. That the non-word 28 Syntactic glides 29 squints at Latin sentire (feel, experience, perceive, think) is appropriate: Joyce tends to focus on chancy processes of becoming rather than finished results. A sentence is, after all, ‘a way of thinking’ (as some dictionaries define it), a way of thinking that has reached a conventional shape.

I cannot express myself in English without enclosing myself in a tradition’ (quoted in JJ 397), and, while composing Work in Progress: (to August Suter) ‘je suis au bout de l’anglais’; (to another friend) ‘I have put the language to sleep’; (to Max Eastman) ‘When morning comes [at the end of Finnegans Wake] [. ] I’ll give them back their English language. I’m not destroying it for good’ (all quoted in JJ 546); (in a letter to Harriet Shaw Weaver dated 11 November 1925) ‘What the language will look like when I have finished I don’t know.

49 However, in endeavouring to disenfranchize ourselves from the validations of Joyce’s models of historical reconfigurations, we have been unwittingly following in his footsteps – or, to echo Derrida’s words once more, our attempted liberations have in strange anamorphic ways been read in advance by Joyce – by extending to our own self-(re)empowerment as readers the very means whereby the Irish writer set out to free (his) art from the similar constraints of an exclusionary history in the first place (cf.

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