Jeanette Winterson

Philip K. Dick's Do Androids Dream of Electric Sheep? (1968) and Jeanette Winterson's The Stone Gods (2007) manifest an environmentalist awareness of the increasingly destructive power of human technologies while challenging the prevalent models we employ to think about the planet as well as its human and non-human inhabitants. Both novels probe what it means to be human in a universe plagued by entropy in the era of the Anthropocene. For the purposes of this essay, I will concentrate particularly on Dick's and Winterson's portrayals of the dystopian city as a site of interconnections and transformations against a backdrop of encroaching entropy and impending doom. Drawing on the work of several (critical) posthumanists who are primarily interested in dissolving oppositions such as between nature/culture, biology/technology, I show how the displacement of the centrality of human agency due to the intrusive nature of advanced technology is happening in the broader context of the Anthropocene. I also argue that the dystopian cityscapes envisioned in both novels become places that allow for the possibility of new forms of subjectivity to emerge.

Wittgenstein suggested that considering the context in which a word or sentence is used may help show the limitations of some ways of setting up a philosophical problem. In this article, I explore the role this suggestion may have in moral (philosophical) reflection, through a consideration of a literary example taken from Jeanette Winterson’s novel, Written on the Body (2001). Using the example to elucidate ways of speaking in love that seem to embody an important truth and ways of acting and thinking that appear to be a denial of that truth, I discuss and attempt to show how different ways of attending to context may reveal the moral dimensions of this language use. I also consider one point at which attention to context seems to come to a halt and when acknowledging what is ethically significant seems to demand something different from us.

Jeanette Winterson attempts to provoke a new consciousness of existence in her 2007 novel The Stone Gods and stir the masses to re-evaluate the human condition under the encroaching shadow of death awaiting our mother earth. The Stone Gods can be read as the continuation of her 2005 novel Weight where she already implied an alternative perception of space/universe. Along with its apparent postmodern tissue, The Stone Gods offers a lament for the human condition which is acutely suffering from the deprivation of dreams, future hopes and sense of reality on one hand, the ongoing corruption of our ecological system on the other. In the novel the citizens of Orbus (an unknown future world) are presented as dehumanized figures for whom "age is only an information failure" stemming from the body's loss of fluency, nerve disconnection and cell mutation occuring in DNA nucleus. This paper aims at analysing how Winterson detects the postmodern superficiality, obsession with appearance, lack of hope, memory and conscience in The Stone Gods which, contrary to being a postmodern text, concentrates on giving a moral message with its satiric as well as parodic double voice about the changing experience of ageing for man and mother earth in the new millenium.

This article examines the modes of rewriting of the biblical myth of Noah’s Ark and the Flood in five contemporary texts by Robert Coover, Timothy Findley, Jeanette Winterson, Michèle Roberts and Julian Barnes. The aim is to show how the content of the biblical metanarrative is defamiliarized, deconstructed, supplemented and/or displaced, in order to propose an apocryphal counternarrative which challenges the dominant cultural and sexual codes. The five texts thus articulate a resistance to the monological and patriarchal perspective of canonized history, and give voice to a series of marginalised groups whose discrepant narrations have been excluded from official discourse. These heterodox versions also destabilize the common modes of expression, reducing the verbal glow of the biblical ur-text by appropriating colloquial forms and exploiting various forms of humour and extravagance. These contemporary rewritings of the sacred text eventually invite the reader to ponder over the discriminatory and exclusive systems on which the myth of Noah’s Ark and the Flood, but also more broadly the history of the world, are based.

Jeanette Winterson's The Stone Gods (2007) pictures a futuristic world in which every body is technologically, discursively, and materially constructed. First of all, The Stone Gods foregrounds the futuristic conceptualization of embodiment and posthuman gendered bodies in relation to biotechnology, biogenetics, and robotics, interrogating contemporary dimensions of the interface between the human and the machine, nature and culture. Secondly, the novel focuses on environmental concerns relevant to our present age. More specifically, however, drawing our attention to posthuman toxic bodies in terms of " trans-corporeality, " as suggested by Stacy Alaimo, The Stone Gods is an invaluable literary means to speculate on our " posthuman predicament, " in Rosi Braidotti's words, and global ecological imperilment. In The Stone Gods, Winterson provides not only a warning against the dehumanization of the human in the process of posthumanization, but also a salient picture of posthuman trans-corporeal subjects through a discussion of the beneficial and deleterious effects of biotechnology and machines on human-nonhuman " naturecultures. " On this view, looking at both human and nonhuman bodies through a trans-corporeal lens would contribute to an understanding of how material-discursive structures can profoundly transform human-nonhuman life on Earth.

This paper seeks to examine the depiction of the evil step-mother Queen in Snow White. The focus will be on examining the characterization of the Queen as both step-mother and evil witch as depicted in the traditional fairy tale and subsequent revisions in the short stories: "Blancanieves" (Snow White) by Carmen Boullosa and Neil Gaiman's "Snow Glass Apples". These texts will be compared alongside films that also look at recasting the Queen as victim of her socio-cultural environment and patriarchal standards of beauty in films such as: Mirror, Mirror and Snow White, The Fairest of them All and the television series Once Upon a Time. This presentation proposes to explore how the Queen's monstrosity is replaced with a more humanistic understanding of her behaviour thereby resulting in a more sympathetic and less monstrous depiction of the "old evil Queen".

This research paper focuses on the subversion of gender and heteronormative desire in Winterson's Sexing the Cherry, with a cultural backdrop of seventeenth century London. The aim is to understand how Winterson uses the concept of the grotesque body as a site of dissent and nonconformity. This paper deals with one of the protagonists, Dog Woman and her journey to overturn the conservative, patriarchal order and also demystifies the fairy tale format with the twelve-dancing princess questioning the notion of myth and memory.

With my fingers too, rather than with my eyes, I read these poems. Ionic volutes-delicate and ringed-white shells with the inner side of pearl-indented cup with the chiseling as fine as the pattern of the under-leaf lining of the wine itself … all this-more and much more-and to concentrate my senses, struggling now with faint, exotic perfumes, pungent and stimulating, not quite familiar, with colours, rose and the violet of the rainbow, I close my eyes and with my fingers like one blind would find my way about this poetry.

Jeanette Winterson’s novel, Oranges Are Not the Only Fruit (1985)
illustrates the story of a young girl, Jeanette, who experiences suppressive
upbringing at the hands of her mother and her surroundings. Through the
portrayal of her transition into adulthood, the novel touches on numerous
challenging issues such as gender, identity, and the reliability of the
mainstream patriarchal discourse. The main character’s gradual
transformation reveals the controversial aspects of her society juxtaposed
with her sexual orientation as a lesbian and her oppositional stance against
the ingrained doctrine of the Church. This study will, in this respect, discuss
Jeanette’s rebellion as an individual against her oppressive society in
Winterson’s Oranges Are Not the Only Fruit through specific references
from the primary source and relevant secondary sources in an ultimate
attempt to reveal how identity, gender roles, and truth are all discursive
practices.

Jeannette Winterson’s novels can always be studied from a postmodern perspective. Postmodernism, though a loosely-defined term, makes reference to a cultural, intellectual, or artistic condition which does not
have a direct predominant hierarchy, and epitomizes extreme entanglement, discrepancy, uncertainty, diversity, and heterogeneity. In this sense, The Passion (1987) is written to deconstruct the various domineering cultural, social and moral conventions or constructed realities and norms of Western civilisation. Techniques of postmodernism – temporal and spatial distortions, gender roles, parody, pastiche, historiographic metafiction, irony – are often used by postmodernist writers in their works. This article aims to pinpoint that Winterson is resisting dominant ideologies and discourses in The Passion, and trying to reconstruct a free and alternative discourse in the same society through postmodernist techniques in the narrative of the novel.

The new world -El Dorado, Atlantis, the Gold Coast, Newfoundland, Plymouth Rock, Rapanaui, Utopia, Planet Blue. Chanc'd upon, spied through a glass darkly, drunken stories strapped to a barrel of rum, shipwreck, a Bible Compass, a giant fish led us there, a storm whirled us to this isle. In the wilderness of space, we found…1 I swam to him and lifted him from the rock into the sea and towed his limp body round the coast to the shore of our cave and carried him out of the water. I broke his Bible box into bits and lit a fire and laid his body beside it and felt where the bones were broken in his back and chest and legs and licked the blood from his mouth and tried to give him my breath and I would have given him one of my legs and one of my arms and one of my kidneys and half of my liver and four pints of my blood and all easy for I had already given him my heart.2

Numerosas académicas y académicos han sostenido que el libro de cocina puede ser leído como literatura, destacando la función imaginativa de estos textos por encima de su dimensión práctica. Sin embargo, afirmar el valor literario de los libros de cocina con base en esta distinción corre el riesgo de reinscribir la idea de que nuestra atención crítica debe orientarse hacia lo abstracto y lo intelectual,
más que a lo concreto o corpóreo. Este artículo busca responder a este problema con una recuperación del carácter práctico de la receta, pues así se completa un proceso en el que el cuerpo está implicado en la escritura, y la lectura regresa al dominio del cuerpo. Pensar en la convivencia de cuentos y recetas en Christmas Days de Jeanette Winterson (2016) me permitirá considerar este tema desde dos perspectivas. Primero, sostengo que en Christmas Days las recetas son el principal marco narrativo de la colección, invirtiendo así el esquema más habitual, en el que las recetas se insertan en un relato. En segundo lugar, explico cómo la escritura gastronómica se definió en un primer momento como distinta de las recetas, pero los libros de cocina que adoptan elementos gastronómicos desestabilizan la distinción entre apreciación estética y reproducción mecánica, y las marcas de género implícitas en ella. El libro de cocina, en especial si refiere a una festividad que conmemora una encarnación, busca llegar no sólo a la mente de quien lee, sino también a sus manos y a su paladar.

When a reader encounters a character, fictional or not, in any medium (print or electronic), that reader will mentally add the character to the scene by first cataloguing gender, and gradually adding appearance, attire and mannerisms. But what if the author were to keep the character's gender secret? The result would certainly be a more disorienting reading experience than usual, in which the reader would be barred from a complete image of the character. Even if the author chose to use inventive gender-neutral pronouns (which the reader may or may not know) to introduce the character, it would likely only further complicate the matter. We are conditioned to think of gender as of utmost importance in learning about a person in any situation. Gender non-conforming and queer individuals face stigma, discrimination and rejection, owing to their ambiguous gender expression. Hence, once the reader overcomes the initial confusion, reading ungendered narrative can help to generate a gender-inclusive environment by forcing the reader to ask, "Does gender really matter?" If readers were able to come to terms with ungendered characters and familiarity with gender-neutral pronouns in fictional narratives, perhaps it would not matter whether the person sitting next to them on a bus were transgender or a gender-fluid person. The person would be simply a human being, deserving of the same respect and care as any other. We might then become sufficiently comfortable using gender-neutral pronouns in our daily conversation. Thus, ungendered narrative holds significant promise for queer individuals, and its popularity and wide reach among readers could bring greater acceptance in real life of individuals with non-normative gender.

Sigmund Freud's notion of the " phallic mother " is a significant concept to examine gender, sexuality and power relations not only in social life but also in a literary work. Although phallic mother/woman concept is mostly used to describe omnipotent women in many texts, mostly based on its psychoanalytic origin, this study argues that it is an inadequate portrayal to describe feminine potential and power. In this respect, this study aims to propose another concept that should be used to describe powerful, feminine, securing, un-authoritatively maternal, and freeing mother/woman as " vulvic mother/woman " instead of " phallic ". To examine the differences between phallic woman and vulvic woman, the study analyzes two woman/mother characters from Jeanette Winterson's two novels – Oranges Are Not the Only Fruit and Sexing the Cherry. Based on the theories from psychoanalysis and a survey on mythology, this study tries to take attention to feminine conceptualizations in relation to the analyzed novels.

Em Deuses de Pedra (2012), escrito por Jeanette Winterson, há um espaço narrativo distópico do passado em que habitantes do planeta Orbus, praticamente destruído por intervenções humanas, vivem para as alterações genéticas e melhoramento estético dos seus corpos bonitos e jovens. Ao mesmo tempo, há um avanço tecnológico no desenvolvimento de robôs, sendo o mais representativo o robô sapiens, extremamente inteligente e belo e com características físicas humanas. Na narrativa há corpos distintos materialmente, no entanto, similares visualmente a partir de um ideal de padrão de beleza que incentiva a alteração dos corpos como um espaço de adaptação social. Nesse trabalho será analisado a relação entre corpo e tecnologia e qual a implicância dessas discussões para os estudos de transumanismo e pós-humanismo a partir dos corpos alterados das personagens e as consequências dessas alterações a partir da criação de um corpo ideal que promove uma ideia errônea de saúde perfeita através da interferência tecnológica.

In her article “Optics and Power in the Novel” (1999), Dorrit Cohn expressed concern over the emergence of a new visual metaphor among those usually called upon to comment on the workings of narrative. While elements of visual imagery, from windows to mirrors, had pervaded the language of criticism as purely descriptive tools, the motif of the panopticon deviated from this hermeneutic function and brought with it a negatively charged, politically fraught metaphorics of the gaze. Devices metaphorically borrowed from the sciences of light should remain “neutral,” and be given no critical weight in the apprehension of narrative forms. In the context of the collection title The Distinction of Fiction, this warning suggested that criticism would be well advised to keep to literature and its own devices.
Far from adopting such a view, this paper will argue in favour of a closer exploration of the optics of fiction. Bringing into focus British novels of the past twenty-five years, from Jeanette Winterson’s GUT Symmetries to David Mitchell’s Cloud Atlas and Jenni Fagan’s The Panopticon, I will show that optics and the study of light offer a privileged area for fiction to engage with and question the political, ideological and ethical underpinnings of scientific discourse. By working with optical devices, fiction acknowledges the prominent role played by the scientific gaze in fashioning visual experience, creating new technologies of seeing, and metaphorically embodying knowledge. It also inscribes the language of optics within a wider cultural context, showing that the history of the analysis and capture of light cannot be set apart from human endeavours to understand, produce and use power. Meanwhile, the role of optics in the scientific revolution of the 20th century, and the need for contemporary science to uncover what cannot be seen, bring forth a redefinition within fiction of the heuristic power of imagination.

RESEARCH MA THESIS: The main research question this thesis investigates is: "how is the notion of the Anthropocene challenged, refined and reimagined in contemporary feminist theory and fiction and in what ways does an approach via narratives negate a binary and teleological reading of the Anthropocene?" A multiple and threaded approach of theory and fiction is explored in this thesis. How the story is told is always at least as important as what that story consists of. So, the questions this thesis is asking and after are: "what kinds of narratives, what kinds of metaphors in narratives are being deployed to talk about the Anthropocene?". In order to come to an understanding of what it might mean to live in the Anthropocene attention is drawn to storytelling and the notion of narrative. It is clear that Earth is in constant change. The idea of the Anthropocene frames this change into a narrative of human responsibility and consequences for the human inhabitants of Earth. Only through particular narratives and metaphors does a changing Earth become socially and culturally meaningful. The work of feminist theorists and fiction writers that is analysed (i.e. the work of Braidotti, Haraway, Zylinska, Colebrook, Atwood and Winterson) reflects this practice of knowledge production. In both the theoretical and literary approaches to the Anthropocene that are considered here, a meaningful engagement with a changing planet is key. Whether through coming up with alternatives, pushing the boundaries of what the Anthropocene has come to stand for, or engaging with it through a particular lens, contemporary feminist theory and fiction have taken the challenges the Anthropocene represents and faced them head on.

In The Stone Gods (2007), Jeanette Winterson creates a subject position that defies humanism by getting rid of the body and biology completely by creating the character Spike, a robo sapiens who presents herself as a woman that decides to be a lesbian later on. This robo sapiens, detached from its body at the end, provides an interesting position to discuss the deconstructionist and feminist critique of the subject and gender. I will argue that, despite its radical divergence from the subject of humanism, this subjectivity is actually embedded in the religious and humanist conception of the subject, which is revealed in the apocalyptic pattern of the novel. This apocalyptic pattern and the logic of ending is in accordance with the Biblical apocalyptic pattern which also encompasses the rational perception of apocalypse which defines the discourse of global warming. An analysis of the apocalyptic philosophy of the Bible will show that the intelligible and rational world view dominates both religious and secular writings such as The Stone Gods, and this world view implies a certain subjectivity that this apocalyptic vision can accommodate. This subjectivity is a complete entity that has free will defined in its difference from and in relation to others – human, animal or divine – and this difference and relation is what constitutes the subject of humanism. This humanist subject is in opposition to the subject of change and shape-shifting of mythology or pre-monotheistic religions as illustrated in Joseph Campbell’s study of Oriental mythologies and in Mikhail Bakhtin’s study on the carnivalesque. In other words, the narration of apocalypse that marks the end of time and follows a rational logic of reward and punishment as featured in The Stone Gods inheres a certain understanding of subject that cannot diverge much from the male humanist subject, which is the case regarding the character of Spike.

This chapter examines recent changes in the treatment of time and temporality – past, present and future – in the work of Jeanette Winterson. Since she first started writing, Winterson’s work has corresponded closely with queer theory and lesbian and gay studies, and like many canonical queer theorists, Winterson repeatedly questions the concept of time and the writing of history. Her fiction not merely challenges sexual and gender difference, but collapses the divide between past and present to create an interstitial space where empowering experiences abound and significant encounters may grow and prosper. Recently, and especially in The Stone Gods, Winterson’s interstitial space has acquired a more fatalistic tone, circulating around a sense of finality and impending doom. This chapter argues that this reflects a more explicit nihilistic turn in critical and queer theory. Post-9/11 queer theory, like Winterson’s recent fiction, rejects reproductive continuance and circularity – and embraces temporal ends.

In questo contributo affronterò il tema della complessa relazione tra sessualità, identità di genere e spazi, muovendo da un interrogativo centrale: qual è il ruolo dello spazio nella costituzione della/e sessualità e, contestualmente, qual è il ruolo della/e sessualità nella costituzione degli spazi e dei luoghi sociali e comunitari? Discuterò se e in che modo le sessualità possono essere spazializzate e gli spazi sessualizzati, cercando di porre in luce il ruolo che essi svolgono nella formazione e nella teorizzazione delle identità di genere, facendo riferimento agli studi più recenti di teoria queer e di geografia umani e sociali. Nella seconda parte di questo lavoro discuterò due esempi narrativi che rappresentano la reciproca costituzione tra gli spazi, le comunità sociali e culturali che li abitano e la costruzione socioculturale della/e sessualità. In particolare, la mia analisi si incentra su due romanzi a firma di due autrici lesbiche inglesi contemporanee, Jeanette Winterson e Sarah Waters. Entrambe le scrittrici modellizzano nei loro romanzi una realtà narrativa dove spazi e identità queer sembrano forgiarsi reciprocamente. Oggetto della mia indagine sono due romanzi, The Passion (1987) e Tipping the Velvet (1998), ambientati rispettivamente a Venezia e a Londra, che negli universi narrativi delle due scrittici attualizzano la complessa relazione tra identità e spazi queer.

When I think of pineapples - see them, smell them - I think of Queensland, remember my sister's poor hands and arms, her excoriated skin. The way being a child of Queensland has scraped back my skin, peeled my tongue. I feel the abrasion still. Now just thinking about it catches my breath. Makes me want to hide (corium), not come out (ex meaning 'out of'). Makes me feel ashamed.

When she was young, so the story goes, the English novelist Jeanette Winterson not only went to bed with books, to read in bed, she slept on books. She told this story on her first visit to Australia at the 2004 Adelaide Writers Festival (the story goes she is afraid of flying). She was giving a talk in one of the tents and told the story of how she hid books under her bed between the mattress and bedsprings. She calculated you could hide 70 Penguin paperbacks end-to-end in a grid like that for safekeeping (so my story of her story goes, 'trust me') (note 10).

I wish a similar story could fall from my mouth. I can't even trap such a thing.

This thesis investigates acts of 're-telling' in four selected novels by Jeanette Winterson and Alan Warner. Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature.

Si analizza il tema della scrittura autobiografica in Gertrude Stein e Jeanette Winterson. Entrambe le scrittrici rivisitano infatti il tema dell’autobiografia ponendosi come personaggi all’interno delle proprie opere, coniugando realtà e finzione e realizzando così una riscrittura parodistica del genere.

In this essay, I explore the myths presented within two contemporary novels, Jeanette Winterson’s Oranges Are Not the Only Fruit and Jonathan Safran Foer’s Everything Is Illuminated.  I propose that myths are used within these two texts as a meta-modern device to transcend post-modern theories, such as post-structuralism and deconstruction.  Fictional narratives, either passed down through the Jewish shtetl’s generations or those created by Jeanette for her own sake, ultimately enable a better understanding and connection to reality even while these narratives are separate from that reality due to their imagined origins.  While examining these cultural/personal myths, I draw a closer connection between religion and myth-telling as both Jeanette and the townspeople of Trachimbrod are deeply religious (Christianity in Oranges… and Judaism in EII).  While both Christianity and Judaism are called into question due to traumatic experiences within these novels, the characters remain devoted to their religious heritages and in order to remain devout the characters develop new stories, new myths in order to reconcile the past to the present and offer a new hope for the future.  It is important to note that within this meta-modern analysis similar themes are found within these novels, yet they belong to different countries, one to British literature and the other American; the novels were written almost twenty years apart by opposite genders regarding two different religions.  The comparison of these novels demonstrates that certain concerns and subjects can be universal, or perhaps a better term for this day and age would be trans-global.  Differences such as generation, gender, nationality, creed, etc. can be negotiated when authors and readers recognize a common humanity, a common history, and the common myth-making that bridge us together in a desire to belief in something and not nothing.  I include research from Nicoline Timmer, a meta-modern scholar, Amy Hungerford, a professor at Yale who researches the reinvestment of religious practice in contemporary American fiction, as well as authorial commentary from Winterson and Foer.

Almost all of Jeanette Winterson’s novels are written in first person, in most cases a person narrating his or her own life. Nonetheless Winterson does not consider any of her novels as autobiographies, not even Oranges Are not the Only Fruit, which tells about the writer’s early life. On the contrary, she points out how the fact she narrates events that are exact descriptions of her life is not enough to call this work an “autobiography”. In her collection of essays Art Objects she states that, like Gertrude Stein in her Autobiography of Alice B. Toklas, she prefers herself as a character in her own fiction and, like Stein, what concerns her is language. It is in and through language, in fact, that a human being becomes a subject, because it is only through language that one can create a concept of “I” inside reality. The paper will try to analyse how Jeanette Winterson uses language to investigate the disappearance of gender and to create new identities in such novels as Written on the Body and Art and Lies, and it will also try to show how her characters gain conscience of this identities by narrating themselves.

"¿Es factible que el significante sea una suerte de cuerpo? ¿Existe la posibilidad de que este cuerpo sea proporcional a su realidad material? Este volumen sin querer hacer un estudio lingüístico al respecto ni pretender contestar directamente a estas complejas preguntas, abre la posibilidad para que el arbitrario significante inspirado por Jackosbon, se ubique en el sendero de la materialidad corporal y camine –digamos– a través de las venas de aquel sujeto que lee y que escribe.

La tarea de esta recopilación consiste en presentar textos que lean la palabra desde la carne y lean la carne desde la palabra. Este ejercicio –sabemos– corresponde a una interpretación intencionada que considera al cuerpo no sólo como un tropo del modelo subjetivo cartesiano que embarra el mundo literario sino como una práctica subjetiva necesaria para devolver materialidad al mundo de la representación.

Uno de los leit motiv que dan cierta coherencia a esta recopilación, agrupada bajo cinco apartados distintos, es que a través de los distintos textos se busca cuestionar la racionalidad descarnada de la palabra con la que jugamos académicamente. Los autores y autoras de estos diversos artículos en gran medida testimonian que los sonidos encadenados fonéticamente no pertenecen sólo al dominio de la estructura gramatical sino también a aquel del cuerpo.

Este volumen, una cartografía de los sentidos, propone que la palabra sea un espacio aún por caminar o quizá una realidad material que tiene que caminar por dentro de nuestros cuerpos.

Índice

El cuerpo del significante. La literatura contemporánea desde las teorías corporales


El Estado del cuerpo, el cuerpo del estado: nación, territorio y subalternidad


Cuerpos enfermos y torturados: una aproximación a Delirio de Laura Restrepo
María Victoria Albornoz

Sexuality and Identity in the Caribbean Poetry of Opal Palmer Adisa
Elissa Serna

El cuerpo del sujeto subalterno mexicano en la literatura nacional; procedimientos violentos de representación, reificación y mutilación
Mauricio Zabalgoitia

El espíritu frente a la bestia. Representaciones del cuerpo en cuatro novelas-reportaje de la primera posguerra
Blanca Ripoll


En lugar del deseo, lenguajes artísticos para nombrar sexualidades posibles


Masculinidades alternativas y política corporal: la renegociación de la identidad en la poesía de Leopoldo María Panero y Eduardo Haro Ibars
Alyssa Holan

Acercamiento a la poética de Néstor Perlongher: Sugestiva música y merma semántica
Jorge Cid

Celebración de los márgenes: el cuerpo homosexual en Los colores del verano de Reinaldo Arenas
José Ismael Gutiérrez

El deseo se hace cuerpo. Un recorrido por el deseo de los personajes de La Pasión, de Jeanette
Winterson
Nora Almada

El ensayismo tardío de Álvaro Retana: producciones discursivas en Historia del arte frívolo
Rafael M. Mérida Jiménez

Del mar al coño: la in-corporación de la sexualidad femeninaen la literatura lésbica española
María Castrejón

Cuerpos intrusos. En torno a un cuento de Jorge Luis Borges
Jorge Luis Peralta

Límites corporales y deseo: “degeneración” en Jeanette Winterson y Written on the Body
Xavier Aldana


Revisiones de la historia corporal, nuevas miradas a una feminidad mítica


Cuerpos ausentes, cuerpos reescritos: la construcción de los personajes míticos en The Penelopiad, de Margaret Atwood
Sonia Fernández

Cuerpo a cuerpo. Metamorfosis y batallas del personaje de Penélope en la poesía española contemporánea
Antonella Russo

Lovely tyrants and invisible women: female invalidism and the cult of true womanhood in Ellen Glasgow’s The Miller of Old Church
Emma Domínguez

¿Mujer, máquina, cyborg? En torno a La ciudad ausente de Ricardo Piglia
Mónica Quijano

Palabras corporales de las voces marginadas
Nuria Sánchez


El cuerpo contra sí mismo: deglución, transformación y monstruosidad


Too “close readings”: devociones que son degluciones (y algunos apuntes otobiográficos)
Aina Pérez

“Just a Little Cut”: The Castration of Childhood in Philip Pullman’s His Dark Materials Trilogy
Auba Llompart

Cannibalism and Incorporation in Michèle Roberts’s “The Cookery Lesson”
Valentina Castagna

Cartografía de las fronteras: Los cuerpos desobedientes en el cuento “Noche” de Héctor Manjarrez
Michelle Gama

La hipermasculinitat programàtica de la poesia de Joan Salvat-Papasseit
Jordi Mas

At the Edge of my Father’s Property. Identidades posmetafísicas en dos cuentos de Joyce Carol Oates
Sergio Armando Hernández

Monstrous makeovers: self-transformation, gender trouble and bodily resistance in ChuckPalahniuk’s Invisible Monsters
Heike Steinhoff


Desplazamientos de la mirada: exilios, nostalgias y otros regresos imposibles


Viajar, transformar el cuerpo: Ella Hoffman en La Patagonia
Beatriz Ferrús

Escribir el desarraigo: la alteridad encarnada
Mireia Calafell

La simbología del cuerpo en la poesía sefardí de Clarisse Nicoïdski y Denise León
Elisa Martín


El cuerpo al límite: enfermedad, disciplinamiento y biopoder


Written on the body: Charlotte Delbo’s traumatic memories of the Holocaust
María Jesús Fernández Gil

The drama of AIDS: Dismantling equations through representation in Angels in America, The Normal Heart and The Destiny of Me
Miquel Pomar

María Luisa Puga y la textualizac(c)ión del cuerpo enfermo de la mujer
Marie-Agnès Palaisi

Refinada histeria: el cuerpo femenino en Pityusa (1907) de José María Llanas Aguilaniedo
Alba del Pozo

Imágenes de la corporalidad y la locura. Nadie me verá llorar, de Cristina Rivera Garza
Elba Margarita Sánchez

Under the skin. Empowering metamorphoses in The Leto bundle
Daniela Corona


Cuerpos per/versos: cartografía de los sentidos


Andreu Vidal o el cuerpo como escritura
Nuria Calafell

Cossos d’aigua i sang: els marges a la poesia de Maria-Mercè Marçal
Marta Font

Las manos que crean: Esther Zarraluki y la construcción (femenina) de un universo textual a través del tacto
Diana Cullell

Corpoescritura: Luisa Valenzuela o la narración del cuerpo femenino
Belén Ramos

La figura femenina en el contexto de una poética de los sentidos. Dos textos tempranos
de Octavio Paz
Adriana de Teresa Ochoa"

""The current work aims to analyse the characters’ quest for the self and their process of growth throughout the narratives. This work is composed of an introduction on the similarities and the intertextual connections between the novels and the literary genres at issue, a chapter about the characters’ self-development as related to the concept of Bildungsroman alongside the concept of quest narrative and finally a chapter about gender ambiguity."

RAMOS, Rodrigo Viriato — Quest for the Self in The Passion of New Eve and
in Sexing the Cherry. Tese de mestrado. Universidade de Aveiro, 2010."