Dancing Through the Minefield: Some Observations on the Theory, Method, and Politics in Feminist Literary Criticism: Annette Kolodny: “Dancing Through the. Annette Kolodny quotes. Quote:”Dancing through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Literary Criticism” . Dancing Through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Annette Kolodny – – Feminist Studies 14 (3)
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Dancing Through the Minefield: Literary history and with that, the historicity of literature is a fiction. If we are going to establish canon functions as a model, we have to forget our own. In other words, our history.
What we need to understand in any literary history, we have to learn from the past in order to understand the present. Our observation and evaluation of any work of art should depend on how we create or reshape our sense of the past.
Fine literature by women writers, is a result of their researching of the past. We do not read classics in order to recreate the past. Insofar as we are taught how to readwhat we engage are not texts but paradigms. Our understanding of the meaning of any text is a result of our needs and desires as well as our predisposition. Because of our changed assumption, circumstances, and requirements, we get different meanings and different interpretations even if we read the same dsncing different times.
What makes a text exciting is when it gives us the ability to relearn and refined it.
ENGL PAB#1: On Annette Kolodny, “Dancing through the Minefield” | A. Lorean Hartness
Our reading habits become fixed when we read a particular work of art which stylize our expectations to the others work which follow the first one. Learning how to interpret such as interpretive paradigms or reading techniques a certain text lead us to better understanding of the text, therefore, this will move us to pleasure.
Since the grounds upon which we assign aesthetic value to texts are never infallible, unchangeable, or universal, we must reexamine not only our aesthetics butas well, the inherent biases and assumptions informing the critical methods which in minefoeld shape our aesthetic throough.
Male writers will be better readers if they read works written by women. In other words switch traditional roles.
We have to establish new norms of evaluation of our works of art by developing our critical methods of evaluation which we used before. The whole theory of Annette Kolodny is based on the differences between male and female ways of reading the codes of literature. Kolodny in her essay Dancing through the minefield: These three propositions are: Literary history is a fiction.
Kolodny suggests that if we are going to establish canon functions, first of all we have to forget our own making. In other words, we have to forger our history. Kolodny goes beyond the idea of the ideology that what happened to our. Kolodny points that our sense and understanding of our history and our believes in the historical canon does not reflect our full understanding of the past. Kolodny suggests that our evaluation and observation of any literary work should depend on how we create and reshape our sense of the past.
Therefore, many of their.
Reading classics of famous male writers does not let us to be close to them. In other words, reading classics sometimes lead us to misunderstand the text and get the message right. This misunderstanding also depend on the differences between us such as knowledge, believes, points of view, as well as the difference kokodny times.
When we read any text, our desires as a female readers enable us to alter and extend what we read. As an example, literary history is a fiction which we recreate tjrough when we read it. Insofar as we are taught how to read, what we engage are texts but paradigms.
Kolodny suggests that our understanding of the meaning of any text depend on our needs and desires as well as our predispositions. danciing
Annette Kolodny – “Dancing Through the Minefield” | literary theory dance party
Because of our changed assumptions, circumstances, and requirements, we get different meanings and interpretations of the same text even if we read the text at different times individually or by groups. What makes any text exciting is when the text gives us the ability to relearn and refine it. Sometimes, because of our reading habits, our reading become fixed which means that our expectations later on will be the same specially when we read works which follow the work kolosny we read it first.
When we learn how to interpret or read any certain text by learning interpretive paradigms and reading techniques, we will understand the text and what the author wants to represent. Therefore, this will move us to pleasure.
The Yellow Wall Paper. Since the grounds upon which we assign aesthetic value to texts are never infallible, unchangeable, or universal, we must reexamine not only our aesthetics but, as well, the inherent biases and assumptions informing the critical methods which in part shape our aesthetic responses.
Kolodny suggests that male writers will be good readers if they tried to read works written by women. In other words, now is the time to switch our traditional roles. Kolodny suggests that we have to create new ways of judging our literary works that we have to find other ways and methods.
We have to go mnefield the aesthetics evaluations and look for interpretive paradigms and develop our critical method of evaluation.