✎✎✎ Kathryn Janeway: A Feminist Analysis

Tuesday, June 08, 2021 3:39:27 AM

Kathryn Janeway: A Feminist Analysis



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By countering both arguments, Dockterman reveals periodically in the text that one must be open-minded to change and therefore then creates a biased tone. Straightaway, the author. Grose that the governess's predecessor, Miss Jessel, and another employee, Peter Quint, had had a close relationship. Before their deaths, Jessel and Quint spent much of their time with Flora and Miles, and the governess becomes convinced that the two children are aware of the ghosts' presence. Without permission, Flora leaves the house while Miles is playing music for the governess.

The governess notices Flora's absence and goes with Mrs. Grose in search of her. They find her on the shore of a nearby lake, and the governess is convinced that Flora has been talking to the ghost of Miss Jessel. When the governess finally confronts Flora, the girl denies seeing Miss Jessel, and asks not to see the new governess again. Grose takes Flora away to her uncle, leaving the governess with Miles, who that night at last talks to her about his expulsion.

The ghost of Quint appears to the governess at the window. The governess shields Miles, who attempts to see the ghost. The governess tells Miles he is no longer controlled by the ghost, and then finds that Miles has died in her arms. The Turn of the Screw borrows both from Jane Eyre 's themes of class and gender, [1] and from its mid-nineteenth century setting. Although the influence of the Gothic on the novella is clear, it cannot only be characterised as one. James' ghosts differ from those of traditional Gothic tales — frightening, often bound in chains — by appearing like their living selves.

For the story's publication in Collier's Weekly , James was contracted to write a ghost story. Andrew Cooper observed that The Turn of the Screw might be the best-known example of a ghost story which exploits the ambiguity of a first-person narrative. Costello suggested that the effect of a given scene varies depending on who represents the action. In scenes where the governess directly reports on what she sees, the effect is horror, but in those where she merely comments, the effect is "mystification".

He argued that both contain "secrets best left untold and things left best unsaid", calling that the basis of the horror genre. Several biographers have indicated that James was familiar with spiritualism , and at the very least regarded it as entertainment. His brother, William , was an active researcher of supernatural phenomenon. It is unknown whether James believed in ghosts. By the s, James' readership had dwindled since the success of Daisy Miller , and he had encountered financial troubles. His health had also worsened, with advancing gout , [15] and several of his close friends had died: his sister and diarist Alice James , and writers Robert Louis Stevenson , and Constance Fenimore Woolson.

The story bears a striking resemblance to what would eventually become The Turn of the Screw , with depraved servants corrupting young children before and after their deaths. Towards the end of , James was contracted to write a twelve-part ghost story for Collier's Weekly , an illustrated magazine. Having just signed a twenty-one year lease on a house in Rye, East Sussex , James —thankful for the additional income—accepted the offer.

James found it difficult to write by hand, [23] reserving that for his journals. The Turn of the Screw was dictated to his secretary, William MacAlpine, who took shorthand notes and returned with typed notes the following day. Finding such a delay frustrating, James purchased his own Remington typewriter and dictated directly to MacAlphine. The Turn of the Screw was first published in the magazine Collier's Weekly , serialised in 12 installments 27 January — 16 April The title illustration by John La Farge depicts the governess with her arm around Miles. Episode illustrations were by Eric Pape. The New York Edition ' s most important contribution was the retrospective account of the influences and writing of the novella James gave in his preface. James indicated, for example, that he was aware of research into the supernatural.

In , Kirsten MacLeod, citing James' private correspondence, indicated that he had a strong dislike for the serial form. The horror of the story comes from the force with which it makes us realize the power that our minds possess for such excursions into the darkness; when certain lights sink or certain barriers are lowered, the ghosts of the mind, untraced desires, indistinct intimations, are seen to be a large company. Early reviews emphasised the novella's power to frighten, and most saw the tale as a simple, if brilliant, ghost story. The reviewer noted it as a successful study of evil, in reference to the ghosts' influence over the children and the governess. Conceptions of the text wherein the ghosts are real entities are often referred to as the "apparitionist interpretation"; [37] consequently, a "non-apparitionist" holds the opposite perspective.

The power of the story, she argued, was in forcing readers to realise the dark places fiction could take their minds. In , literary critic Edmund Wilson posited that the ghosts were hallucinations of the governess, who he suggested was sexually repressed. As evidence, Wilson points to her background as the daughter of a country parson , and suggests that she is infatuated with her employer.

While many supported Wilson's theory, it was by no means authoritative. Heilman was a prominent advocate for the apparitionist interpretation; he saw the story as a Hawthornesque allegory about good and evil, and the ghosts as active agents to that effect. Most crucially, they indicated that the governess's description of the ghost enabled Mrs Grose to identify him as Peter Quint before the governess knew he existed. More recent critics of the non-apparitionist approach include Andrea Gencheva, who focuses on the character and attributes of the governess in her argument that the ghosts are meant to be interpreted as being real. Gencheva concedes that the governess can be unclear and ambiguous about the events she describes in her narrative specifically noting her frequent use of "I felt" rather than "I saw" [51] , however, she argues that, rather than being taken as proof of her volatile state of mind, this could be taken as proof of her sanity.

Gencheva asserts that the governess presents much of her experiences as "impressions" [51] rather than facts, but someone truly insane would not be able to tell the difference between impression and reality. In the s, critics began to apply structuralist Tzvetan Todorov 's notion of the fantastic to The Turn of the Screw. For example, the reader's sympathy may hesitate between the children or the governess, [54] and the text hesitates between supporting the ghosts' existence, and rejecting them. Focus shifted away from whether the ghosts were real and onto how James generated and then sustained the text's ambiguity. A study into revisions James made to two paragraphs in the novella concluded that James was not striving for clarity, but to create a text which could not be interpreted definitively in either direction.

After the debate over the reality of the ghosts quietened in literary criticism, critics began to apply other theoretical frameworks to The Turn of the Screw. Marxist critics argued that the emphasis placed by academics on James' language distracted from class -based explorations of the text. Heath Moon notes how he abandoned his orphaned niece, nephew, and their ancestral home to instead live in London as a bachelor. Explorations of the governess have become a mainstay of feminist writing on the text. Priscilla Walton noted that James' account of the story's origin disparaged the ability of women to tell stories, and framed The Turn of the Screw as James thus telling it on their behalf.

Paula Marantz Cohen positively compares James' treatment of the governess to Sigmund Freud's writing about a young woman named Dora. Cohen likens the way that Freud transforms Dora into merely a summary of her symptoms to how critics such as Edmund Wilson reduced the governess to a case of neurotic sexual repression. The Turn of the Screw has been the subject of a range of adaptations and reworkings in a variety of media.

Many of these have, themselves, been analysed in the academic literature on Henry James and neo-Victorian culture. The novella was adapted to an opera by Benjamin Britten , which premiered in , [66] and the opera has been filmed on multiple occasions. There have been numerous film adaptations of the novel. The Turn of the Screw has also influenced television. In the story, the ghosts of Quentin Collins and Beth Chavez haunted the west wing of Collinwood, possessing the two children living in the mansion. The story led to a year-long story in the year , as Barnabas Collins travelled back in time to prevent Quentin's death and stop the possession.

From Wikipedia, the free encyclopedia. Not to be confused with The Taming of the Shrew. For other uses, see Turn of the Screw disambiguation. Horror gothic fiction ghost story. Among the various adaptations and reworkings of James's novella are The Turn of the Screw , a opera by Benjamin Britten left, and The Nightcomers , a prequel film directed by Michael Winner right, photographed and starring Marlon Brando. In Pollak, Vivian R. Cambridge: Cambridge University Press. Ithaca: Cornell University Press. Texas Studies in Literature and Language. ISSN JSTOR S2CID Archived from the original on 27 December Retrieved 21 December Essays in Criticism.

London: Macmillan Education UK. ISBN In Zacharias, Greg W. A Companion to Henry James. Oxford: Blackwell Publishing. Andrew OCLC Modern Language Notes. Danse Macabre. Berkley: Berkley Books. The New York Times. Archived from the original on 24 February Boston: St. Martin's Press. Warren, Deborah; Warren, Jonathan eds. The Turn of the Screw 2nd ed. New York: W. The Notebooks of Henry James. New York: Braziller. Henry James and the Profession of Authorship. Oxford: Oxford University Press. History of Stone and Kimball and Herbert S.

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