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SOURCE: Clements, Susan. “The Point of ‘Slater's Pins’: Misrecognition and the Narrative Closet.” Tulsa Studies in Women's Literature 13, no. 1 (spring 1994): 15-26.
In the following essay, Clements regards “Slater's Pins Have No Points” as an “emblematic representation” of difficulties faced by lesbian writers and focuses “on the destructive and ultimately self-effacing practice of misrecognition.”
“Chloe liked Olivia,” I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature.
—Virginia Woolf, A Room of One's Own1
Ideology “acts” or “functions” in such a way that it … “transforms” the individuals into subjects … by that very precise operation I have called interpellation or hailing. … By this … he becomes a subject. Why? Because he has recognized that the hail was “really” addressed to him, and that “it was really him who was hailed.”
—Louis Althusser, “Ideology and Ideological State Apparatuses”2
Killing...
This section contains 5,384 words (approx. 18 pages at 300 words per page) |
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