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• W109454590 abstract "TAKING A LEAF from Susan Winnett's book, might begin by asserting that in the male the orgasm is necessary. About a dozen years ago Winnett began her PMLA essay Coming Unstrung: Women, Men, Narrative, and Principles of by announcing: I would like to begin with the proposition that female orgasm is unnecessary, clarifying that it plays no critical role in copulation and reproduction. Her larger intent was to dramatically locate narratology, or the study of narrative, in the trajectory of male and to establish her point that just as differs in women and men so too our concepts of desire in may differ according to the sex of the theorist and the reader. target of Winnett's playful rejoinder was Peter Brooks, whose essay Masterplot (1977) and book Beading for the Plot: Design and Intention in Narrative (1984) offer brilliant perceptions about the traditional structure of narration, or what have ventured with some trepidation to term Masculine Narrative Paradigm. Winnett focuses on Brooks's theorizing to explore an alternative to that Paradigm, an alternative that speaks to the grounding of desire in female sexuality. title of Brooks's essay acknowledges his debt to Freud and modern psychoanalysis. Brooks finds Freud's Beyond the Pleasure Principle, the of human life, a particularly useful analogy for the plot of fiction. Freud's Beyond grew out of his efforts to adjust his concept of dream as the escape hatch for censored desires, thus serving the Pleasure Principle, to the grim facts of the all-too-common survivor of World War whose unconscious was haunted by nightly screenings of nightmare scenes from the battlefield. Freud explained these compulsive repetitions of pain, rather than pleasure, as a desire for the end, an unconscious longing for the quiescence from which the infant is aroused by desire at birth and back to which the individual desires to return--in good time. For Brooks this analysis reads like a map of fiction, whose first words rouse readers from a state of quiescence and excite the desire for the ending at which everyday experience may be suddenly transformed into meaning, as readers are lifted to another level on which they have a close encounter with the truth that was the object of their desire. We read, according to Brooks, with the anticipation of retrospection, leaning forward to the climax, or ending, at which the desire to grasp the truth, to know, in both the conventional and biblical senses, may be finally fulfilled. Feminists like Winnett have of course had a field day with this Masculine Narrative Paradigm with its apparently naive unawareness of its implication in male sexuality, as though this paradigm alone could explain all fiction. As recently as a generation ago, Robert Scholes could assert without embarrassment: The archetype of all fiction is the sexual act.... For what connects fiction--and music--is the fundamental orgastic rhythm of tumescence and detumescenee, of tension and resolution, of intensification to the point of climax and consummation (26; emphasis added). Scholes's contribution here to a Masculine Narrative Paradigm speaks to how deeply the discussion of has been rooted in male sexuality, as is made clear by Teresa de Lauretis, who twits Scholes by, saying: Those of us who know no art of delaying climax or, reading, feeling no incipient tumescence, may well be barred from the pleasure of this 'full fictional act'; nor may we profit from the rhythm method by which it is attained (108). And lest it seem that only women have been critical of this Masculine Narrative Paradigm might add that Joseph Boone in Tradition Counter Tradition comments on the male-oriented norm of sexuality with its illusion that all pleasure (of reading or of sex) is ejaculatory' (72); similarly in Libidinal Currents Boone expresses reservations about the assumed transhistoricity of the masterplot that Brooks locates in the Oedipus narrative (420). …" @default.
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• W109454590 date "2005-01-01" @default.
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• W109454590 title "City of Endings: Ian McEwan's Amsterdam" @default.
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