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• W112584955 abstract "In A Woman's Place in Novels of Henry James, Elizabeth Allen suggests that the attempt to reconcile contradiction of woman's existence, both as and as conscious subject, is central to many of James's major novels (1). For Allen, in course of his career James progresses from utilizing woman simply as sign (9), through various intermediate stages, to final achievement of his later fiction where the woman controls how she is seen and what she represents (10). Allen's view of James's feminist progress has helped to spark a number of feminist recuperations of the Master.(1) This recuperative trend has even extended into revisions of earlier texts such as The Portrait of a Lady (1881), which, according to Allen, should qualify as less enlightened attempts at presenting women characters capable of rising above patriarchal appropriation. Admittedly, many of these recuperations are far from wholesale reevaluations of James's relation to feminism, more a matter of qualification than of reversal. Yet overall effect of creating a kinder, gentler Henry James for feminism has served to deflect critical awareness of fundamentally patriarchal positioning of his more sympathetic male protagonists and their role in reader's view of heroines' freedom and innocence. Allen's work has been instrumental in providing a foundation for my own feminist approach to James, as following pages will undoubtedly demonstrate. I do, however, feel that at least part of her argument needs to be reconsidered in that What Maisie Knew (1897) does not in fact represent sort of improvement upon Portrait which Allen must read into it in order to preserve a coherent narrative of artistic development. I find in Allen a tendency to misread commitment to female freedom on part of both Ralph Touchett and Sir Claude. My own position is that Maisie no longer constitutes an enlightened advance upon Portrait when one sees Ralph and Sir Claude as embodying as equally resolute a strain of patriarchal appropriation of feminine Other (however different in kind) as that of more antagonistic Gilbert Osmond himself. Accordingly, my reading casts serious doubt upon any airbrushed portrayal of a feminist progress up to this point in James's career. My disagreement with Allen is symptomatic of my larger concern that many of recent feminist recuperations (in their well-intentioned attempts to empower feminist readers by demonstrating resiliency of female resistance to patriarchy, not to mention their attempts to wrest James away from scarlet label of politically incorrect) ultimately, if unwittingly, serve to repress persistency of texts' masculinist vision. This is not to devalue or discredit above recuperative projects; they have had a welcome, invigorating, and largely positive effect on James studies. It is rather to insist upon a reminder that, while recovery of resistance is an important step on road of change, one must not lose sight of how equally resiliently patriarchy continues to prop itself up by means of appropriations of feminine in spite of this resistance. In both Portrait and Maisie, whatever degree of freedom/innocence Isabel or Maisie might gain or maintain has little or no effect upon androcentrism of novels' male characters; in fact, such freedom/innocence actually serves to underwrite rather than undermine operative androcentric vision of texts.(2) My purpose, then, is to reemphasize pervasiveness of patriarchal appropriation as a stubbornly operative (however inherently flawed) mode of functioning in James's texts.(3) In both Portrait and Maisie James provides his readers with a sympathetic male figure who sides with heroine' s freedom and against controlling antagonists. If James does not himself identify with such male figures, neither does he effectively undermine their aesthetic idealization of feminine. …" @default.
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• W112584955 date "1995-09-22" @default.
• W112584955 modified "2023-09-24" @default.
• W112584955 title "Female Innocence as Other in 'The Portrait of a Lady' and 'What Maisie Knew': Reassessing the Feminist Recuperation of Henry James" @default.
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