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• W2934809375 abstract "T O W A R D A M A L E F E M I N I S T R E A D IN G O F S P E N S E R ’ S F A E R IE Q U E E N E IAN SOW TON York University I Ih e project of this article, with its attendant male signature, raises questions which first need to be addressed by way of a programmatic statement. What are some of the terms of a double engagement — with a Renaissance text and with various feminist concerns? First of all, to take as little as possible for granted. This discourse is being produced by a white, going on elderly, hetero­ sexual, socialistically inclined male who enjoys a wide range of middle-class benefits and privileges; who has been acculturated to regard the Spenserian text as a classic of high culture and who, though having scant use for some of the social-political assumptions at play in it, is still not among those who used to like The Faerie Queene, a species C. S. Lewis claimed never to have met. It is remarkable how few of such ingredients as these are overtly incorporated into critical writing, though more and more feminist critical texts are tending to do so. Usually such ingredients are differentiated and marginalized as dustjacket discourse or Notes on Contributors. Often only the writer’s rank, insti­ tution, and a sample of previous publications are given: brief but privileged marks of belonging to the interpretive community being constituted as well as served by the publications and their editors. Whatever else, this practice is ideological. It works to flatten difference, naturalize a hierarchy of discursive elements, generate unitary, hegemonic disciplinary dialects, and elide prob­ ably important contingencies of context. Take the third sentence of this article. It very nearly formulated itself as “ . . . to take as little as possible for granted and still get something said” — a formulation that itself would have taken for granted, left transparent, the very marginalization, disposition into hierarchy, and elision which I am trying to disclose and make material, as if some aspects of historical context and conditions of production were always necessarily more germane to intellectual labour than others. I leave this point by noting that I used the phrase “ It very nearly formulated itself . . .” not to avoid responsibility but to try to register the bland, implacable working of E nglish Studies in Canada, xv, 4, December 1989 ideology right under the nose of my no doubt lamentably insensitive ideologydetector . (As I use the term “ideology” here, the aspect of it being stressed is its transparency effect, its quintessential generation of taken-for-grantedness .) Another of the terms of engagement with a text has to do with the means of producing that engagement. The text being engaged is a primary means of producing the texts that engage it. But these latter are not usefully charac­ terized as “secondary” in relation to the former. Or rather, they are structured as secondary only in an episteme obsessed with origin and ownership. In our present economy of literary knowledge this culturally assigned derivativeness has very great use value; a lot of it is needed to sustain the price (lessness) of origin/ality and unique ownership. But persons are from the first subjected to, and made subjects in, language. From the first they are using others’ words. Then within the prevailing modes of literary-critical work, they come under more and more pressure to put things in other words. That is, to be original. The locution “in other words” simultaneously marks the effort toward singu­ lar usage and the ubiquity of the communal lexicon. Citation and its markings acknowledge obligation. According to various conventions they specifically stop taking for granted the fabrication of text from other texts. They draw attention to the necessarily co-operative production of discourse. Whatever contingencies of context helped incur obligation, in the circuits of academic production that obligation tends to be registered as debt, debt to assorted singular owners, originary authorizing agents. The teleology of a debt-ridden view of the economy of intellectual labour is unitary meaning, the authorized version. It’s remarkable how..." @default.
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• W2934809375 date "1989-01-01" @default.
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• W2934809375 title "Toward a Male Feminist Reading of Spenser’s Faerie Queene" @default.
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• W2934809375 doi "https://doi.org/10.1353/esc.1989.0004" @default.
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