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Jan. 14th, 2015 08:27 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
lotesse(cont'd from previous thought) I mean, it's my old beef with Virginia Woolf again, isn't it? Her insistence in Room of One's Own that the disruption of women's novels by their sociopolitical rage prevents them, rather than enables them, in reaching aesthetic incandescence. It's the place where I've never been able to get myself to agree with her - because everything she says about the way Charlotte's anger tears through the narrative fabric of Jane Eyre, about the way that Austen holds herself back and prevents the same, I'm on board with. Only, it makes me love Charlotte all the more, and is the major factor in my lack of passion for Austen. I love seeing Charlotte claw through the warp and weft of the literary tradition with the ferocity of her feminist rage, love it.
(there's something to do with Brecht in this thought-stream as well, though I'm not sure I quite have the connection down. It's that I know from long exposure that I respond with heightened affective intensity to the strategies of Brechtianism, the exposure of the mechanisms of the story and its conveyance. I trip hardest of all on that stuff, it makes me feel so much that sometimes it's too much to even deal with. Witness the way I feel about Into the Woods. But I confuse myself once I actually go into Brecht's theoretical writing, because he's talking about using disruption to create affective distance/ the V-effekt, and in me it doesn't work that way at all. Virginia seems to be distanced, alienated, and put-off by Charlotte's proto-Brechtian disruption of formal illusion, just as Brecht's theoretical writing would seem to anticipate. It only makes me fall harder in love.)
(there's something to do with Brecht in this thought-stream as well, though I'm not sure I quite have the connection down. It's that I know from long exposure that I respond with heightened affective intensity to the strategies of Brechtianism, the exposure of the mechanisms of the story and its conveyance. I trip hardest of all on that stuff, it makes me feel so much that sometimes it's too much to even deal with. Witness the way I feel about Into the Woods. But I confuse myself once I actually go into Brecht's theoretical writing, because he's talking about using disruption to create affective distance/ the V-effekt, and in me it doesn't work that way at all. Virginia seems to be distanced, alienated, and put-off by Charlotte's proto-Brechtian disruption of formal illusion, just as Brecht's theoretical writing would seem to anticipate. It only makes me fall harder in love.)