Conrad and Masculinity

220 Notes
2 Cixous, ‘The Laugh of the Medusa’, p. 253. Écriture féminine ‘describes how
women’s writing is a specific discourse closer to the body, to emotions and
to the unnameable, all of which are repressed by the social contract’:
Maggie Humm, The Dictionary of Feminist Theory (Hemel Hempstead:
Harvester Wheatsheaf, 1989), p. 59.
3 See especially Michel Foucault, Discipline and Punish: The Birth of the Prison,
trans. Alan Sheridan (Harmondsworth: Penguin, 1977) and The History of
Sexuality: An Introduction, trans. Robert Hurley (1978; Harmondsworth:
Penguin, 1981).
4 Michel Foucault, Power/Knowledge: Selected Interviews and Other Writings,
1972–1977, ed. Colin Gordon, trans. Colin Gordon, Leo Marshall, John
Mepham and Kate Soper (Hemel Hempstead: Harvester Wheatsheaf, 1980),
p. 56.
5 Jane Gallop, Thinking Through the Body (New York: Columbia University
Press, 1988), pp. 3–4.
6 Michel Foucault, Power/Knowledge, pp. 57–8.
7 The Body: Social Process and Cultural Theory, eds Mike Featherstone, Mike
Hepworth and Bryan S. Turner (London, Thousand Oaks, CA and New
Delhi: Sage Publications, 1991), p.1.
8 Rosi Braidotti, Patterns of Dissonance: A Study of Women in Contemporary
Philosophy, trans. Elizabeth Guild (Cambridge: Polity Press, 1991), p. 219.
9 A call for papers for a seminar series at the University of Aberdeen during
1996 stated that ‘the seminar is an attempt to move beyond theories and
critical practices which orbit around the homogenizing concepts of the
“body” and the ”subject”’. Publicity of the Aberdeen Critical Theory
Seminar (acts), 1996.
10 ‘Feminists have stressed that the generic category “the body” is a masculinist
illusion. There are only concrete bodies, bodies in the plural, bodies
with a specific sex and colour. This counterbalances psychoanalysis’s
tendency to phallocentrism, especially the ways it understands the female
body’: Elizabeth Grosz, in Feminism and Psychoanalysis, ed. Elizabeth
Wright, p. 39
11 Pamela Banting, ‘The Body as Pictogram: Rethinking Hélène Cixous’s écriture
féminine’, Textual Practice, 6.2 (Summer 1992), 225–46 (p. 227).
12 Cixous, ‘The Laugh of the Medusa’, p. 247.
13 Rosalind Coward, Female Desire: Women’s Sexuality Today (London:
Paladin, 1984), p. 227.
14 Gallop, p. 7.
15 Sussman, pp. 10–11, 13, 20–1, 25.
16 Mary Ann Doane, Femmes Fatales: Feminism, Film Theory, Psychoanalysis
(London and New York: Routledge, 1991), p. 2, summarizing and quoting
from Christine Buci-Glucksmann, La raison baroque de Baudelaire à
Benjamin (Paris: Édition Galilée, 1984), pp. 203–4.
17 This moment is persuasively analysed by Fredric Jameson as indicative of
‘the impulse of Conrad’s sentences to transform such [political and social]
realities into impressions’ (PU, 210).
18 ‘Ocean Travel’, LE, p. 38.
19 John Fletcher, ‘Forster’s Self-Erasure: Maurice and the Scene of Masculine
Love’, in Sexual Sameness: Textual Differences in Lesbian and Gay Writing, ed.