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82 LITERATÛRZINÂTNE, FOLKLORISTIKA, MÂKSLA of language was invoked to underline the attempt in the novel to acknowledge the differences between men and women but, at the same time, also move beyond dichotomous oppositions and establish a human discourse that would respect the differences but also help women and men connect with each other. Nevertheless, the characters fail in creating a language with which they would connect but remain themselves at the same time. Thus in order not to lose one another into each other, they decide to stay alone. In conclusion, the inefficient language tends to result, both in fictions and the world outside them, in a failure to construct an integral existence for oneself. Instead, characters in fictions and people outside fictions tend to become lost in the universe where certainty and stability has ceased to exist. Despite such an unpromising statement, the novel also points out the importance of disregarding failure in order to reach perhaps short but still relevant moments of beauty. Therefore what the narrative communicates is that the process or development of one’s quest is more important than the actual end result which, as the novel demonstrated, tends to be failure anyhow. REFERENCES Winterson Jeanette. Gut Symmetries. – London: Granta Books, 1997. Cameron Deborah. Feminism and Linguistic Theory. – London: Macmillan, 1985. Cixous. Hélène. Sorties: Out and Out: Attacks/Ways Out/Forays //The Feminist Reader. Eds Catherine Belsey and Jane Moore. – Blackwell, 1997 (c. 1975). Pp. 91–103. Classical Mythology Online: Words/Phrases Glossary. [http://www.oup–usa.org/sc/0195143388/glossaries/phrase_b.html]. June 2002. Hutcheon Linda. Narcissistic Narrative: the Metafictional Paradox. – Waterloo: Wilfrid Laurier University Press, 1980. Irigaray Luce. This Sex Which Is Not One //This Sex Which Is Not One. Transl. Catherine Porter and Carolyn Burke. – New York: Cornell University Press, 1985. Pp. 23–33. I Love to You: Sketch of Possible Felicity in History. – New York and London: Routledge, 1996. Jameson Fredric. PrisonHouse of Language. – Princeton: Princeton University Press, 1974. Moi Toril. Sexual/Textual Politics. – London and New York: Methuen, 1985. Spender Dale. Man Made Language. – London: Pandora, 1994. Waugh Patricia. Metafiction: The Theory and Practice of Self–Conscious Fiction. – London and New York: Routledge, 1984. Wittig Monique. One Is Not Born a Woman //The Straight Mind and Other Essays. – New York, 1992. Pp. 9–20. ENDNOTES 1 Jeanette Winterson. Gut Symmetries. – London: Granta Books, 1997. P. 20. 2 Gut Symmetries. P. 17. 3 Term coined by Fredric Jameson in his influential work The PrisonHouse of Language. – Princeton: Princeton University Press, 1974); referring to the state of being conditioned by and within language.
Helen Talalaev. Alternatîvâ valoda Dþenetes Vintersones românâ “Gut Symmetries”: lingvistiskâ .. 83 4 This paragraph is informed by Hélène Cixous’s text “Sorties: Out and Out: Attacks/ Ways/ Out/ Forays” and Luce Irigaray’s essay “This Sex Which Is Not One.” 5 Patricia Waugh. Metafiction: The Theory and Practice of Self–Conscious Fiction. – London and New York: Routledge, 1984. P. 25. 6 Narcissistic Narrative: the Metafictional Paradox. P. 29. 7 Metafiction: The Theory and Practice of Self–Conscious Fiction. P. 140. 8 Ibid, p. 93. 9 There is a parallel here between Alice’s father and Zeus; why Athene is spelled like this instead of Athena, is unclear. 10 In Latin: star of the sea. 11 Information about Jove’s name comes from Classical Mythology Online: Words/Phrases Glossary. [http://www.oup–usa.org/sc/0195143388/glossaries/phrase_b.html]. June 2002. 12 Gut Symmetries. P. 157. 13 Luce Irigaray. This Sex Which Is Not One //This Sex Which Is Not One. Transl. Catherine Porter and Carolyn Burke. – New York: Cornell University Press, 1985. P. 25. 14 This Sex Which Is Not One. P. 29. 15 Monique Wittig. One Is Not Born a Woman //The Straight Mind and Other Essays. – New York, 1992. P. 13. 16 Sexual/Textual Politics. P. 108. 17 Moi points out the potential terms avoiding dualism feminine/masculine that Cixous her- self has offered. P. 108. 18 Hélène Cixous. Sorties: Out and Out: Attacks/Ways Out/Forays //The Feminist Reader. Eds Catherine Belsey and Jane Moore. Blackwell, 1997 (c. 1975). P. 96. 19 Ibid. P. 97. 20 Gut Symmetries. P. 157. 21 “Sorties.” P. 96. 22 Luce Irigaray. I Love to You: Sketch of Possible Felicity in History. – New York and London: Routledge, 1996. P. 35. 23 Ibid, p. 11. 24 Ibid, p. 45. 25 Ibid, p. 124. 26 E.g. verbs like hail, praise, ask, offer, celebrate, thank. 27 E.g. Dale Spender’s Man Made Language or Deborah Cameron’s Feminism and Linguistic Theory. Kopsavilkums Rakstâ atspoguïots, kâ Dþeneta Vintersone (Jeannette Winterson) savâ românâ cenðas panâkt jaunu izteiksmes veidu valodâ un verbâlajâ saziòâ, lai radîtu efektîvâku paðizpausmes un apkârtçjâs realitâtes sakârtoðanas lîdzekli. Ðajâ pçtîjumâ româns “Gut Symmetries” tiek uzskatîts par tekstu, kas apzinâs savu valodas vçrtîbu un izmanto idejas par écriture feminine, lai analizçtu Vintersones vçstîjuma stratçìiju. Doma par valodas biseksualitâti tiek izmantota, lai parâdîtu, kâ Vintersones româns mçìina atklât atðíirîbas starp vîrieðiem un sievietçm un izveidot izteiksmes veidu, kas ne tikai atspoguïotu atðíirîbu starp abiem dzimumiem, bet arî palîdzçtu vîrieðu un sievieðu savstarpçjâ saziòâ.
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