Gender, Race and Reading: Relationality in Alice Munro, Joan Riviere, Jane Campion and Alice Walker

This thesis considers the question of femininity in psychoanalysis and cultural life, through an analysis of how short stories by Alice Munro and Alice Walker and film by Jane Campion stage and engage with it. In chapters one and two, I argue that Munro’s stories in Open Secrets assemble myths of feminine survival that take on a truth value as plausible alternative descriptions of culture to those stories which psychoanalysis describes as ultimate. As such, “The Jack Randa Hotel” and “Open Secrets” provide a complex commentary on gender and its relationship to questions of knowledge. My contention is not so much that Munro’s stories “resist” or parody psychoanalytic understandings of gender, as that they disclose latent possibilities in the original that are not fully available to distanced, linear/discursive thought. Correspondingly, my work considers psychoanalysis not as a closed or discrete set of textual practices, but as a cultural text open to continual signification and resignification by successive generations of writers – and thus, to ameliorative reinterpretations. This approach offers a way of moving beyond the false dualism of a “psychoanalytic” perspective which disregards the claims of history and an historical one which reifies a transparently self-available subject – by embracing, in order to qualify, the validity of each. Chapters three and four consider the normativity of “whiteness” in the construction of gender in the West, as it bears on a specific psychoanalytic text and concept (chapter three) and shows up in the grammar of Jane Campion’s film (chapter four). Chapter three reads Joan Riviere’s “Womanliness as a Masquerade” (1929) in terms of how it encodes this norm. Chapter four considers the implications of my reading of feminine masquerade in chapter three for film theory. I analyze how Campion’s In the Cut deploys signifiers of racial difference to foreground its white female lead’s crisis of subjectivization. In a final chapter, I conclude the thesis with a reading of Alice Walker’s “Advancing Luna—and Ida B. Wells,” which speaks to the possibilities for (or limitations on) solidarity between white and black women, and to the omissions of white feminist theory with which Campion’s film contends.Ph.D.2019-12-19 00:00:0