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Non-legitimate Authorship in an Age of Anxious Subjectivity

Non-legitimate Authorship in an Age of Anxious Subjectivity NOVEL I SPRING 2000 thority," and "communal production" (75).Moreover, London claims that feminist criticism has neglected women's literary collaboration because its late nineteenth-century practice historically enforced as well as subverted "conventional gender hierarchies" (83). These chapters, then, trace the ways that, during a "historical moment when both the profession of authorship and the expectations of gender" were being transformed, "authorship's new institutional structures" granted "collaboration professional credibility" as collaborating women helped redefine writing as work (92, 110). The alternative writing practice of mediumship, moreover, created a site where "competing understandings of authorship" could be debated (170). Metaphorically collaborative, mediumship enabled women to claim knowledge of spirits and exotic Others; automatic writing turned "ordinary women into 'experts'" and so challenged even as it mimicked the authority of university-produced knowledge. Like collaboration, mediurnship offered women caught between the attractions of careers and conventional gender expectations the opportunity to be "simultaneously amateurs and professionals," to enjoy coterie reputations, and to be authors, if not "proprietary authors" (162, 171). London's chapter on the Yeatses accumulates the terms she has used to view collaboration and mediumship as practices of authorship. Providing a "counternarrative" to the legends of W.B. Yeats as A Vzsion's "sole http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Novel: A Forum on Fiction Duke University Press

Non-legitimate Authorship in an Age of Anxious Subjectivity

SADOFF, DIANNE F.
Novel: A Forum on Fiction , Volume 33 (2) – Mar 1, 2000
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Publisher
Duke University Press
Copyright
Copyright 2000 by Novel, Inc.
ISSN
0029-5132
eISSN
1945-8509
DOI
10.2307/1346085
Publisher site
See Article on Publisher Site

Abstract

NOVEL I SPRING 2000 thority," and "communal production" (75).Moreover, London claims that feminist criticism has neglected women's literary collaboration because its late nineteenth-century practice historically enforced as well as subverted "conventional gender hierarchies" (83). These chapters, then, trace the ways that, during a "historical moment when both the profession of authorship and the expectations of gender" were being transformed, "authorship's new institutional structures" granted "collaboration professional credibility" as collaborating women helped redefine writing as work (92, 110). The alternative writing practice of mediumship, moreover, created a site where "competing understandings of authorship" could be debated (170). Metaphorically collaborative, mediumship enabled women to claim knowledge of spirits and exotic Others; automatic writing turned "ordinary women into 'experts'" and so challenged even as it mimicked the authority of university-produced knowledge. Like collaboration, mediurnship offered women caught between the attractions of careers and conventional gender expectations the opportunity to be "simultaneously amateurs and professionals," to enjoy coterie reputations, and to be authors, if not "proprietary authors" (162, 171). London's chapter on the Yeatses accumulates the terms she has used to view collaboration and mediumship as practices of authorship. Providing a "counternarrative" to the legends of W.B. Yeats as A Vzsion's "sole

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Novel: A Forum on Fiction – Duke University Press

Published: Mar 1, 2000

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