By Neil Perryman, Sue Perryman
One woman's exceedingly sweary, thoroughly unofficial, yet sometimes insightful advisor to the final 26 episodes of the cult BBC technology fiction sequence Blake's 7. This booklet collects the second one 1/2 the reasonably winning Adventures with the spouse and Blake weblog ('Aftermath' to 'Blake') and features a new creation, unique episode annotations, a foreword by way of Una McCormack, and a brand new interview with Sue.
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Extra resources for Adventures With The Wife and Blake, Volume 2: The Avon Years
At the early stages of the thinking represented by that panel, we posed the problem in this way: Luce Irigaray asks, "what can be said about a feminine sexuality 'other' than the one prescribed in, and by, phallocratism? " That is, it is not enough to locate woman on the other side of a maleness that is assumed to coexist with patriarchy. For there is at least the possibility that maleness exists in a relation to patriarchy as a third term of gender discourse, whose terms are woman, man, and patriarchy.
Wittreich reveals a Milton far more subversive of traditional hierarchical gender positions than has been previously allowed. In fact, if Harold Bloom is correct in positing Milton as the father figure against which all the later sons, at least, must react, it would be interestingin another study and another timeto question to what extent these indebted male authors spin gender paradigms from their period's particular historical understandings of gender in Milton. Just as Milton, by virtue of writing a new form of epic, immediately gains access to a novelty of gender presentation, so several of the other writers explored herein question gender constructs as they experiment with the pressures of plot upon theme.
The Romantics tended, according to Knoepflmacher, to appropriate the female for self-enlargement more than they genuinely voiced the female marginalized by the patriarchy against which they often positioned themselves. In contrast, Laura Claridge argues that the male British Romantics in general, and Percy Shelley in particular, situate the female in an impossible (and thereby poetically liberating) contradiction: Woman promises an authentic, new space for voice even as she underwrites the indebted genealogical grounds for the transmission of that voice.
Adventures With The Wife and Blake, Volume 2: The Avon Years by Neil Perryman, Sue Perryman