Naomi Booth
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‘Dead-born’
Shadow resurrections and artistic transformations
in Swoon
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This chapter proposes a series of connections between ways of imagining the task of writing and ways of imagining the swoon, whereby the swoon is offered as a model of artistic transformation. The swoon in the work of the writers considered here is a shadow of dominant narratives of resurrection and rebirth: it is used to describe dark and ‘death-born’ processes of revivification, and we find it frequently in the work of nineteenth- and early twentieth-century writers who seek to channel feminine morbidity in order to challenge masculinist discourses of health and power. If the swoon had become tarnished by associations with feminine incapacity by the end of the eighteenth century, the writers discussed here play on that association in order to devise new forms of writing and of politics. Recent work in disability studies, particularly from scholars formulating ‘disability aesthetics’, has demonstrated how the formal dimensions of artistic work are shaped in relation to ideas and lived experiences of the body: disability aesthetics rejects notions of the ‘healthy body’ as the crucible for the production of art. I (re)present the work of John Keats, Edgar Allan Poe and James Joyce to show that they revere a morbid process of swooning as the initiator of art, and in so doing they reject received narratives of health, virility and vitality. James Joyce’s descriptions of souls swooning is given special consideration here as part of his complex reconfiguration of the mind and the body in relation to the aesthetic.

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Swoon

A poetics of passing out

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