The Machinic-Human Body and Charlotte Mew‘s Aesthetic of (Dis)embodiment
in Gothic Studies
Abstract only
Get Access to Full Text

Individual article purchase

Individual articles are available for purchase via Reprints Desk, click below for more information

Reprints Desk

 

Have an Access Token?

You can redeem an access token by logging in through the link below

Redeem token

 

Have Institutional Access?

Access content through your institution by choosing the below option and using your institutional log-in.

Connect via institution

This paper examines how the reconfiguration of embodiment at the end of the nineteenth century provides Charlotte Mew with a powerful trope of disembodiment which she employs to inscribe a new kind of body in her short story, ‘Passed’- a body which allows the expression of lesbian desire. The ‘reconfiguration of embodiment’ discussed in this essay is, more specifically, the result of the emergence of the ‘machinic-human body’ (a precursor to the post-human at this time). This paper discusses how this machinic-human body ‘which is Gothic or ‘abhuman’ as the term is employed by Kelly Hurley in her book, The Gothic Body is linked to Mew‘s use of erasure, silence, death, and out-of-body-experience, and how Mew employs erasure of the printed word, and death of the heterosexual body to encode a new body, with ‘new’ desires. In ‘Passed’, text and body are intimately linked such that within the world of the story erasure of the written word is associated with the erasure of the heterosexual body, and this very erasure enacts an encoding of a homosexual one. At the same time, of course, it is Mew‘s use of print that allows the erasure and encoding that is the work of the story.

INFORMATION
METRICS
All Time Past Year Past 30 Days
Abstract Views 22 17 2
Full Text Views 28 10 0
PDF Downloads 15 8 0
RELATED CONTENT