By C. Franken

This e-book considers the paintings of the novelist and critic A.S. Byatt within the context of up to date debates approximately paintings, authorship, creativity, and gender. A.S. Byatt emerges as an writer who provides us with interesting and ambivalent graphics of writers and who makes use of metaphors of creativity in unique methods.

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Byatt A. S. Byatt criticized one-dimensional portraits of Eliot as a writer who is serious, moralistic and too intelligent. In the programme she constructs a more inclusive portrait of Eliot: ‘the glory of George Eliot is that she is comic, intelligent, ferociously passionate and deeply sexy’. Like Leavis, she appreciates Eliot’s serious side but she presents a more complete portrait of the ‘other’ George Eliot: the woman who was unconventional, trenchantly witty and sarcastic, who wrote and thought with intense energy and passion: One’s idea of George Eliot is of a woman whose appearance of profound moral scrupulousness, self-discipline and intellectual rigour was not an illusion but a partial truth.

Anna, who is waiting in the bathroom for this to happen, is unexpectedly joined there by Oliver. He kisses her for the first time. The next morning the weather changes permanently to autumn; Oliver and Margaret Canning return to London where they live.

At the same time, however, the writer A. S. Byatt feels threatened by theories which postulate ‘the death of the author’ and accuses them of being aggressive towards the writer. 49 Thus, the critic in A. S. Byatt begins her lecture ‘Identity and the Writer’ with a recognition of her own intellectual affinity with post-structuralist theories which criticize the paramount importance of ‘the author’. The writer in Byatt feels threatened by the same poststructuralist criticism. The step she takes to manage these opposing impulses is strikingly effective, albeit complex: she splits herself in two.

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