Abstract:
Henry James, the renowned American-English novelist, writes about women as human beings in his works and does not view them through a gendered lens. In this article, Henry is like a painting or, more expressively, a portraitist who attempts to depict and narrate womanhood. The woman is not placed as a woman, but rather as an imitation or representation of a previous woman or women. This theme implies, to some extent, the Deleuze-Guattari interpretation of estrangement (deterritorialization). Influenced by post-structuralism and anti-Enlightenment thought, these two claim a specific form of literary writing that resists any encoded interpretation and escapes any predictable, subject-centered structure. In this research, written using an analytical-descriptive method, we aim to analyze that based on Deleuze's theory of the logic of feeling and minority literature, women in Henry James's stories, and especially in the story 'The Middlemist Red', do not possess a predetermined mold or framework. They face the future and are not representations of the past; thus, he is not seeking the representation of 'being' but seeks to depict 'becoming'.
Machine summary:
The fundamental question of this research is precisely this, and its fundamental hypothesis is also that: the woman in Henry James's "Madona of the Future" does not bow down to the prescribed standards in her society and resists and contends against the portrait, the portraitist, the writing, and the writer who intends to portray her against her will and desire.
The discovery of the desired and logical relationship and proportion, which is the subject of this research and which the author intends to explain, is that both the artist portraitist and the artist writer face a similar situation in this field, where their models in fact, resist their art, and even if they achieve portraits or characters that are outside of all the pre-existing standards, laws, principles, and frameworks, and through a process of continuous becoming, they do not arrive at the character and portrait that was expected beforehand.
Therefore, when Tibold, the portraitist of the story "The Madonna of the Future," and James, as the writer of this story, proceed to perform their art and work, the pre-existing amor (7[1071m8) present in their so-called 7288 72018 prevents them from depicting the pure event of their artistic-literary creation.
On one hand, according to Iso, the main reason for Tibold's failure in painting the image of Serafina as a "Madonna of the future," or in other and better words, "the structural impossibility of the 'Madonna of the future' in its dynamism, lies in the idealization of a woman who wishes to be the foster child of the real world, with all her multiple and even contradictory dimensions" (ibid).
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