| Abstract (about 50 words): | The paper examines J.Winterson's The Passion (1987) and The Daylight Gate (2012) in the light of R.Jackson's theory of the fantastic, as narratives that establish oppositional relationships with the real to collapse the rigid distinction between the heteronormative and "the other". The conclusion argues that winterson deploys the fantastic as a space of resistance, to textualise fluid gender identities and different forms of sexuality. the methodology is based on L.Irigaray's feminist ideas, J.Butler's theory of gender as a performative act, J.Kristeva's concepts of identities in process and abject beings; post-structuralism. |