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Fatal forms: Disruption, decay, and ...

Braun, Heather L.

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Fatal forms: Disruption, decay, and the nineteenth-century femme fatale.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Fatal forms: Disruption, decay, and the nineteenth-century femme fatale./
作者:	Braun, Heather L.
面頁冊數:	279 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 1000.
Contained By:	Dissertation Abstracts International68-03A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3256202

Fatal forms: Disruption, decay, and the nineteenth-century femme fatale.
Braun, Heather L.

Fatal forms: Disruption, decay, and the nineteenth-century femme fatale. - 279 p.

Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 1000.

Thesis (Ph.D.)--Boston College, 2007.

Fatal Forms traces the relationship between literary form and the elusive femme fatale over the long nineteenth century. First, I consider the supernatural temptresses of Gothic ballads by Matthew Lewis, Walter Scott, Joanna Baillie, John Keats, S.T. Coleridge, and Anne Bannerman, arguing that the ballad's fondness for disguise and disruption accentuates the femme fatale's intangibility and ethereal allure. Next, I follow Victorian revisions of romantic quests and Neo-Platonic ideals in the making (and unmaking) of femmes fatales in William Thackeray's Vanity Fair, Charles Dickens's Great Expectations, and Thomas Hardy's The Well-Beloved. Thirdly, I explore how persistent Victorian concerns with shifting gender roles, foreign contagion, and sensual excess, concerns that materialize in the cunning and increasingly articulate women of sensation novels by Mary E. Braddon and Wilkie Collins and vampire tales by Sheridan Le Fanu and Bram Stoker. Finally, I turn to moments of self-consciousness and disenchantment in the works of Algernon Swinburne, Oscar Wilde, and Mary E. Coleridge, moments when the visceral and "specular" femme fatale, as mute and immobile as a Sphinx, confronts her own literary demise. Together, these chapters encapsulate the formal and historical progress of an enduring cultural icon from a fatal romantic ideal to a palpable symbol of visual excess, uncertain violence, and imminent social unrest.Subjects--Topical Terms:

1018076
History, European.

Fatal forms: Disruption, decay, and the nineteenth-century femme fatale.
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502 $a Thesis (Ph.D.)--Boston College, 2007.
520 $a Fatal Forms traces the relationship between literary form and the elusive femme fatale over the long nineteenth century. First, I consider the supernatural temptresses of Gothic ballads by Matthew Lewis, Walter Scott, Joanna Baillie, John Keats, S.T. Coleridge, and Anne Bannerman, arguing that the ballad's fondness for disguise and disruption accentuates the femme fatale's intangibility and ethereal allure. Next, I follow Victorian revisions of romantic quests and Neo-Platonic ideals in the making (and unmaking) of femmes fatales in William Thackeray's Vanity Fair, Charles Dickens's Great Expectations, and Thomas Hardy's The Well-Beloved. Thirdly, I explore how persistent Victorian concerns with shifting gender roles, foreign contagion, and sensual excess, concerns that materialize in the cunning and increasingly articulate women of sensation novels by Mary E. Braddon and Wilkie Collins and vampire tales by Sheridan Le Fanu and Bram Stoker. Finally, I turn to moments of self-consciousness and disenchantment in the works of Algernon Swinburne, Oscar Wilde, and Mary E. Coleridge, moments when the visceral and "specular" femme fatale, as mute and immobile as a Sphinx, confronts her own literary demise. Together, these chapters encapsulate the formal and historical progress of an enduring cultural icon from a fatal romantic ideal to a palpable symbol of visual excess, uncertain violence, and imminent social unrest.
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