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Female Egoism in George Eliot and Sensation Fiction.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Female Egoism in George Eliot and Sensation Fiction./
作者:	Kladky, Laura.
面頁冊數:	1 online resource (269 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-07, Section: A.
Contained By:	Dissertations Abstracts International84-07A.
標題:	British & Irish literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30242115click for full text (PQDT)
ISBN:	9798368419268

Female Egoism in George Eliot and Sensation Fiction.
Kladky, Laura.

Female Egoism in George Eliot and Sensation Fiction. - 1 online resource (269 pages)

Source: Dissertations Abstracts International, Volume: 84-07, Section: A.

Thesis (Ph.D.)--Northeastern University, 2022.

Includes bibliographical references

This dissertation examines the depiction of female egoism within George Eliot and sensation fiction, and the ideological stakes behind its representation. Female egoism is represented within these novels as a distinctly feminine phenomenon of narcissism and selfishness, tied throughout to the image of the unsympathetic woman at the mirror as an original sin. Drawing on a background of literary criticism and psychoanalytic theory, this research addresses the conflicted representation of female egoists as a struggle by Eliot, Braddon, and Collins to artistically represent self-aware female beauty and evil. This research begins with "The Lifted Veil" and Adam Bede, reading Ladislaw's inability to read Bertha as a reflection of Eliot's artistic difficulty with the female egoist, and examines the ambivalence at the heart of Adam Bede's portrait of Hetty, which presents Hetty as a tragic figure even as it denies her full humanity. Examination of Rosamond Vincy in Middlemarch includes the unraveling of female parasitism throughout Eliot's oeuvre with the intertext of Keats's Isabella as a key benchmark, and the potential of the mother figure to break through the barriers of female egoism. Gwendolen Harleth in Daniel Deronda is analyzed as Eliot's most mature depiction of a female egoist, highlighting the importance of the source material of Euripides's Medea and the ambiguities surrounding the death of Grandcourt, with the suggestion made that Gwendolen may be her husband's active murderer. Finally, Mary Elizabeth Braddon's Lady Audley's Secret and Wilkie Collins's Armadale are read as meditations upon the interiority of the female criminal, with Lady Audley's Secret favoring the maintenance of its titular character's secret, and Lydia Gwilt in Armadale constituting a proto-feminist heroine. Findings from this dissertation indicate the exploration of a negative feminism of female selfishness, a parasitic feminism that focuses purely on self-maintenance. Taken together, this project finds across the works studied a vision of female egoism that reads the deployment of beauty as strategic within the limits of a misogynistic society, and the voice of the female egoist as a powerful countertext that erodes the doctrine of sympathy in favor of the gospel of self.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798368419268Subjects--Topical Terms:

3284317
British & Irish literature.
Subjects--Index Terms:

EliotIndex Terms--Genre/Form:

542853
Electronic books.

Female Egoism in George Eliot and Sensation Fiction.
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520 $a This dissertation examines the depiction of female egoism within George Eliot and sensation fiction, and the ideological stakes behind its representation. Female egoism is represented within these novels as a distinctly feminine phenomenon of narcissism and selfishness, tied throughout to the image of the unsympathetic woman at the mirror as an original sin. Drawing on a background of literary criticism and psychoanalytic theory, this research addresses the conflicted representation of female egoists as a struggle by Eliot, Braddon, and Collins to artistically represent self-aware female beauty and evil. This research begins with "The Lifted Veil" and Adam Bede, reading Ladislaw's inability to read Bertha as a reflection of Eliot's artistic difficulty with the female egoist, and examines the ambivalence at the heart of Adam Bede's portrait of Hetty, which presents Hetty as a tragic figure even as it denies her full humanity. Examination of Rosamond Vincy in Middlemarch includes the unraveling of female parasitism throughout Eliot's oeuvre with the intertext of Keats's Isabella as a key benchmark, and the potential of the mother figure to break through the barriers of female egoism. Gwendolen Harleth in Daniel Deronda is analyzed as Eliot's most mature depiction of a female egoist, highlighting the importance of the source material of Euripides's Medea and the ambiguities surrounding the death of Grandcourt, with the suggestion made that Gwendolen may be her husband's active murderer. Finally, Mary Elizabeth Braddon's Lady Audley's Secret and Wilkie Collins's Armadale are read as meditations upon the interiority of the female criminal, with Lady Audley's Secret favoring the maintenance of its titular character's secret, and Lydia Gwilt in Armadale constituting a proto-feminist heroine. Findings from this dissertation indicate the exploration of a negative feminism of female selfishness, a parasitic feminism that focuses purely on self-maintenance. Taken together, this project finds across the works studied a vision of female egoism that reads the deployment of beauty as strategic within the limits of a misogynistic society, and the voice of the female egoist as a powerful countertext that erodes the doctrine of sympathy in favor of the gospel of self.
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