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Your cries are in vain : = A theory of the melodramatic heroine.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Your cries are in vain :/
其他題名:	A theory of the melodramatic heroine.
作者:	Rebeck, Theresa.
面頁冊數:	1 online resource (299 pages)
附註:	Source: Dissertations Abstracts International, Volume: 51-05, Section: A.
Contained By:	Dissertations Abstracts International51-05A.
標題:	British and Irish literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8922200click for full text (PQDT)
ISBN:	9798644988457

Your cries are in vain : = A theory of the melodramatic heroine.
Rebeck, Theresa.

Your cries are in vain :A theory of the melodramatic heroine. - 1 online resource (299 pages)

Source: Dissertations Abstracts International, Volume: 51-05, Section: A.

Thesis (Ph.D.)--Brandeis University, 1989.

Includes bibliographical references

Because the stage melodrama has been widely categorized as a popular rather than a literary art, specific structural, content and gender issues raised by these plays have never been fully addressed. In context of previous, more general investigations, this study began with the desire to define the aesthetics of the melodrama through close readings of five such plays, Douglas Jerrold's Black Ey'd Susan, Charles Reade's Masks and Faces, Dion Boucicault's The Poor of X, John Oxenford's The Two Orphans and Leopold Lewis's The Bells. In addition, this study examines melodramatic stage adaptations of Bleak House, Jane Eyre, Tess of the D'Urbervilles, Lady Audley's Secret and East Lynn in an attempt to articulate melodrama's concerns as it condenses and remakes the novel into theatre. Discoveries made in this investigation were used to read of Our Mutual Friend and Daniel Deronda as high melodramatic novels of the late nineteenth century. With the discovery that the figure of the heroine provides the focal point of these texts, the work began to resonate with that of twentieth century feminist film critics, whose examinations of the patriarchal frames surrounding heroines in film melodrama provided a useful model for comprehending the melodrama of the nineteenth century. The investigations revealed a repetitive return to a hero/heroine/villain triangle which marked the passive heroine as the central figure of these plays. The battle between hero and villain for licit/illicit possession of the heroine's body spawns a chain of action and metaphor linking the male gaze upon the female body to the attempted rape to the body's fall into itself. The remarkable visibility of the female body on the stage forces the audience in the theatre to participate voyeuristically in this violent objectification of the heroine while her excessively articulated struggle to resist such definition simultaneously draws that audience into identification with her interior self. The melodrama's awareness of its own paradoxical position creates in many of these plays a complex structure which forces both hero and villain to fall into the heroine's victim's identity before the play reasserts social stability with the happy or just ending.

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

Mode of access: World Wide Web

ISBN: 9798644988457Subjects--Topical Terms:

3433225
British and Irish literature.
Index Terms--Genre/Form:

542853
Electronic books.

Your cries are in vain : = A theory of the melodramatic heroine.
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520 $a Because the stage melodrama has been widely categorized as a popular rather than a literary art, specific structural, content and gender issues raised by these plays have never been fully addressed. In context of previous, more general investigations, this study began with the desire to define the aesthetics of the melodrama through close readings of five such plays, Douglas Jerrold's Black Ey'd Susan, Charles Reade's Masks and Faces, Dion Boucicault's The Poor of X, John Oxenford's The Two Orphans and Leopold Lewis's The Bells. In addition, this study examines melodramatic stage adaptations of Bleak House, Jane Eyre, Tess of the D'Urbervilles, Lady Audley's Secret and East Lynn in an attempt to articulate melodrama's concerns as it condenses and remakes the novel into theatre. Discoveries made in this investigation were used to read of Our Mutual Friend and Daniel Deronda as high melodramatic novels of the late nineteenth century. With the discovery that the figure of the heroine provides the focal point of these texts, the work began to resonate with that of twentieth century feminist film critics, whose examinations of the patriarchal frames surrounding heroines in film melodrama provided a useful model for comprehending the melodrama of the nineteenth century. The investigations revealed a repetitive return to a hero/heroine/villain triangle which marked the passive heroine as the central figure of these plays. The battle between hero and villain for licit/illicit possession of the heroine's body spawns a chain of action and metaphor linking the male gaze upon the female body to the attempted rape to the body's fall into itself. The remarkable visibility of the female body on the stage forces the audience in the theatre to participate voyeuristically in this violent objectification of the heroine while her excessively articulated struggle to resist such definition simultaneously draws that audience into identification with her interior self. The melodrama's awareness of its own paradoxical position creates in many of these plays a complex structure which forces both hero and villain to fall into the heroine's victim's identity before the play reasserts social stability with the happy or just ending.
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