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The motif of the drowned woman in ni...

Larson, Dixie Lee,

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The motif of the drowned woman in nineteenth century literature and art /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The motif of the drowned woman in nineteenth century literature and art // Dixie Lee Larson.
作者:	Larson, Dixie Lee,
面頁冊數:	1 electronic resource (402 pages)
附註:	Source: Dissertations Abstracts International, Volume: 53-12, Section: A.
Contained By:	Dissertations Abstracts International53-12A.
標題:	British and Irish literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9215726
ISBN:	9798644995318

The motif of the drowned woman in nineteenth century literature and art /
Larson, Dixie Lee,

The motif of the drowned woman in nineteenth century literature and art /Dixie Lee Larson. - 1 electronic resource (402 pages)

Source: Dissertations Abstracts International, Volume: 53-12, Section: A.

The image of the drowned woman is a popular one in nineteenth-century literature and art, where it is linked to the mythology of seduction-betrayal-suicide. In its basic form, the stereotype involves the fall of a young woman who is seduced and then abandoned by her lover. Disgraced and friendless, the outcast figure embarks on a downward spiral of degradation and poverty, until, according to the mythology, she drowns herself. Such, at least, was the stereotype, which was immensely popular throughout the century. The pervasiveness of the motif was due in part to the fact that it reinforced and contributed to nineteenth-century ideology about female sexuality. Corrective studies of nineteenth-century suicide have shown that death by drowning did not routinely follow illicit sexuality. Nevertheless, the image of drowning as the inevitable end of the fallen woman was an apt one, for it involved traditional nineteenth-century imagery of water as both punishing and redemptive. With the mid-century crisis in faith, water imagery underwent a significant change: no longer viable as a symbol of God's presence in the world, it instead took an archetypal significance. Correspondingly, the image of the drowned woman changes, in the hands of certain authors, from being that of a shamed, despairing female who drowns because she is unfit to live to that of a sexually-alive, vital, rebellious woman who chooses drowning as a way out of limitations. Chapter one reviews the way in which the traditional motif appeared in much of the literature of the period and shows how these fictional accounts were in turn accepted as actual proof of the stereotype. Chapter two examines the appearance of the motif in art and explains how the motif worked to define, display, and defuse what was felt to be deviant female sexuality. Chapters three through six examine The Blithedale Romance, The Mill on the Floss, The Return of the Native, and The Awakening as novels that employ and yet subvert the motif of the drowned, sexually-fallen woman and indirectly destabilize assumptions about nineteenth-century female sexuality.

English

ISBN: 9798644995318Subjects--Topical Terms:

3433225
British and Irish literature.
Subjects--Index Terms:

women's images

The motif of the drowned woman in nineteenth century literature and art /
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520 $a The image of the drowned woman is a popular one in nineteenth-century literature and art, where it is linked to the mythology of seduction-betrayal-suicide. In its basic form, the stereotype involves the fall of a young woman who is seduced and then abandoned by her lover. Disgraced and friendless, the outcast figure embarks on a downward spiral of degradation and poverty, until, according to the mythology, she drowns herself. Such, at least, was the stereotype, which was immensely popular throughout the century. The pervasiveness of the motif was due in part to the fact that it reinforced and contributed to nineteenth-century ideology about female sexuality. Corrective studies of nineteenth-century suicide have shown that death by drowning did not routinely follow illicit sexuality. Nevertheless, the image of drowning as the inevitable end of the fallen woman was an apt one, for it involved traditional nineteenth-century imagery of water as both punishing and redemptive. With the mid-century crisis in faith, water imagery underwent a significant change: no longer viable as a symbol of God's presence in the world, it instead took an archetypal significance. Correspondingly, the image of the drowned woman changes, in the hands of certain authors, from being that of a shamed, despairing female who drowns because she is unfit to live to that of a sexually-alive, vital, rebellious woman who chooses drowning as a way out of limitations. Chapter one reviews the way in which the traditional motif appeared in much of the literature of the period and shows how these fictional accounts were in turn accepted as actual proof of the stereotype. Chapter two examines the appearance of the motif in art and explains how the motif worked to define, display, and defuse what was felt to be deviant female sexuality. Chapters three through six examine The Blithedale Romance, The Mill on the Floss, The Return of the Native, and The Awakening as novels that employ and yet subvert the motif of the drowned, sexually-fallen woman and indirectly destabilize assumptions about nineteenth-century female sexuality.
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650 4 $a American literature. $3 523234
650 4 $a Womens studies. $3 2122688
650 4 $a British & Irish literature. $3 3284317
653 $a women's images
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