Carys Crossen
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‘The complex and antagonistic forces that constitute one soul
Conflict between societal expectations and individual desires in Clemence Housman’s The Werewolf and Rosamund Marriott Watson’s ‘A Ballad of the Were-wolf’
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The nineteenth century was a significant one in terms of the figure of the female werewolf. In the nineteenth century, at the fin de siècle, female authors began to produce fiction about the female werewolf. Two of the most interesting examples of this, which have been curiously neglected by critics, are Clemence Housman's novella The Werewolf and Rosamund Marriott Watson's poem 'A Ballad of the Were-wolf'. The female werewolf's potential for subversion of societal norms and expectations in any era is considerable, and the female lycanthrope was put to excellent use in this regard by the Victorian authors. The choice of the werewolf in itself could be interpreted as an effort to subvert masculine literary history, given that for thousands of years the female werewolf was non-existent in written fiction.

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A cultural history of female werewolves



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