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The crisis of masculinity in Ian McEwan’s early fiction
Justine Gieni

fears surrounding sexuality, and particularly the female body, fuel his desire to attain manhood at whatever cost. In this sense, the narrator’s boyhood quest for sexual knowledge is also a form of conquest over the terrifying, yet desired, female body. As premised in ‘The Laugh of the Medusa,’ Hélène Cixous describes men’s sexual possession of the female body as a means ‘to penetrate’ and ‘pacify’ the

in Incest in contemporary literature
Rebecca Munford

-vu – all of these, says Freud, are “uncanny themes” par excellence’ (Castle, 1995 : 4–5). Described by Hélène Cixous as ‘a strange theoretical novel’ ( 1976 : 525), ‘The Uncanny’ is a Gothic masterwork in its own right. In it Freud outlines the uncanny as ‘undoubtedly related to what is frightening – to what arouses dread and horror’ ( 1990 : 339). It is more particularly, he

in Decadent Daughters and Monstrous Mothers
Gothic kinship in Stephen King’s Pet Sematary
John Sears

threatens it. Hélène Cixous, in her discussion of Freud’s notion of the uncanny, argues that the uncanny ‘is a unit in the “family” but it is not really a member of the family’. 2 Excentric to itself, the uncanny marks the unfamiliar, even as that unfamiliar returns within the spaces of the family as a marker of the difference that confirms and destabilizes the family’s shared identity, its assertion of

in Gothic kinship
Rebecca Munford

, as an embodiment of virtuous and victimised femininity in the Sadeian Gothic, provides a focus for this discussion. According to Hélène Cixous, Sleeping Beauty represents an archetypal image of female passivity that is reiterated throughout Western representation: ‘Beauties slept in their woods, waiting for princes to come and wake them up. In their beds, in their glass coffins, in their childhood

in Decadent Daughters and Monstrous Mothers
Plant monsters as ecoGothic tropes; vampires and femmes fatales
Teresa Fitzpatrick

as British actress and suffragette, Cicely Hamilton. Hence, concerns about the increasing influence of these feminist and social movements on established gender roles are explored through Wells's orchid as a femme fatale figure. While Rebecca Stott ( 1992 ), drawing on feminist theories of Hélène Cixous and Luce Irigaray, Toril Moi and Julia Kristeva , positions the femme fatale as Other within the dichotomous perspective of idealised/vilified woman in the male imagination, Mario Praz ‘identifies the femme fatale as praying mantis, a

in EcoGothic gardens in the long nineteenth century
Frankenstein in new media
Tully Barnett and Ben Kooyman

, the Glass Cat was lying before the mirror and the Patchwork Girl lay limp and lifeless upon the bench. (‘labor’) Jackson adopts different fonts and textual forms to signify that different passages of text derive from different sources, as seen in this quotation. Clicking on any piece of text from the lexia provides the list of sources for these quotes: the plain text comes from Shelley’s Frankenstein , the italics from Hélène Cixous, and the bold text from L. Frank Baum’s The Patchwork Girl of Oz

in Adapting Frankenstein
Susanne Becker

artists (e.g., Moers 1978 , Gilbert and Gubar 1979 ; for an overview see Eagleton 1986 , 88–148), and the avant-garde model that celebrates differences, includes male artists (in fact, even privileges them) and rejects the perpetuation of narrative conventions (e.g., Cixous 1981 ; Kristeva 1974). Two aspects of this ongoing discussion are central to this study: the theorisation of feminine style

in Gothic Forms of Feminine Fictions
Abstract only
Susanne Becker

(Silverman 1983 , 52). Furthermore, this signifying system – itself a process within cultural historical dynamics of a specific context – determines the gendered aspects of that cultural identity. Hélène Cixous contextualises: The political economy of the masculine and the feminine is

in Gothic Forms of Feminine Fictions
Susanne Becker

‘excesses’ precisely to question this binary, and by definition androcentric (Cixous 1986 , 63), system of thought – which might offer a first step towards the suggested ‘habit change’. The idea of the emotional in gothic anti-realism – which I see as key to the gothic’s survival in an era of postmodernism – is also essential to the gothic

in Gothic Forms of Feminine Fictions
Elisabeth Bronfen

. In all cases – in the absence of the beloved, the poet can best picture her, namely as his creation, with a reference not so much to any historical reality as to his poetic gift. The poet faces the void of death in order to defy mortality and represents himself as survivor, even if the survival at stake is a reanimation in the celestial beyond. Hélène Cixous distinguishes

in Over her dead body