maturity in terms of cinematic and literary erudition, while his ‘innocence’ was offset by the cinematic paean to lost innocence which was his debut feature, Boy Meets Girl In many respects, Carax seemed to ‘cristallise tous les enjeux esthétiques et économiques du cinéma en ce milieu des années 80’ (‘crystallise all the aesthetic and economic stakes of mid-1980s cinema’, Chévrie 1986 : 25). Carax’s project was said to be an

in Leos Carax

Chapter 2 Bachelor girls, mistresses and the New Woman heroine This chapter examines radical representations of work, celibacy, adoption and ‘female urbanism’ in fin-de-siècle short stories and novels. Middle-class women’s unprecedented entry into the labour market meant changes in accommodation: working women now lived alone, rented rooms with friends or siblings or occupied the new ladies’ lodging houses in London.1 The 1890s saw the birth of the ‘bachelor girl’, a new label given to young independent female workers, particularly those employed in the new shops

in Odd women?

Sleeping Beauty; although a Gothic Sleeping Beauty herself, the Lady of the House of Love is similarly caught up in a relentless script of death and destruction as a daughter of Dracula. Carter’s fiction may be populated by daddy’s girls but mother, Sage suggests, is ‘almost a missing person’ in her writing ( 1994a : 6). However, while biological mothers may be frequently absent from the pages of

in Decadent Daughters and Monstrous Mothers
Fur, hair and subversive female lycanthropy

humanity, and especially femininity. The tomboyish Micah – who describes herself as ‘not black, not white; not a girl, not a boy; not human, not a wolf. Not dangerous, but not exactly safe. Not crazy, but not exactly sane … a non-person who belonged nowhere’ 2 – gradually reveals herself to be a pathological liar suffering homicidal delusions of lycanthropy. Throughout the novel, sprouting hair

in She-wolf

ascribed. Or to use a phrase from Ruth Bottigheimer: ‘whose voice do we actually hear?’ 1 In as far as stories were not directly copied from the literature, were they primarily invented by girls such as Marie Hassenpflug and Amalie Henschel? Or were they just passing on what they had heard and, as Maria Tatar formulated it, do their stories ‘not by any stretch of the imagination come close to capturing

in Tales of magic, tales in print
Prostitutes and prostitution

1 ‘Dirty girls and bad houses’: prostitutes and prostitution Prostitution, the exchange of sexual favours for monetary return, has conventionally been identified as a female occupation.1 Women who were engaged in prostitution were drawn from across class divides and thus their experiences could be very different. Great Britain has never made prostitution illegal, rather it is solicitation or brothel keeping – matters of public order and decency – which are the criminal offences. It is difficult to give a precise figure for the number of prostitutes in Northern

in Regulating sexuality

assertion of masculinity’. 2 The British Empire, however, had some use for girls. In their discussion of the Englishwoman, 3 Jane Mackay and Pat Thome begin with the proposition that nationality…played a more significant role in the redefinition of masculinity as it emerged in the later nineteenth century than in that of femininity’, but add this is not

in Imperialism and juvenile literature

CHAPTER 1 If literature is a girl Terms of engagement 10 Reading in the dark Why write a book exploring the interface between women’s writing and feminist theology? A straightforward answer would be that there is scope to present a more detailed study of interdisciplinary work in this area than has previously been attempted. However, as well as offering a more comprehensive account of existing scholarship than is currently available, I also hope to provoke changes in understanding and practice. I seek to problematise what has been taken for granted and

in Literature, theology and feminism

 116 7 WHITE VULNERABILITY AND THE POLITICS OF REPRODUCTION IN TOP OF THE LAKE: CHINA GIRL Jo ha n na G ond ouin, Suruc hi Thapar- ​Björ k ert a nd I ngr id  Ry berg T  op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel to Jane Campion and Gerard Lee’s crime series Top of the Lake from 2013, directed by Campion and Ariel Kleiman. After four years of absence, Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force and comes to lead the murder case of an unidentified young Asian woman, found in a suitcase at Bondi Beach

in The power of vulnerability
Criminal Female Sexuality in Bram Stoker‘s Dracula

This essay considers how Bram Stoker‘s Dracula (1901) engages both contemporary medical models and common-sense conceptions of female criminality and sexuality. From Dracula, the figure of Lucy Westenra emerges as a quintessential femme fatale. Lucys neck bears the characteristic marking of the vampire, but we never witness the bite; as a result, ambiguity surrounds the causal relationship in the process of becoming a vampire. The novel produces this ontological ambiguity to perpetuate and to exacerbate contemporary views regarding the radical instability of female nature. Under this logic, Lucys encounter with the vampire brings only latent impulses to the surface. Stokers narrative exploits this physiological uncertainty to perpetuate the sensational terror that all female sexuality is monstrous, threatening to render the British man a debased specimen of his former glory. By tracking the various logical ellipses and rhetorical slippages which give shape to Stokers female vampires, I demonstrate how Stokers novels enact the same anxious rhetoric that likewise informs the portrait of female sexuality in nineteenth-century sexology.

Gothic Studies