Masculine Shame from Succubus to the Eternal Feminine Masculine Shame

Total Page:16

File Type:pdf, Size:1020Kb

Masculine Shame from Succubus to the Eternal Feminine Masculine Shame Mary Y. Ayers Masculine Shame From Succubus to the Eternal Feminine Masculine Shame Masculine Shame: From Succubus to the Eternal Feminine explores the idea that the image of the succubus, a demonic female creature said to emasculate men and murder mothers and infants, has been created out of the masculine projection of shame and looks at how the transformation of this image can be traced through Western history, mythology, and Judeo-Christian literature. Divided into three parts areas of discussion include: • the birth of civilization and the evolution of the succubus • the image of the succubus in the writings of Freud and Jung • the succubus as child-killing mother to the restoration of the eternal feminine. Through a process of detailed cultural and social analysis this book places the image of the succubus at the very heart of psychoanalytic thought, as seen vividly in both Freud’s Medusa and Jung’s visions of Salome. As such this book will be of great interest to all those in the fi elds of analytical psychotherapy and psychoanalysis. Mary Y. Ayers , Ph.D. is the author of Mother-Infant Attachment and Psychoanalysis: The Eyes of Shame (Routledge, 2003), winner of the NAAP Gradiva Award (2004). She currently works in private practice in the suburbs of Washington, D.C. where she specializes in analytic work with children and adults. Masculine Shame From Succubus to the Eternal Feminine Mary Y. Ayers First published 2011 by Routledge 27 Church Road, Hove, East Sussex, BN3 2FA Simultaneously published in the USA and Canada by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an Informa business Copyright © 2011 Mary Y. Ayers Typeset in Times New Roman by Refi neCatch Limited, Bungay, Suffolk Printed and bound in Great Britain by TJ International Ltd, Padstow, Cornwall Paperback cover design by Andrew Ward All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. This publication has been produced with paper manufactured to strict environmental standards and with pulp derived from sustainable forests. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Ayers, Mary, 1960 – Masculine shame: from succubus to the eternal feminine/Mary Y. Ayers. — 1st ed. p. cm. ISBN 978–0–415–39038–5 (hardback) — ISBN 978–0–415–39039–2 (pbk.) 1. Demonology. 2. Parapsychology. 3. Subconsciousness. 4. Freud, Sigmund, 1856–1939. 5. Jung, C. G. (Carl Gustav), 1875–1961. I. Title. BF1531.A94 2010 150.19'5—dc22 2010028857 ISBN: 978–0–415–39038–5 (hbk) ISBN: 978–0–415–39039–2 (pbk) To the Eternal Feminine: may her restoration through this look into her eyes of shame bring about the harmonious balance of male and female forces and This book is dedicated to the memory of the late Roger Lyons, the man who helped me learn to think Contents List of fi gures ix Preface xi Acknowledgements xvii PART I The birth of civilization and the evolution of the succubus 1 1 The succubus, the evil eye and shame 3 Queen of the succubi 4 2 The historic unfolding of the image of the succubus 13 The birth of civilization 15 The succubus takes hold 20 PART II The image of the succubus in the writings of Freud and Jung 33 3 The split between Freud and Jung 35 Historical background 37 4 Sigmund Freud’s Medusa 41 Freud’s repudiation of the mother 42 Narcissism 47 Freud’s mother 48 viii Contents Freud’s act of matricide 54 The feminine in Freud’s theories 60 5 Siegfried to Salome: Jung’s heroic journey 66 The psychological birth of Jung: the Siegfried complex 67 Salome and Jung’s anima 78 Jung’s act of matricide 82 The restoration of Salome’s vision 87 Jung’s ascent 97 6 The blinded eternal feminine 106 The social construction of the patriarchal hero 108 The blinding of the maternal feminine 114 PART III From the succubus as child-killing mother to the restoration of the eternal feminine 119 7 The succubus of early infancy 121 Recognition 122 Recognition of the mother 129 The shift from object relations to object usage 133 Matricide and the absence of recognition 135 8 The evil female demon 141 Evil and masculine shame 142 The evil female demon 145 The death of the ego and the transformation of evil into shame 150 Archetypal images of the transformation of shame 160 Epilogue: Envisioning a return of the eternal feminine 166 The Revenge of Gaia 171 Bibliography 177 Index 183 Figures 1.1 Engraving by Gustave Dore for The Succubus in Balzac’s Les Contes Drolatiques 5 1.2 Garden of Paradise , c. 1500, oil on panel, by Hieronymus Bosch 9 2.1 Venus of Lespugue 14 2.2 Frieze of Inanna’s Eye Temple 18 2.3 Thracian gold ceremonial helmet from Romania 19 2.4 Sumerian bas reliefs from 2000 B.C. Lilith with bird feet, fl anked by owls and lions 24 2.5 Lilith in the form of an owl atop a human skull. The motto written in Middle German behind the owl reads “Ich Fyrcht Den Tag ,” or “I Dread the Day” 25 2.6 Medusa as La Syphilis , from Louis Raemaker’s L’Hecatombe 2 6 2.7 Mask of Shame. The long tongue and big ears symbolize gossip and nosiness. (Formerly on display in the Medieval Crime and Punishment Museum in Rothenburg, Germany.) 31 Those Thy lovely forms in the Three Worlds, And those Thy furious forms, Save us in all of them. (Devi-Mahatmya) May the eye not be turned to the outside Lest it simultaneously drive out the images. (Sister Elsbet Stagel of the Toss Monastery, fourteenth century) It is better to light one candle than curse the darkness (Adage) . But whate’er shall I be Nor I, nor any man that but man is, With nothing shall be pleased, till he be eased With being nothing . (Shakespeare, Richard III , V5: 38) Preface Midway along the journey of life I woke to fi nd myself in a dark wood For I had wandered off from the straight path. (Dante, Inferno , Canto 1) “If one understands shame, one understands humanity.” As I was incubating my ideas for a book that analyzed masculine shame through the image of the eye, this seemingly simple sentence obsessively pressed itself into my mind. I didn’t under- stand the thought, and so it opened up several questions. What can be understood about humanity through an understanding of shame? Does humanity mean human- kind, male and female, or does humanity mean the qualities of being good which can inform human action? Does the affect of shame encompass this kind of breadth and depth in the human psyche? This edition on shame is my refl ection on these questions. Differentiating masculine shame from feminine shame was a distinction that had been completely overlooked in my fi rst book (Ayers, 2003), and the source from which my current writing extends, mainly because by examining shame through its quintessential developmental and archetypal image – the human eye – I was scrutinizing shame like a tree in the forest. So of course I missed the forest through the trees. This oversight was brought to my attention by one of the anony- mous reviewers (to whom I am truly indebted), who commented that one of its obvious omissions was gender differences. Eager to get the book done, I added a few cursory paragraphs (2003: 76–77). But I did not escape the matter; left with an insistent, gnawing feeling, the importance of the distinction continued to grow daily in my mind. Little did I know then that my further attempts to address this omission would result in another book on shame, or that I would discover a ubiquitous dynamic that under- mines yet dominates relationships among men and women. My research led me into the “forest” of shame, a place of patriarchal dominance deep in the collec- tive unconscious where men as well as women live in absolute shame. This book, then, forms an attempt to translate the unknown darkness in this forest, xii Preface an articulation of shame’s archetypal pattern in order to create a new way of communicating about it in the fi eld of depth psychology. Thus far, I have learned that masculine shame is not male specifi cally ( just as feminine shame is not limited to females), but is, rather, a type of shame that belongs to the masculine engendered collective psychic reality called patriarchy and its consequent gender images of male and female. The core disturbance in this type of shame entails elimination through annihilation because the good maternal aspects of the feminine principle become absent in an early and deep psychic place. This developmental derailment naturally resonates with the repression of the maternal feminine on the collective, archetypal level. The dynamics resulting from this lie at the heart of why humankind is presently threatened with losing its humanity and true empathy, as well as the ability to love and relate. What maternal feminine absence combines to create for all of us is an untenable and dangerous psychic and social situation. On a personal level, we lose our ability to be and become, to give real value, meaning and direction to our existence.
Recommended publications
  • Dante Gabriel Rossetti - Poems
    Classic Poetry Series Dante Gabriel Rossetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dante Gabriel Rossetti(12 May 1828 – 9 April 1882) Rossetti was born, the son of an Italian patriot and political refugee and an English mother, in England. He was raised in an environment of cultural and political activity that, it has been suggested, was of more import to his learning than his formal education. This latter was constituted by a general education at King's College from 1836 to 1841 and, following drawing lessons at a school in central London at the age of fourteen, some time as a student at the Royal Academy from 1845 onwards. Here he studied painting with William Hollman Hunt and John Everett Millais who, in 1848, would set up the Pre-Raphaelite Brotherhood with Rossetti, Rossetti's younger brother and three other students. The school's aspirations, in this its first incarnation, was to paint true to nature: a task pursued by way of minute attention to detail and the practice of painting out of doors. Rossetti's principal contribution to the Brotherhood was his insistence on linking poetry and painting, no doubt inspired in part by his earlier and avaricious readings of Keats, Shakespeare, Goethe, Sir Walter Scott, Byron, Edgar Allan Poe and, from 1847 onwards, the works of William Blake. 'The Germ' lasted however for only four issues, all published in 1850. In 1854 Rossetti met and gained an ally in the art critic John Ruskin and, two years later, meetings with Edward Burne-Jones and William Morris set a second phase of the Brotherhood into movement.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
    [Show full text]
  • Art in the Modern World
    Art in the Modern World A U G U S T I N E C O L L E G E Beata Beatrix 1863 Dante Gabriel ROSSETTI The Girlhood of Mary 1849 Dante Gabriel ROSSETTI Ecce ancilla Domini 1850 Dante Gabriel ROSSETTI Our English Coasts William Holman HUNT | 1852 Our English Coasts detail 1852 William Holman HUNT The Hireling Shepherd 1851 | William Holman HUNT The Awakening Conscience 1853 William Holman HUNT The Scapegoat 1854 | William Holman HUNT The Shadow of Death 1870-73 William Holman HUNT Christ in the House of His Parents 1849 | John Everett MILLAIS Portrait of John Ruskin 1854 John Everett MILLAIS Ophelia 1852 | John Everett MILLAIS George Herbert at Bemerton 1851 | William DYCE The Man of Sorrows 1860 | William DYCE Louis XIV & Molière 1862 | Jean-Léon GÉRÔME Harvester 1875 William BOUGUEREAU Solitude 1890 Frederick Lord LEIGHTON Seaside 1878 James Jacques Joseph TISSOT The Awakening Heart 1892 William BOUGUEREAU The Beguiling of Merlin 1874 | Edward BURNE JONES Innocence 1873 William BOUGUEREAU Bacchante 1894 William BOUGUEREAU The Baleful Head 1885 Edward BURNE JONES Springtime 1873 Pierre-Auguste COT The Princesse de Broglie James Joseph Jacques TISSOT A Woman of Ambition 1883-85 James Joseph Jacques TISSOT Prayer in Cairo Jean-Léon GEROME The Boyhood of Raleigh 1870 | John Everett MILLAIS Flaming June 1895 Frederick Lord LEIGHTON Lady Lilith 1864 Dante Gabriel ROSSETTI Holyday 1876 | James Joseph Jacques TISSOT Autumn on the Thames 1871 James Joseph Jacques TISSOT A Dream of the Past: Sir Isumbras at the Ford 1857 | John Everett MILLAIS A Reading
    [Show full text]
  • 3. Pre-Raphaelite Brotherhood
    • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 1 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • The Pre-Raphaelite Brotherhood: Painting
    Marek Zasempa THE PRE-RAPHAELITE BROTHERHOOD: PAINTING VERSUS POETRY SUPERVISOR: prof. dr hab. Wojciech Kalaga Completed in partial fulfilment of the requirements for the degree of PhD. UNIVERSITY OF SILESIA KATOWICE 2008 Marek Zasempa BRACTWO PRERAFAELICKIE – MALARSTWO A POEZJA PROMOTOR: prof. dr hab. Wojciech Kalaga UNIWERSYTET ŚLĄSKI KATOWICE 2008 CONTENTS INTRODUCTION .................................................................................................................. 1 CHAPTER 1: THE PRE-RAPHAELITE BROTHERHOOD: ORIGINS, PHASES AND DOCTRINES ............................................................................................................. 7 I. THE GENESIS .............................................................................................................................. 7 II. CONTEMPORARY RECEPTION AND CRITICISM .............................................................. 10 III. INFLUENCES ............................................................................................................................ 11 IV. THE TECHNIQUE .................................................................................................................... 15 V. FEATURES OF PRE-RAPHAELITISM: DETAIL – SYMBOL – REALISM ......................... 16 VI. THEMES .................................................................................................................................... 20 A. MEDIEVALISM ........................................................................................................................................
    [Show full text]
  • Pre-Raphaelite List John Everett Millais, Christina Rossetti, Dante Gabriel Rossetti, William Michael Rossetti, George Frederic Watts, Thomas Woolner
    Pre-Raphaelite List John Everett Millais, Christina Rossetti, Dante Gabriel Rossetti, William Michael Rossetti, George Frederic Watts, Thomas Woolner, Also includes: General Reference & Friends of the Pre-Raphaelites John Everett Millais English painter and illustrator Sir J. E. Millais (1829 - 1896) is credited with founding the Pre-Raphaelite Brotherhood along with D.G. Rossetti and William Holman Hunt in 1848. An artistic prodigy, he entered the Royal Academy at age eleven, the youngest student to enroll. He later became one of the wealthiest artists of the time. 1. Reid, J. Eadie. Sir J. E. Millais, P.R.A. London: The Walter Scott Publishing Co., Ltd, 1909. Illustrated with 20 plates and a photogravure frontispiece. Focusing on the biographical details and artworks of Millais, this book describes his involvement with the Pre-Raphaelites, portrait paintings, landscape paintings, ailments, travel, and more. Bound in full blue leather prize binding with the Watford Grammar School’s insignia in bright gilt on the front board. Red leather title label with gilt title to spine. Gilt decoration and raised bands to spine. Gilt rules to edges of boards and embossed turn-ins. Minor rubbing to hinges, spine ends, raised bands, and edges of boards. Marbled paper end pages and marbled edges. A certificate stating that this book was awarded to C.T. Sharman for drawing in July 1910 is affixed to the front pastedown. There are a few spots of foxing to the interior, else very clean. An attractive book. Appendices and Index, 193 pages. In very good condition. (#22060) $100 2. Trollope, Anthony Illustrated by, J.E.
    [Show full text]
  • The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
    THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange.
    [Show full text]
  • Iolanda Ramos Universidade Nova De Lisboa
    A NOT SO SECRET GARDEN: ENGLISH ROSES, Iolanda Ramos VICTORIAN AESTHETICISM AND THE MAKING OF Universidade Nova de SOCIAL IDENTITIES Lisboa 1 Lady Lilith (1872), Dante Gabriel Rossetti, Delaware Art Museum 1 Iolanda Ramos is Assistant Professor at the FCSH-NOVA University of Lisbon, where she has been teaching since 1985, and a researcher at the Centre for English, Translation and Anglo-Portuguese Studies (CETAPS). She has published eXtensively on Victorian Studies and Neo-Victorianism within the framework of Utopian Studies as well as on intercultural, visual and gender issues. Her most recent publications include Performing Identities and Utopias of Belonging (co-edited with Teresa Botelho, Newcastle upon Tyne: CSP, 2013) and Matrizes Culturais: Notas para um Estudo da Era Vitoriana (Lisboa: Edições Colibri, 2014). GAUDIUM SCIENDI, Número 8, Julho 2015 98 A NOT SO SECRET GARDEN: ENGLISH ROSES, Iolanda Ramos VICTORIAN AESTHETICISM AND THE MAKING OF Universidade Nova de SOCIAL IDENTITIES Lisboa his essay seeks to draw on theories of representation so as to link the multi- signifying dimension of the garden with the language of flowers as T conveying a social and moral code, acknowledged both in the Victorian age and today, and therefore ultimately aims to revisit the making of social identities. It begins by placing the English rose within the tradition of British national symbols and proceeds to highlight how floral symbolism was widely used in the arts, focusing on a selection of Pre- Raphaelite paintings in order to show how floral imagery both sustained and subverted stereotyped female roles. It goes on to argue that floral representations were used as a means for women to recognise their "natural" place in society.
    [Show full text]
  • Cathy Trask, Monstrosity, and Gender-Based Fears in John Steinbeck╎s East of Eden
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-06-01 Cathy Trask, Monstrosity, and Gender-Based Fears in John Steinbeck’s East of Eden Claire Warnick Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Warnick, Claire, "Cathy Trask, Monstrosity, and Gender-Based Fears in John Steinbeck’s East of Eden" (2014). Theses and Dissertations. 5282. https://scholarsarchive.byu.edu/etd/5282 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Cathy Trask, Monstrosity, and Gender-Based Fears in John Steinbeck’s East of Eden Claire Warnick A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Carl H. Sederholm, Chair Francesca R. Lawson Kerry D. Soper Department of Humanities, Classics, and Comparative Literature Brigham Young University June 2014 Copyright © 2014 Claire Warnick All Rights Reserved ABSTRACT Cathy Trask, Monstrosity, and Gender-Based Fears in John Steinbeck’s East of Eden Claire Warnick Department of Humanities, Classics, and Comparative Literature, BYU Master of Arts In recent years, the concept of monstrosity has received renewed attention by literary critics. Much of this criticism has focused on horror texts and other texts that depict supernatural monsters. However, the way that monster theory explores the connection between specific cultures and their monsters illuminates not only our understanding of horror texts, but also our understanding of any significant cultural artwork.
    [Show full text]
  • Negotiating Femininity As Spectacle Within the Victorian Cultural Sphere
    CRACKED MIRRORS AND PETRIFYING VISION: NEGOTIATING FEMININITY AS SPECTACLE WITHIN THE VICTORIAN CULTURAL SPHERE by LUCINDA IRESON A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of English College of Arts and Law University of Birmingham November 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Taking as it basis the longstanding alignment of men with an active, eroticised gaze and women with visual spectacle within Western culture, this thesis demonstrates the prevalence of this model during the Victorian era, adopting an interdisciplinary approach so as to convey the varied means by which the gendering of vision was propagated and encouraged. Chapter One provides an overview of gender and visual politics in the Victorian age, subsequently analysing a selection of texts that highlight this gendered dichotomy of vision. Chapter Two focuses on the theoretical and developmental underpinnings of this dichotomy, drawing upon both Freudian and object relations theory. Chapters Three and Four centre on women’s poetic responses to this imbalance, beginning by discussing texts that convey awareness and discontent before moving on to examine more complex portrayals of psychological trauma.
    [Show full text]