|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910824611003321 |
|
|
Titolo |
Fiction, crime, and the feminine / / edited by Redouane Abouddahab and Josiane Paccaud-Huguet |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Newcastle upon Tyne, : Cambridge Scholars, 2011 |
|
|
|
|
|
|
|
ISBN |
|
1-283-14270-8 |
9786613142702 |
1-4438-2828-9 |
|
|
|
|
|
|
|
|
Edizione |
[1st ed.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (204 p.) |
|
|
|
|
|
|
Altri autori (Persone) |
|
AbouddahabRedouane |
Paccaud-HuguetJosiane |
|
|
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Women and literature |
Female offenders in literature |
Crime in literature |
Femininity in literature |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references. |
|
|
|
|
|
|
Nota di contenuto |
|
TABLE OF CONTENTS; INTRODUCTION; CRIMELESS FEMININITY; THE LAW OF GENDER; LADY AUDLEY AND LYDIA GWILT; RE-WRITING A WOMAN'S CRIME; TESS THE MURDERESS, EUSTACIA THE ADDER; "THE IMP OF THE PERVERSE"; FROM THE MURDERER'S SOLILOQUY TO THE POISONER'S MONOLOGUE; FROM CONFIDENT TO MURDERER; RED BEADS AND FUNERAL HOMES; ANTIGONE LOST IN "THE FURY OF THE AGE OF BAR-ROOMS"; THE OBSCENE TRAGEDY OF THE DEATH DRIVE IN I HARDLY KNEW YOU, BY EDNA O'BRIEN; THE MILKY WAKE:SACRIFICE AS JOUISSANCE IN TONI MORRISON'S WORK; CONTRIBUTORS |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
The form of art called fiction has always been the privileged framework providing the perfect alibi for facing, framing, and containing the Other's desire and the strange libido attached to violence: in other words, there is an ambivalent dimension inherent in the scenarios and fantasies we enjoy by proxy. Are not the fairy tales of our childhood full of images of death and violence, whose fascinating presence is paradoxically meant to make us feel all the more safely tucked up in bed? After ... |
|
|
|
|
|
|
|