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>Women in the cut of danger : female subjectivity, unregimented masculinity and the pleasure/danger symbiosis from the gothic romance to the erotic thriller
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Women in the cut of danger : female subjectivity, unregimented masculinity and the pleasure/danger symbiosis from the gothic romance to the erotic thriller
Through a comparison between Daphne du Maurier's 1938 novel Rebecca and Susanna Moore's 1995 novel In the Cut, this article considers the extent to which Franco Moretti's theory of the inevitable dissolution of literary genres is true, with specific regard to the genre of the gothic romance. In evaluating both novels' treatment of female subjectivity, unregimented masculinity and the symbiotic relationship between sexual pleasure and mortal danger, this article investigates the degree to which a contemporary novel such as In the Cut, which is generally acknowledged to be an ‘erotic thriller’, is heavily indebted to the gothic romance and may therefore be interpreted as a continuation of this more traditional genre, and, conversely, the means through which Moore's novel exhibits an overt and defiant resistance to the gothic romance, thereby signifying the dissolution of this particular genre within twentieth-century women's writing.
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机译:通过比较达芙妮·莫里埃(Daphne du Maurier)1938年的小说《丽贝卡》(Rebecca)和苏珊娜·摩尔(Susanna Moore)的1995年的小说《割伤》(In the Cut),本文考虑了佛朗哥·莫雷蒂(Franco Moretti)关于文学流派不可避免地消亡的理论的真实性,并特别考虑了哥特式浪漫派的流派。在评估这两种小说对女性主观性,未婚男性气质以及性快感和致命危险之间的共生关系的评价时,本文研究了诸如《切入》之类的现代小说在多大程度上被公认为是“色情惊悚片” ,这主要是因为哥特式浪漫,因此可以解释为这种较传统的流派的延续,相反,摩尔的小说通过这种方式表现出对哥特式浪漫的公开和挑衅性抵抗,从而标志着这种特殊形式的消散20世纪女性写作中的体裁。
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