Gender, I-deology: Essays on Theory, Fiction and Film

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Chantal Cornut-Gentille D'Arcy, José Angel García Landa
Rodopi, 1996 - 465 Seiten
De essays in deze bundel behandelen onder meer de representatie van sekse en sekserollen, de invloed van feministische kritiek, en het genderaspect in de (post)moderne tijd, zoals voorkomt in Britse en Amerikaanse literaire werken en films. In deel I en II (Theory en Fiction) aandacht voor o.a: Kristeva's Desire in language, Echo door Violet Trefusis, The magic toyshop door Angela Carter, Dystopia door Margaret Atwood, The passion en Sexing the cherry door Jeanette Winterson. In deel III (Film) o.a. aandacht voor Marlène Dietrich; de volgende films komen aan de orde: The big heat van Fritz Lang, South Pacific, Rear window van Alfred Hitchcock, Breakfast at Tiffany's, The purple rose of Cairo, When Harry met Sally, Switch van Blake Edwards, The silence of the lambs van Thomas Harris.

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Seite 30 - Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural, by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us...
Seite 89 - Wives, be subject to your husbands, as to the Lord. For the husband is the head of the wife as Christ is the head of the church, his body, and is himself its Savior.
Seite 244 - So I never could tell where you Put your foot, your root, I never could talk to you. The tongue stuck in my jaw. It stuck in a barb wire snare. Ich, ich, ich, ich, I could hardly speak.
Seite 141 - It gives me wonder great as my content, To see you here before me. O my soul's joy ! If after every tempest come such calms, May the winds blow till they have waken'd...
Seite 155 - As if in the superhuman energy of his utterance there had been found the potency of a spell, the huge antique panels to which the speaker pointed threw slowly back, upon the instant, their ponderous and ebony jaws. It was the work of the rushing gust— but then without those doors there did stand the lofty and enshrouded figure of the Lady Madeline of Usher. There was blood upon her white robes, and the evidence of some bitter struggle upon every portion of her emaciated frame.
Seite 156 - Perhaps the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn.
Seite 98 - The meaning of a representation can be nothing but a representation. In fact, it is nothing but the representation itself conceived as stripped of irrelevant clothing. But this clothing can never be completely stripped off; it is only changed for something more diaphanous. So there is an infinite regression here.
Seite 141 - Twere now to be most happy ; for, I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
Seite 6 - When it most closely allies itself to Beauty: the death then of a beautiful woman is unquestionably the most poetical topic in the world...
Seite 153 - In halls such as these, in a bridal chamber such as this, I passed with the Lady of Tremaine the unhallowed hours of the first month of our marriage, passed them with but little disquietude. That my wife dreaded the fierce moodiness of my temper, that she shunned me, and loved me but little, I could not help perceiving, but it gave me rather pleasure than otherwise.

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