Tainted Souls and Painted Faces: The Rhetoric of Fallenness in Victorian CultureProstitute, adulteress, unmarried woman who engages in sexual relations, victim of seduction--the Victorian "fallen woman" represents a complex array of stigmatized conditions. Amanda Anderson here reconsiders the familiar figure of the fallen woman within the context of mid-Victorian debates over the nature of selfhood, gender, and agency. In richly textured readings of works by Charles Dickens, Elizabeth Gaskell, Dante Gabriel Rossetti, and Elizabeth Barrett Browning, among others, she argues that depictions of fallen women express profound cultural anxieties about the very possibility of self-control and traditional moral responsibility. |
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Page 20
The Rhetoric of Fallenness in Victorian Culture Amanda Anderson. тр If no due to identity of про brother pation i Asch ducing a mechanistic determinism but also preventing the elabo- ration of identity as relational and intersubjective ...
The Rhetoric of Fallenness in Victorian Culture Amanda Anderson. тр If no due to identity of про brother pation i Asch ducing a mechanistic determinism but also preventing the elabo- ration of identity as relational and intersubjective ...
Page 67
... rhetoric of fallenness , which con- centrates more pervasive anxieties in the depiction of fallen women . For ... rhetorical mimicry of the contagion so commonly attributed to tainted women , metalepis transforms the fallen woman from a ...
... rhetoric of fallenness , which con- centrates more pervasive anxieties in the depiction of fallen women . For ... rhetorical mimicry of the contagion so commonly attributed to tainted women , metalepis transforms the fallen woman from a ...
Page 129
The Rhetoric of Fallenness in Victorian Culture Amanda Anderson. From the moment of the novel's publication , critics have dismissed its presentation of an unconscious , plantlike heroine as the result of Gaskell's misconceived idea of ...
The Rhetoric of Fallenness in Victorian Culture Amanda Anderson. From the moment of the novel's publication , critics have dismissed its presentation of an unconscious , plantlike heroine as the result of Gaskell's misconceived idea of ...
Contents
Social Science and the Great Social Evil | 22 |
SelfReading | 66 |
Agency and Exchange | 141 |
Copyright | |
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action aesthetic agency Annie anxiety approach argues Aurora Leigh autonomy Barrett Browning Barrett Browning's becomes chapter character Charles Dickens claim communicative conception consciousness constitutes critics critique David Copperfield desire determined Dickens Dickens's discourse discussion Dombey Dombey and Son Dombey's Edith Elizabeth Barrett Browning Elizabeth Gaskell encounter Esther face fall fallen woman feminine feminist fiction figure Gaskell's gender Greg Habermas human ideal identity individual insists insofar intersubjective Jenny Jenny's John Stuart Mill Laclau literary Magdalenism Mary Barton masculine melodrama Mill Mill's moral narrative normative novel perspective poem political poststructuralism poststructuralist precisely prostitute prostitute's purity reading reform relation representation reveals rhetoric of fallenness Romney Romney's Rossetti's Ruth Ruth's scene self-reading selfhood sexual social society speaker Spivak story strategic essentialism Subaltern Studies sympathetic sympathy systemic Tait tension theory transformation Urania Cottage Victorian culture virtue W. R. Greg women writes