Drawing from a wide spectrum of literary and autobiographical texts from the past and present, such as Jane Austen's Emma and Tina Turner 's I, Tina, Frances L. Restuccia moves from a psychoanalytic explanation of the formation of women melancholics to the cultural co-construction of battered women.
Drawing from a wide spectrum of literary and autobiographical texts from the past and present, such as Jane Austen's Emma and Tina Turner 's I, Tina, Frances L. Restuccia moves from a psychoanalytic explanation of the formation of women melancholics to the cultural co-construction of battered women.
Chapter 1 Introduction Chapter 2 1 "A Black Morning" in Jane Austen'sEmma Chapter 3 2 Mortification: Beyond the Persuasion Principle Chapter 4 3 Tales of Beauty: Brookner's, Atwood's, and Drabble's "Feminine Symbolic" Chapter 5 4 Conjurings: Mourning and Abjection inStory of O andReturn to the Château Chapter 6 5 Redirecting Spectacles of Domestic Woman Abuse:I, Tina andDefending Our Lives Chapter 7 6 Literary Representations of Battered Women: Spectacular Domestic Punishment Chapter 8 Afterword Chapter 9 Bibliography Chapter 10 Index Chapter 11 About the Author
Chapter 1 Introduction Chapter 2 1 "A Black Morning" in Jane Austen'sEmma Chapter 3 2 Mortification: Beyond the Persuasion Principle Chapter 4 3 Tales of Beauty: Brookner's, Atwood's, and Drabble's "Feminine Symbolic" Chapter 5 4 Conjurings: Mourning and Abjection inStory of O andReturn to the Château Chapter 6 5 Redirecting Spectacles of Domestic Woman Abuse:I, Tina andDefending Our Lives Chapter 7 6 Literary Representations of Battered Women: Spectacular Domestic Punishment Chapter 8 Afterword Chapter 9 Bibliography Chapter 10 Index Chapter 11 About the Author
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