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Behind the gilded edge: The framing of women in nineteenth-century fiction.

机译：镀金边缘的背后：19世纪小说中的女性形象。

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The nineteenth century was a period in which women found themselves oppressed and circumscribed like never before. As the relationship between visual art and literature has gathered increasing interest in recent years, scholars have concentrated on how cultural productions served to further this enclosure by creating a vision of woman as either inherently dangerous or passive. For instance, in Idols of Perversity, Bram Dijkstra examines actual paintings, arguing that the forms of art and literature conspired to create a war of words and images in which the so-called "iconography of misogyny" took center-stage. In this study, I turn the focus away from literal paintings, and onto literary representations of artwork, or ekphrasis as this phenomenon has come to be known. I argue that this process allows women to be seen as not only painted, but also framed. My study then examines the ways in which this frame functions, combining an examination of a range of nineteenth-century texts with the new and burgeoning frame scholarship. The concept of the frame reveals female protagonists as not only enclosed within pictures, but also within more everyday objects, and even language itself. I argue that the device of the frame reveals women to be not only enclosed within circumscribed roles, but also severed from essential parts of their own identities. Because of the power held by the frame, attempts to escape its reaches were almost always unsuccessful, and often futile. Only by writing about the frame and enclosing it within their own interpretive surrounds could these women begin to leave its gilded edges, and create positions for themselves within society as a whole.

机译：十九世纪是妇女发现自己受到前所未有的压迫和限制的时期。近年来，随着视觉艺术与文学之间的关系越来越引起人们的关注，学者们开始集中精力于文化产品如何通过创造一种女性固有的危险或消极视力来促进这种封闭。例如，布拉姆·迪克斯特拉（Bram Dijkstra）在《变态的偶像》中检查了真实的绘画，认为艺术和文学形式合谋引发了一场文字和图像的战争，其中所谓的“厌女症”成为了焦点。在这项研究中，我将注意力从文字绘画转移到了艺术品的文学表现形式上，因为这种现象已广为人知。我认为，这个过程不仅可以让女性被视为彩绘，而且可以被构图。然后，我的研究探讨了该框架的运作方式，将对19世纪各种文本的研究与新兴的框架奖学金相结合。镜框的概念揭示出女性主角不仅被包裹在图片中，而且被包裹在日常物品中，甚至是语言本身。我认为框架的设计揭示了女性不仅被限制在限定的角色之内，而且还被剥夺了自己身份的重要组成部分。由于框架具有强大的功能，试图逃脱其范围的尝试几乎总是不成功，而且常常是徒劳的。这些妇女只有通过写出框架并将其封闭在自己的解释性环境中，才可以开始离开其镀金的边缘，并为自己在整个社会中创造位置。

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作者
Craven, Naomi Louise.;
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The University of Texas at San Antonio.$bEnglish, Classics, and Philosophy.;

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授予单位 The University of Texas at San Antonio.$bEnglish, Classics, and Philosophy.;
学科 Literature Modern.; Literature American.; Literature English.
学位 M.A.
年度 2008
页码 132 p.
总页数 132
原文格式 PDF
正文语种 eng
中图分类世界文学;
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Behind the gilded edge: The framing of women in nineteenth-century fiction.

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