Moulding the Female Body in Victorian Fairy Tales and Sensation Novels

By Laurence Talairach-Vielmas

Laurence Talairach-Vielmas explores Victorian representations of femininity in narratives that leave from mainstream realism, from fairy stories via George MacDonald, Lewis Carroll, Christina Rossetti, Juliana Horatia Ewing, and Jean Ingelow, to sensation novels via Wilkie Collins, Mary Elizabeth Braddon, Rhoda Broughton, and Charles Dickens. female illustration, Talairach-Vielmas argues, is really provided in a hyper-realistic manner in such anti-realistic genres as children's literature and sensation fiction. actually, it really is exactly the conflict among myth and truth that permits the narratives to interrogate the true and re-create a brand new form of realism that exposes the normative constraints imposed to comprise the feminine physique. In her exploration of the feminine physique and its representations, Talairach-Vielmas examines how Victorian fantasies and sensation novels deconstruct and reconstruct femininity; she focuses specifically at the hyperlinks among the feminine characters and consumerism, and exhibits how those serve to light up the tensions underlying the illustration of the Victorian perfect.

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Three Anne Digby, ‘Women’s organic Straitjacket’, in Susan Mendus and Jane Rendall (eds), Sexuality and Subordination: Interdisciplinary stories of Gender within the 19th Century (London: Routledge, 1989), 192–220. four Henry Maudsley, ‘Sex in brain and in Education’, The Fortnightly evaluation, 15 (JanJune 1874): 466–83, 474. five Maudsley, ‘ intercourse in Mind’, 475. 6 Maudsley, ‘Sex in Mind’, 477. MacDonald’s Fallen Angel in ‘The gentle Princess’ (1864) 35 through the moment 1/2 the 19th century: ‘Their nerves-centres being in a country of larger instability, through periodical services, they are going to be the extra simply and the extra heavily deranged. ’7 As Maudsley has it, ‘Men have the ideal to utilize their powers, to increase them to the maximum, and to try for, and if attainable achieve and carry, the placement within which they shall have the freest play. ’8 The practices of clitoridectomy (excision of the clitoris) and later oophorectomy (removal of the ovaries to remedy insanity)—respectively invented via Isaac Baker Brown and Robert Battey—accompanied the emergence of contemporary gynaecology and typified the function mid-nineteenth-century drugs performed within the definition of girl. Woman’s sexual organs made up our minds her psychology and will be learn like a face. using the knife in surgical procedure, saying male authority over the susceptible female psychology, aimed to ‘shape and keep watch over the uterine cavity’,9 supposedly making sure the curing of women’s mental issues. 10 Likewise, medical professionals regularly suggested women—not being of an analogous form of psychological improvement as men—not to injure their healthiness by means of an excessive amount of highbrow pressure, thereby completely securing gender spheres and controlling girl autonomy. Nor may still girls devour ‘indigestible nutrients, danc[e] in hot rooms’11 or reveal themselves to chilly, claimed John Burns, Professor of Midwifery in Glasgow, highlighting the anxieties raised by means of the feminine physique, a physique which mid-Victorian medication fairly strove to harness and tame. The scientific discourse which permeates Adela Cathcart resonates with such issues relating to woman’s frailty and the irritability of the feminine method as soon as woman’s periodical capabilities are confirmed. on the grounds that Adela’s ‘mental atrophy’ is because of the truth that ‘she can't digest the nutrition supplied to her’ (137), the unconventional addresses the actual effects of the social development of femininity on a number of degrees. in accordance with Victorian ‘anorexic logic’,12 in Leslie Heywood’s terminology, Adela needs to be fed with stories—mental nutrients, ‘because she feels no repugnance to it, and will digest and assimilate, in addition to swallow it’ (137). Significantly, the stories just about all characteristic sick and ill-treated heroines, thereby attractive with the feminine physique and revisiting the codes of female illustration that are progressively killing Adela. ‘The Bells, A caricature in Pen and Ink’ documents the main issue of a hyper-sensitive epileptic orphan who ultimately finds shelter from cruelty in dying; ‘My Uncle Peter’ foregrounds the ordeals of Little Christmas, a Victorian Cinderella who's starved and crushed; ‘The merciless Painter’ bargains with a painter’s daughter whose father kills his versions and who, as a result, can be killed by way of paintings in her flip.

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