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Fatal Women : Lesbian Sexuality and the Mark of Aggression / Lynda Hart.

By: Material type: TextTextPublisher: Princeton, NJ : Princeton University Press, [2023]Copyright date: 1994Description: 1 online resource (224 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780691261188
Subject(s): DDC classification:
  • 791.43/65206643 20
LOC classification:
  • PN1995.9.L48 H27 1994eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Preface -- Acknowledgments -- 1. Introduction: The Paradox of Prohibition -- 2. The Victorian Villainess and the Patriarchal Unconscious -- 3. Enter the Invert: Frank Wedekind's Lulu Plays -- 4. Chloe Liked Olivia: Death, Desire, and Detection in the Female Buddy Film -- 5. Reconsidering Homophobia: Karen Finley's Indiscretions -- 6. Race and Reproduction: Single White Female -- 7. Why .The Woman Did It: Basic Instinct and Its Vicissitudes -- 8. Surpassing the Word: Aileen Wuornos -- 9. Afterword: Zero Degree Deviancy – Lesbians Who Kill -- Notes -- Works Cited -- Index
Summary: A groundbreaking and provocative look at how violent women have been represented in literature, plays, film, and performanceFatal Women builds a complex and original theory of how the shadow of the lesbian animates representations of violent women, from the Victorian novel to films depicting women who kill. Starting from the historical link between criminality and sexual deviancy, Lynda Hart critiques constructions of gender, race, class, sexualities, and the cultural politics of the 1990s. Her introductory chapter constructs a theory of female violence across the discourses of sexology, criminology, and psychoanalysis. Subsequent chapters detail this theory in the Victorian novel and stage sensation Lady Audley’s Secret; Frank Wedekind’s Lulu Plays, which introduced the “invert” to the European stage; the films Thelma and Louise, Mortal Thoughts, and Basic Instinct; the political intersection of race and gender in Single White Female; the performance art of Karen Finley in the context of the censorship debates; the fate of Aileen Wuornos, dubbed the first “female serial killer” by the FBI; and the Split Britches’ performance Lesbians Who Kill.A major contribution to lesbian theory and cultural studies, Fatal Women is certain to be read widely by scholars, students, and anyone interested in the politics of representation.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780691261188

Frontmatter -- Contents -- Preface -- Acknowledgments -- 1. Introduction: The Paradox of Prohibition -- 2. The Victorian Villainess and the Patriarchal Unconscious -- 3. Enter the Invert: Frank Wedekind's Lulu Plays -- 4. Chloe Liked Olivia: Death, Desire, and Detection in the Female Buddy Film -- 5. Reconsidering Homophobia: Karen Finley's Indiscretions -- 6. Race and Reproduction: Single White Female -- 7. Why .The Woman Did It: Basic Instinct and Its Vicissitudes -- 8. Surpassing the Word: Aileen Wuornos -- 9. Afterword: Zero Degree Deviancy – Lesbians Who Kill -- Notes -- Works Cited -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

A groundbreaking and provocative look at how violent women have been represented in literature, plays, film, and performanceFatal Women builds a complex and original theory of how the shadow of the lesbian animates representations of violent women, from the Victorian novel to films depicting women who kill. Starting from the historical link between criminality and sexual deviancy, Lynda Hart critiques constructions of gender, race, class, sexualities, and the cultural politics of the 1990s. Her introductory chapter constructs a theory of female violence across the discourses of sexology, criminology, and psychoanalysis. Subsequent chapters detail this theory in the Victorian novel and stage sensation Lady Audley’s Secret; Frank Wedekind’s Lulu Plays, which introduced the “invert” to the European stage; the films Thelma and Louise, Mortal Thoughts, and Basic Instinct; the political intersection of race and gender in Single White Female; the performance art of Karen Finley in the context of the censorship debates; the fate of Aileen Wuornos, dubbed the first “female serial killer” by the FBI; and the Split Britches’ performance Lesbians Who Kill.A major contribution to lesbian theory and cultural studies, Fatal Women is certain to be read widely by scholars, students, and anyone interested in the politics of representation.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Aug 2024)