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Abjecting the male flneur: Angela Carters appropriation and subversion of Baudelaire in The Passion of New Eve.

Sara DArcy
Literature often depicts the uncivilised female body as abject, grotesque, unclean; a monstrous-feminine that must be expelled from the Symbolic order !ollo"ing #ristevas theory of abjection, feminist "riters have perceived a transgressive potential in abjection, "hich threatens gender boundaries and the subject$object hierarchy %ngela &arter is one such feminist "riter "ho repeats and then subverts patriarchal literary tropes to expose the constructions of femininity as extraordinary lies designed to ma'e people unfree &arter notorious for her demythologising project replicates and undermines suspect literary predecessors !or example, she explicitly engages "ith &harles (audelaire in her re"riting of Les Fleurs du mal in (lac' )enus Literary critics, ho"ever, have neglected the extent of &arters interest in (audelaire and his images of female abjection both anterior and posterior to the composition of (lac' )enus (y examining &arters engagement "ith (audelaire in The Passion of New Eve, * "ill explore the "ays in "hich &arter appropriates and subverts (audelaires fetishisation of the abject female body for feminist means Key words: %ngela &arter, abjection, gender performativity, (audelaire, sexual reciprocity, erotic po"er ***** I am all for puttin new wine in old !ottles" especially if the pressure of the new wine ma#es the old !ottles e$plode%i %ngela &arter is notorious for her demythologising project, "hereby she repeats and then subverts patriarchal literary tropes to expose mythology and the construction of femininity as extraordinary lies designed to ma'e people unfree ii &arter has deeply divided critics through her engagement "ith male literary predecessors, most notably in her non-fictional piece The Sadeian &oman +,-.-/, in "hich she appropriated arch-misogynist 0arquis de Sades anti-establishment theory of sexuality &arters affiliation "ith suspect literary precursors does not rest "ith de Sade She explicitly engages "ith &harles (audelaire throughout her oeuvre, "ith critics paying specific attention to her re"riting of (audelaires 1eanne 2uval cycle from Les Fleurs du mal +,34./ in her short story (lac' )enus +,-35/ iii &ritics, ho"ever, have neglected the extent to "hich (audelaires poetry and essays influenced &arters literary "or's both anterior and posterior to the composition of (lac' )enus iv (y examining The Passion of New Eve +,-../,

* "ill explore the "ays in "hich &arter engages "ith (audelaire and, accordingly, * "ill observe the trajectory of &arters demythologising project &arters appropriation of male literary predecessors can be read as a response to her discomfort "ith essentialist strains of ,-.5s feminism and the invocation of hypothetical great goddesses, in "hich "omen are simply flattering themselves into submission v &arter detected a liberating potential in the anti-essentialist theories of de Sade and (audelaire "ho established non-reproductive paradigms of female sexuality &arters fiction, * "ill argue, is particularly captivated by (audelaires fascination "ith abjection (y abjection, * refer to 1ulia #ristevas theorising that the symbolic order expels the primordial state a condition of 'ouissance that refuses identity and order "hen one enters subjectivity 6he subject fabricates binary oppositions to produce the symbolic order, transporting the abject from the position of covetousness in the semiotic to repugnance in the symbolic vi 7stensibly, (audelaire exemplifies the subjects aversion to abjection in his assertion, 8oman is natural that is to say, abominable,vii maintaining that culture is the only means to redeem corporeality 9e admired "omen, particularly prostitutes, for their use of cosmetics, claiming that such artistry produces a sublime deformation of :ature viii (audelaires attempt to redeem :ature, ho"ever, summons the abject he "ishes to dispel *n Les Fleurs du mal, (audelaire constructs his *deal by depicting female figures that alter nature through their artistry only to produce grotesqueness, "hich (audelaires male flneur responds to paradoxically; finding her simultaneously alluring and repulsive !eminist critics have ac'no"ledged the transgressive potential of the abject 2espite expulsion from the symbolic realm, the abject continues to threaten patriarchal order by disrupting the subject$object hierarchy and the demarcation of gender boundaries; for the abject refusing to be contained or repressed persistently disturbs identity, system, order ix 6he abject possesses a performative capacity, "hereby its disruption of order exposes the symbolic realms anxiety to repeat, reinforce, and regulate gender performances to reveal the projection of natural order to be a fa;ade Li'e gender performativity, abjection causes gender trouble in its refusal to adhere to legitimate gender praxis, "hich ultimately disturbs the gender binary and undermines the symbolic orders subject$object hierarchy x &ritics have detected this disruptive potential in (audelaires abject female figure !irstly, (audelaires female abject refuses to conform to the category of feminine object as defined by the symbolic order; embodying multiple and at times contradictory meanings 7 (eauty< => infernal and divinexi and is therefore not easily defined and thus controlledxii by the male flneur Secondly, the female abject transgresses the politics of the ga?e by returning the ga?e of the male flneur and consequently blurring the delineations of the flneur$passante hierarchy xiii 6hese subversions can be read as threatening the order of the symbolic realm by disturbing the subject$object binary

(audelaires portrayal of the female abject is not "ithout its complexities as the reader only accesses her through the male flneurs ga?e 6he flneur emerges in modernity as a response to the crisis of legibility "ithin the social body,xiv in "hich people of all sexes and classes anonymously coalesced in the city *nitially, critics defined the flneur as an un"illing detectivexv "hose seeming idleness disguised his surveillance of the modern cro"d in an attempt to identify and place the self in the uncertain environment of modernity xvi !ollo"ing this premise, (audelaires male flneur can be seen as the epitome of male authority, "ho classifies to produce order "ithin the chaotic city @ecent criticism has revised this analysis emphasising the ambiguity of the male flneur as scopically authoritative yet "andering and placeless, highlighting an instability in his sense of superior masculine self-identity xvii 6his instability associates the male flneur "ith the female abject and can be understood, li'e abjection itself, as either radical or reactionary Some critics maintain that the male flneurs unstable subjectivity requires him to expel his abjection onto the female figure in order to consolidate his subjectivity xviii &onversely, the male flneurs abjection can assist in establishing the illusory quality of subjectivity and challenge the symbolic order that he allegedly sustains; a perspective that &arter pursues in her refiguring of the poet in (lac' )enus, and, as * "ill demonstrate, throughout her oeuvre (y exploring &arters engagement "ith (audelaire in The Passion of New Eve, * "ill examine the extent to "hich &arter appropriates (audelaires abject to produce the female body as a site of transgression &arter, ho"ever, is also a"are of the problems associated "ith appropriating male literary predecessors, most especially in falling prey to complicity "ith the misogyny of their "riting &arters approach has been ac'no"ledged by critics as equivocal, by highlighting her distrust "hile simultaneously ac'no"ledging her engagement "ith their theories xix *n (lac' )enus, &arter contests (audelaires portrayal of 1eanne 2uval by locating abjection, not in 2uval, but in (audelaire himselfA !or herself, she came clean => shed pic'ed up the germ =syphilis> from the very first protector xx 8ith this in mind, * "ill also examine the "ays in "hich &arter subverts (audelaire, especially his representation of the male flneur, "hile simultaneously exploiting his theories for her feminist ends *n The Passion of New Eve, &arter parodies (audelaires 1eanne 2uval cycle in the liaison bet"een her protagonist, Bvelyn, and the blac' erotic dancer, Leilah%$$i 6he male flneur, Bvelyn, follo"s Leilah through the labyrinthine streets of an apocalyptic :e" Cor', classifying her "ithin the (audelairean motif of ambiguous animality Li'e 2uval, "hose portrayal abounds "ith multifarious animalistic images sphinx, tiger, serpentxxii Leilah is also depicted as a composite of animal imageryA a strange bird-li'e creature => not a flying thing, nor a running thing, nor a creeping thing, not flesh or fo"l, some in-bet"een thing xxiii

(y diminishing Leilah to bestial imagery, Bvelyn strips her of status "ithin the symbolic order by positioning her sexuality as animalistic and therefore necessitating male control xxiv &arter parodies (audelaires metaphor by rendering Bvelyns narrative as caricatural, in her conflation of (audelaires repetitive animalistic images into Bvelyns single, nebulous description Leilahs resistance to classification renders her outside the limits of Bvelyns reason and beyond the boundaries of the symbolic order 2espite Leilahs evasion of the male flneurs po"er of categorisation, Bvelyn finds himself both appalled and enchantedxxv as he becomes seduced by her abjection Leilahs ambiguous animality not only be"itches Bvelyn, but also distorts the traditional po"er dynamic bet"een the male flneur, as subject and pursuer, and female passante, as object and pursued 8hen the magic space that separates Bvelyn from Leilah d"indles, he drop=s> do"n upon her li'e a bird of prey, although my prey, throughout the pursuit, had played the hunter xxvi Li'e the spea'er of 9ymn to (eauty,xxvii Bvelyn associates the beloved "ith the destruction of the male subject "hen his retrospective narration permeates the storyline, repositioning Leilah as hunter and underlining her disruption of the subject$object hierarchy 2espite Leilahs threat to the male flneurs subjectivity, Bvelyn attempts to consolidate his masculinity "hen he observes Leilah applying cosmetics in preparation for her nocturnal labourA she "atched me "atching the assemblage of all the paraphernalia that only emphasised the blac' plush flan's and crimson slit beneath it, so she, too, seemed to abandon her self in the mirror, and allo"ed herself to function only as a fiction of the erotic dream into "hich the mirror cast me xxviii Bvelyn places himself as subject by relegating Leilahs selfhood to sexual object for the male flneurs ga?e (y literalising the objectification of Leilah as female genitalia, Bvelyn attempts to degrade Leilah to merely a sexual function and bolster his o"n position as male flneur "ho freely exercises the po"er of surveillance and classification to control the female sex object Bvelyns categorisation of Leilah as the sex object of his erotic dream further diminishes her autonomy by rendering her person as fictional, a mere illusion cast from his imagination *n doing so, Bvelyn un"ittingly deconstructs gender, revealing that Leilahs femininity is not the effect of a gendered subjectivity but a cultural construct masquerading as an innate identity imposed on her by the male ga?e 2espite the control of the male ga?e, Leilah returns this ga?e, holding the overriding loo', therefore retaining an element of the disruptive potential of the passante "ho returns the ga?e of (audelaires spea'er xxix !inally, Bvelyns subjectivity, li'e Leilahs, is demonstrated not to be an essential selfhood but provisional, dependent on him observing his self alongside Leilahs painted body in the mirror

Li'e (audelaire, &arter "rites from the male flneurs perspective 9o"ever, &arter ventriloquises the voice of Bvelyn similar to her technique of engaging "ith her male literary predecessors ironically, rendering his patriarchal points of vie" as clichDd and grotesque &arters irony establishes the limitation of patriarchal ideology by revealing the discrepancy bet"een the hegemonic notion of femininity and the reality of "oman 6his incongruity is revealed "hen &arter appropriates Bvelyns voice in a deadpan register "hen he is at his most brutalA *f she fouled the bed, * "ould untie her and use my belt to beat her She seemed to me a born victim and she submitted to the beating and the degradations "ith a curious, ironic laugh => isnt irony the victims only "eaponExxx 6he narrative itself undermines Bvelyns statement that Leilah is a born victim !or this born victim is both prey and predator, foreboding the revelation that she is, in fact, Lilith, a feminist guerrilla fighter and the daughter of 0other "hose mission is to lead the un"ary into temptationxxxi indicated by the etymology of her nameA serpent xxxii Leilah$Lilith reveals herself to be more than "hat she seems through the proliferation of her identity that moves beyond the bounds of the patriarchal stereotype of femininity Leilah$Liliths dual identity destabilises the reliable labels "ith "hich Bvelyn used to define his "orld,xxxiii disrupting his patriarchal discourse to render the sexual hierarchy as fallacious and the symbolic order as a delusion &arters omniscient narrator disrupts Bvelyns narrative, permitting a feminist discourse to emerge since Leilah, li'e 2uval, lac's a voice 6his feminist voice permeates Bvelyns patriarchal discourse "ith a rhetorical question that is itself ironic %s the reader is a"are, irony is not the victims only "eapon !or Bvelyn is the target of sexual vengeance in the form of an enforced sex change portended in the opening chapter "hen Bvelyn states, the blac' lady fitted me up "ith a uterus of my o"n xxxiv *n Les Fleurs du mal, (audelaire represents the erotic as macabre and at times sexually violent 6his is most notable in F* love you as * loveG, in "hich the spea'er responds to his mistresss sexual indifference by equating his imaginary sexual conquest of her "ith maggots devouring a corpse xxxv (audelaires portrayal of the female body as a corpse, ho"ever, holds a dual meaning (audelaires mistress is simultaneously depicted as an abject figure that corrupts the spea'er and obstructs his transcendence, as "ell as an innocent beloved "ho undergoes textual violence for not returning the lovers feelings 2ebarati Sanyal, ac'no"ledging (audelaires irony, argues that (audelaires spea'er occupies a shifting position bet"een victime and !ourreau =executioner> in his poetry xxxvi *n F* love you as * loveG, ho"ever, there is a distinct po"er imbalance bet"een the abjection of the sexually disinterested mistress and the textual violence of the spea'er "ho renders her corporeality as putrid Sanyal concedes that her argument attends merely to

the construction of corporeal alterity, rather than see'ing signs of these bodies subjectivity xxxvii (y ac'no"ledging the limitation of (audelaires male flneur and the female abjects lac' of autonomy, * "ill no" observe the "ays in "hich &arter re"or's the po"er discrepancy bet"een the male flneur and the abject mistress through the use of violence as a form of sexual vengeance Bvelyn believes Leilahs abjection is the cause of the pestilence that s"eeps :e" Cor' 9o"ever, on leaving the city for the desert, he realises that the dar'ness and confusion "ere as much my o"n as that of the city and * too' the sic'ness "ith me since * "as myself infected xxxviii *n the desert, Bvelyn is captured by separatist feminists "ho control the subterranean feminist state, (eulah xxxix *n (eulah, Bvelyn is forced under the 'nife, undergoing violating plastic surgery that turned me into my o"n diminutive, Bve, the shortened form of Bvelyn xl 6he sexual aggression enacted by 0other aptly punishes Bve+lyn/ by turning him into the Play!oy centrefoldxli of his monolithic male fantasies 8hen Bve+lyn/ loo's in the mirror, s$he no longer observes a Lacanian corporeal unity but a disparity bet"een their body as female object and their mind as male subject the coc' in my head, still, t"itched at the sight of myselfxlii "hich constructs both the male subject and the ideal female body as abject (y rendering Bve+lyn/s fla"less body as grotesque, &arter de-familiarises the patriarchal notion of ideal femininity by shifting the ideology behind the construct and its 'ey advocator +the male subject/ to the position of abjection 6his inversion of the sexual hierarchy highlights the arbitrary quality of the symbolic order; ho"ever, it does not critique the po"er structure itself, for the matriarchy of (eulah simply re-enacts the sexual inequalities of the patriarchal order 6he sexual aggression that Bve+lyn/ encounters in (eulah allo"s her$him to suffer as a victim of patriarchal society "hen s$he falls into the hands of the misogynistic Hero and is raped unceremoniously xliii 6hrough her$his sexual experiences as a "oman, Bve+lyn/ begins to critique the patriarchal ideology that s$he once faithfully adhered to stating, this crucial lac' of self forced me to 'no" myself as a former violator at the moment of my o"n violation xliv 0erja 0a'inen tentatively praises the sexual vengeance of 0other stating, in the end the mighty female violators actions are sho"n to be a source of political enlightenment for both Bve and the reader xlv %lthough Bve+lyn/ becomes enlightened after the nonconsensual sex change, * believe that &arter does not place 0others violatory theorising as the origin of this transformation *n fact, &arter judges matriarchy and patriarchy to be similarly monolithic, sadistic, and dictatorial &arter locates sexual enlightenment not in the sexual violence of (audelaire or the sexual vengeance of the separatist feminists in her fiction but in abjection; for Bve+lyn/ attains sexual enlightenment through critical introspection produced by a lac' of self *t is, therefore, Bve+lyn/s abject state that allo"s her$him to critique the constricting ideologies of matriarchy and patriarchy

%t the close of the novel, Bve+lyn/ ta'es a final loo' in the mirror to find that s$he is no longer a male subject nor an object "ithin the symbolic order but a figure of abjection Bve+lyn/ decides to leave the apocalyptic "orld of sexual violence and hierarchy, floating off into the ocean, mother of mysteries, bear me to the place of birthxlvi to rediscover the semiotic realm 9o"ever, in this move beyond the gender binary of the symbolic order, &arter un"ittingly re-establishes the pervasiveness of essentialism (y depicting the return to the semiotic through the feminine symbolism of "ater and the mothers "omb, &arter invo'es the pre7edipal mother she endeavoured to evade in her caricature of 0other and essentialist feminism &arters unconscious positioning of the semiotic "ith the mother demonstrates the impossibility of imagining a complete return to the semiotic, free from the shac'les of essentialism 9o"ever, "ithin this closing scene &arter proposes that the vengeance of the sex is love,xlvii envisaging this love as sexual reciprocity attained through abject performativity &arter, therefore, creates gender trouble not by creating a utopian beyond, but through the subversive confusion,xlviii personified in Bve+lyn/s dissident relationship "ith the transvestite 9olly"ood star, 6ristessa; "here identity is al"ays in process and a restrictive sexual subjectivity never attained &arters engagement "ith (audelaire demonstrably extends beyond that of her explicit re"riting in (lac' )enus, "ith the appropriation and subversion of (audelaires trademar' symbolism in The Passion of New Eve (y ironically exploiting (audelairean symbolism, &arter reveals the inadequacy of patriarchal ideology through her portrayal of the abject female figure, Leilah$Lilith, "ho provo'es multiple meanings that refuse to conform to the narro" definition produced by the male flneur% &arters proliferation of (audelairean symbolism undermines (audelaires literary tropes "hich despite their abject imagery ultimately fix "oman as passive object to his male flneur by declining to locate "oman as object through the production of a heterogeneous and performative female protagonist &arter also shifts (audelaires flneur from subject to abject, by inflicting sexual violence on her male flneur in a role reversal of the sexual hierarchy Iltimately, &arter vie"s sexual vengeance as a form of complicity "ith patriarchy; ho"ever, a return to the semiotic realm results in essentialism that entraps the female body "ithin a reproductive sexuality *n her vision of Bve+lyn/ and 6ristessas abject performativity, &arter visualises the origin of sexual reciprocity as devoid of the violent sexual hierarchy of the symbolic order and the essentialism of the semiotic (y appropriating (audelaire and subverting the patriarchal principles that pervade his "or', &arters unrelenting de-mythologising project establishes that the pressure of performative feminist analyses and playful re"ritings can ma'e patriarchal ideology explode

Notes

i%ngela

&arter, :otes from the !ront Line, in Sha#in A Le ( )ollected &ritin , ed 1enny Iglo" +LondonA Jenguin, ,--3/A KL-MK, K.
ii

*bid , K3

SeeA 1ill 0atus, (londe, (lac' 9ottentot )enusA &ontext and &ritique in %ngela &arters F(lac' )enusG, in New )ase!oo#s( An ela )arter, ed %lison Baston +(asingsto'eA 0acmillan Jress, N555/A ,L,-.N; @ebecca 0unford, @eJresenting &harles (audelaire $ @e-Jresencing 1eanne 2uvalA 6ransformations of the 0use in &arters F(lac' )enusG Forum for *odern Lan ua e Studies M5A, +N55M/A ,-,K; and 0aggie 6on'in, An ela )arter and Decadence( )ritical Fictions+Fictional )riti,ues +9ampshireA Jalgrave 0acmillan, N5,N/
iii

&arters enthrallment "ith (audelaire began in her school days, "here she found Les Fleurs du mal so exciting that * got the feeling of being scalped +0ortimer M4/
iv

%ngela &arter, The Sadeian &oman( an e$ercise in cultural history +LondonA )intage, ,--3/, 4
v

#risteva associates the semiotic "ith the pre-7edipal mother; the stage prior to the individuals initiation into the symbolic order of subjectivity and the La" of the !ather 1ulia #risteva, Powers of -orror( An Essay on A!'ection, trans Leon S @oudie? +:e" Cor'A &olumbia I J , ,-3N/
vi

&harles (audelaire, 0y 9eart Laid (are in *y -eart Laid .are and /ther Prose &ritin s, trans :orman &ameron +LondonA Soho (oo' &ompany, ,-3L/A ,.4-N,5, ,.L
vii

&harles (audelaire, 6he Jainter of 0odern Life, in The Painter of *odern Life and /ther Essays, trans and ed 1onathan 0ayne +:e" Cor'A Jhaidon Jress, N55,/A ,-M,, KK
viii ix

#risteva, Powers, M

1udith (utler, 0ender Trou!le( Feminism and the Su!version of Identity +LondonA @outledge, ,--5/
x

&harles (audelaire, Les Fleurs du mal, trans 1ames 0cOo"an +7xfordA 7xford I J , ,--K/, M4
xi

2eborah L Jarsons, Streetwal#in in the *etropolis( &omen" the )ity" and *odernity +7xfordA 7xford I J , N555/, NM
xii xiii

See Jarsons for criticism on the returned glance *bid , .N-

K 2ebarati Sanyal, The 1iolence of *odernity( .audelaire" Irony" and the Politics of Form +(altimoreA 1ohn 9op'ins I J , N55L/, -xiv

8alter (enjamin, )harles .audelaire( A Lyric Poet in the Era of -i h )apitalism, trans 9arry Hohn +London and :e" Cor'A )erso, ,-.L/, M5-,
xv xvi

Jarsons, Streetwal#in , M, *bid , ,-

xvii

#risteva, for example, argues, the true (audelairian "orld is a "ar "aged against a!'ection in order to maintain a Self 1ulia #risteva, Tales of Love, trans Leon S @oudie? +:e" Cor'A &olumbia I J , ,-3./, K,xviii

Sally #eenan believes &arters paradoxical approach to de Sade is the point and challengeA an attempt to jolt the reader out of customary associations and habits of thought Sally #eenan, %ngela &arters The Sadeian &omanA feminism as treason, in The Infernal Desires of An ela )arter( Fiction" Femininity" Feminism, ed 1oseph (risto" and 6rev Lynn (roughton +LondonA Longman Jress, ,--./A ,KN-,M3, ,K4
xix

%ngela &arter, (lac' )enus in .lac# 1enus +LondonA )intage, ,--L/A ,-,M, 4
xx

9er body, li'e 2uvals, is doubly mar'ed blac' and female constructing her as the eroticised, exotic other See 1ulia Simon for further criticism on race in The Passion of New Eve 1ulia Simon, 2ewritin the .ody( Desire" 0ender and Power in Selected Novels !y An ela )arter +!ran'furtA Jeter
xxi

Lang, N55M/
xxii

(audelaire, Fleurs, K-; M.; 44 &arter, Passion, N5-N,

xxiii

%ccording to Jatricia 9ill &ollins, pornography portrays "hite "omen as objects and blac' "omen as animals; for (lac' "omen receive no such redeeming dose of culture and remain open to exploitation comparable to animals Jatricia 9ill &ollins, .lac# Feminist Thou ht( 3nowled e" )onsciousness" and the Politics of Empowerment +London and :e" Cor'A @outledge, N555/, ,45
xxiv xxv &arter, Passion,

N,

xxvi

*bid , NN; N4

6he panting lover bending to his love $ Loo's li'e a dying man "ho stro'es his tomb (audelaire, Fleurs, M4
xxvii xxviii

&arter, Passion, K5

See 6o % 8oman Jassing (y in Les Fleurs du mal (audelaire, Fleurs, ,3xxix xxx

&arter, Passion, N3

xxxi *bid

, ,.M

%nja 0Pller, An ela )arter( Identity )onstructed+Deconstructed +9eidelbergA IniversitQtsverlag & 8inter, ,--./, LN
xxxii xxxiii

*bid , LK &arter, Passion, -

xxxiv

* climb to the assault, attac' the source, $ % choir of "ormlets pressing to"ards a corpse (audelaire, Fleurs, 4K
xxxv xxxvi

Sanyal, 1iolence, ,,5 *bid , ,N&arter, Passion, K.

xxxvii

xxxviii

*n (la'es poetry, (eulah is a mythological feminine realm of innocence and the 2aughters of (eulah are his muses %idan 2ay highlights the irony in &arters namingA the myth of the great female principle is seen by &arter as being less an escape than a confirmation of patriarchy %idan 2ay, An ela )arter( The 2ational 0lass +0anchesterA 0anchester I J , ,--3/, ,,M
xxxix

xl &arter, Passion,

.,

xli

*bid , .4 *bid *bid , 3L *bid , ,5,-5N

xlii

xliii

xliv

0erja 0a'inen, Sexual and 6extual %ggression in The Sadeian &oman and The Passion of New Eve, in The Infernal Desires of An ela )arter( Fiction" Femininity" Feminism, ed 1oseph (risto" and 6rev Lynn (roughton +LondonA Longman Jress, ,--./A ,M--,L4, ,LK
xlv xlvi

*bid , ,-, &arter, Passion, ,-, (utler, 0ender, ML Bibliography

xlvii

xlviii

(audelaire, &harles Les Fleurs du mal% 6rans 0cOo"an 7xfordA 7xford

1ames

I J , ,--K --- 0y 9eart Laid (are in *y -eart Laid .are and /ther Prose &ritin s 6rans :orman &ameron ,.4-N,5 LondonA Soho (oo' &ompany, ,-3L --- 6he Jainter of 0odern Life in The Painter of *odern Life and /ther Essays 6rans and ed 1onathan 0ayne ,-M, :e" Cor'A Jhaidon Jress, N55, (enjamin, 8alter )harles .audelaire( A Lyric Poet in the Era of -i h )apitalism 6rans 9arry Hohn London and :e" Cor'A )erso, ,-.L (utler, 1udith 0ender Trou!le( Feminism and the Su!version of Identity LondonA @outledge, ,--5 &arter, %ngela The Passion of New Eve LondonA )irago, ,-3N --- The Sadeian &oman( an e$ercise in cultural history LondonA )intage, ,--3 --- :otes from the !ront Line in Sha#in A Le ( )ollected &ritin , ed 1enny Iglo" KL-MK LondonA Jenguin, ,--3 --- .lac# 1enus LondonA )intage, ,--L 2ay, %idan An ela )arter( The 2ational 0lass 0anchesterA 0anchester I J ,,--3 Oamble, Sarah An ela )arter( &ritin from the Front Line BdinburghA Bdinburgh

I J , ,--. 9ill &ollins, Jatricia .lac# Feminist Thou h( 3nowled e" )onsciousness" and the Politics of Empowerment :e" Cor' and LondonA @outledge, N555 #eenan, Sally %ngela &arters The Sadeian &omanA feminism as treason in The Infernal Desires of An ela )arter( Fiction" Femininity" Feminism Bd 1oseph (risto" and 6rev Lynn (roughton ,KN-,M3 LondonA Longman Jress, ,--. #risteva, 1ulia Powers of -orror( An Essay on A!'ection 6rans Leon S @oudie? :e" Cor'A &olumbia I J , ,-3N --- Tales of Love 6rans Leon S @oudie? :e" Cor'A &olumbia I J , ,-3. 1ohnson, 9eather 6extuali?ing the 2ouble-Oendered (odyA !orms of the Orotesque in The Passion of New Eve 2eview of )ontemporary Literature ,MAK +,--M/A MK-M3 0a'inen, 0erja Sexual and 6extual %ggression in The Sadeian &oman and The Passion of New Eve in The Infernal Desires of An ela )arter( Fiction" Femininity" Feminism Bd 1oseph (risto" and 6rev Lynn (roughton ,M--,L4 LondonA Longman Jress, ,--. 0atus, 1ill (londe, (lac' 9ottentot )enusA &ontext and &ritique in %ngela

&arters F(lac' )enusG in New )ase!oo#s( An ela )arter Bd %lison Baston ,L,-,.N (asingsto'eA 0acmillan Jress, N555 0ortimer, 1ohn In )haracter 9armonds"orthA Jenguin, ,-3K 0Pller, %nja An ela )arter( )onstructed+Deconstructed 9eidelbergA IniversitQtsverlag & 8inter, ,--. Identity

0unford, @ebecca @e-Jresenting &harles (audelaire $ @eJresencing 1eanne 2uvalA 6ransformations of the 0use in &arters F(lac' )enusG Forum for *odern Lan ua e Studies M5A, +N55M/A ,-,K Jarsons, 2eborah L , Streetwal#in in the *etropolis( &omen" the )ity" and *odernity 7xfordA 7xford I J , N555 Sanyal, 2ebarati The 1iolence of *odernity( .audelaire" Irony" and the Politics of Form (altimoreA 1ohns 9op'ins I J , N55L Schlossman, (eryl 6he :ight of the JoetA (audelaire, (enjamin, and the 8oman in the Street *LN ,,-A4 &omparative Literature +N55M/A ,5,K-,-KN Simon, 1ulia 2ewritin the .ody( Desire" 0ender and Power in Selected Novels !y An ela )arter !ran'furtA Jeter Lang, N55M

6on'in, 0aggie An ela )arter and Decadence( )ritical Fictions+Fictional )riti,ues 9ampshireA Jalgrave 0acmillan, N5,N )allorani, :icoletta 6he (ody of the &ityA %ngela &arters The Passion of New Eve in )ritical Essays on An ela )arter Bd Lindsey 6uc'er ,.L-,-5 :e" Cor'A O # 9all and &o , ,--3

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