Analogues of Eve: Imagining a Sublime Gothic Heroine in Charlotte Dacre’s Zofloya, or the Moor

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY Gothic Studies Pub Date : 2023-03-01 DOI:10.3366/gothic.2023.0151
Alice Capstick, Rowan Burridge
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Abstract

In Zofloya, or the Moor (1806), Charlotte Dacre subverts gothic traditions by representing her heroine, Victoria, as the first sublime gothic heroine: a female protagonist who embodies and uses the sublime to empower herself without sacrificing her female identity or sexuality. Dacre challenges the gendered roles of the satanic seduction narrative which, by the nineteenth-century, had become commonplace in the Gothic and had been influenced by the version of the Fall portrayed in John Milton's Paradise Lost (1667). Although Victoria becomes victim to Satan, Dacre radically reimagines the Fall. Victoria does not Fall as a result of being overwhelmed by masculine tyranny, but because she is exposed to a more powerful sublimity than her own. Through comparison of the female characters in the novel – who each represent the existing options for characterising women in the Gothic – Dacre's critique of gothic gender roles is apparent, as she presents sublimity as the only means of achieving independence.
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夏娃的类比:在夏洛特·达克雷的《摩尔人》中想象一位崇高的哥特式女英雄
在《摩尔人》(1806)中,夏洛特·戴克颠覆了哥特式的传统,把她的女主人公维多利亚描绘成第一个崇高的哥特式女主人公:一个在不牺牲女性身份或性取向的情况下体现并利用崇高赋予自己力量的女主人公。戴克对撒旦诱惑叙事的性别角色提出了挑战,这种性别角色在19世纪的哥特小说中已经司空见惯,并受到约翰·弥尔顿的《失乐园》(1667)中描写堕落的影响。虽然维多利亚成为撒旦的受害者,但达克尔从根本上重新想象了堕落。维多利亚的堕落不是因为被男性的暴政所压倒,而是因为她暴露在比自己更强大的崇高之中。通过对小说中女性角色的比较——她们每个人都代表了哥特小说中女性的现有特征——达克尔对哥特性别角色的批判是显而易见的,因为她把崇高作为实现独立的唯一手段。
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来源期刊
Gothic Studies
Gothic Studies HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.30
自引率
0.00%
发文量
22
期刊介绍: The official journal of the International Gothic Association considers the field of Gothic studies from the eighteenth century to the present day. Gothic Studies opens a forum for dialogue and cultural criticism, and provides a specialist journal for scholars working in a field which is today taught or researched in academic institutions around the globe. The journal invites contributions from scholars working within any period of the Gothic; interdisciplinary scholarship is especially welcome, as are studies of works across the range of media, beyond the written word.
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