Charlotte Dacre’s Postcolonial Moor

Michasiw, Kim Ian

doi:10.1057/9781403919342_3

Cited by 3 publications

(3 citation statements)

References 11 publications

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“…I therefore disagree with the reading of the radicalized evil in the novel (Michasiw, 2003;Schotland, 2009;and others) because I see the radicalized evil as a general outcome of the collapse of the European home and family. What Dacre foregrounds is not, I suggest, the threat of invasion by the racial Other but the erosion, from within, of the European 'family values' of fidelity that leads to the invasion.…”

Section: Toward the Sublimementioning

confidence: 81%

The Interracial Sublime: Gender and Race in Charlotte Dacre’s Zofloya

Nayar

2013

GENEROS

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This essay argues that Charlotte Dacre’s Zofloya (1806) presents an interracial sublime in the form of the dissolution of the European home/family. Dacre, I suggest, traces this dissolution to the European woman’s assertion of agency by stepping outside spatial, familial, racial and sexual boundaries. In the first section it examines the crisis of European domesticity where the family and the parent/s fail in their responsibilities toward the children. In section two I suggest that within the dissolving home/family we see the European woman, Victoria, subverting further the dissolution. The arrival of the Moor within the house compounds the blurring of hierarchies and ordering. In the final section I trace the features of the interracial sublime. I conclude by proposing that Dacre’s interracial sublime serves the purpose of demonstrating the permeability of European borders - a permeability that wreaks disaster. Dacre’s tale therefore ultimately functions as a caution against the woman’s emancipated and agential actions.

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Section: Toward the Sublimementioning

confidence: 81%

The Interracial Sublime: Gender and Race in Charlotte Dacre’s Zofloya

Nayar

2013

GENEROS

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“…Yet, as Michasiw also recognizes, Victoria's circumstances are those of Radcliffe's heroines for the first half of Zofloya: abandoned, isolated, and incarcerated. 13 Where Radcliffe's heroines endure silently, Victoria rages and schemes. The evocative climax of the novel-and Victoria's career of violence-is the murder of Lilla, whose perfect feminine softness inspires Victoria's "immediate hatred" and jealousy.…”

Section: Au4mentioning

confidence: 99%

“How Do You Like My Darkness Now?”: Women, Violence, and the Good “Bad Girl” in Buffy the Vampire Slayer

Kramer

2017

Bad Girls and Transgressive Women in Popular Television, Fiction, and Film

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The representations of violent women in Joss Whedon's Buffy the Vampire Slayer (1997-2003) and the development of this trope compare intriguingly with Charlotte Dacre's early nineteenth-century protagonist in Zofloya, or, The Moor (1806). Drawing on the work of Hannah Arendt and Jean Elshtain, the chapter argues that Whedon's exploration of the relationship between women and violence suggests ways in which to reconsider the consequences and responsibilities-as well as potentials-for women's use of violent means to oppose systemic oppression. AUTHOR QUERIES Q1 Please check if chapter title is okay. Q2 Please check if identified author name (forename and surname) and affiliation details (Organization name, street, city, state, country) are okay. Q3 Please provide author affiliation for Kaley Kramer.

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“…She never ceases to blame her erring but pathetic mother for all her troubles … and watches over the final convulsions with a fixed smile of contempt. 12 Yet, as Michasiw also recognizes, Victoria's circumstances are those of Radcliffe's heroines for the first half of Zofloya: abandoned, isolated, and incarcerated. 13 Where Radcliffe's heroines endure silently, Victoria rages and schemes.…”

mentioning

confidence: 99%

Bad Girls and Transgressive Women in Popular Television, Fiction, and Film

Chappell¹,

Young²

2017

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The representations of violent women in Joss Whedon's Buffy the Vampire Slayer (1997)(1998)(1999)(2000)(2001)(2002)(2003) and the development of this trope compare intriguingly with Charlotte Dacre's early nineteenth-century protagonist in Zofloya, or, The Moor (1806). Drawing on the work of Hannah Arendt and Jean Elshtain, the chapter argues that Whedon's exploration of the relationship between women and violence suggests ways in which to reconsider the consequences and responsibilities-as well as potentials-for women's use of violent means to oppose systemic oppression.

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Charlotte Dacre’s Postcolonial Moor

Cited by 3 publications

References 11 publications

The Interracial Sublime: Gender and Race in Charlotte Dacre’s Zofloya

The Interracial Sublime: Gender and Race in Charlotte Dacre’s Zofloya

“How Do You Like My Darkness Now?”: Women, Violence, and the Good “Bad Girl” in Buffy the Vampire Slayer

Bad Girls and Transgressive Women in Popular Television, Fiction, and Film

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