Abstract
The fictional representation of the feminine is doubly elusive because the feminine is already a representation, a sign, as commentators since Simone de Beauvoir have observed. In the nineteenth century the representation of the feminine was enigmatically coded because women had no vote, and therefore no political existence, and only a partial legal and economic existence in that their rights were largely subsumed on marriage by male prerogatives.
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Notes
Emma Dawson, An Itinerant House (San Francisco, Cal.: William Doxey, 1897).
Mary E. Wilkins (Freeman), The Wind in the Rosebush, and Other Stories of the Supernatural (London: John Murray, 1903).
R. M. Lovett, Edith Wharton (New York: McBride, 1925; rptd 1969). p. 68.
Edith Wharton, The Writing of Fiction (New York: Octagon, 1924; rptd 1966) p. 48.
Tzvetan Todorov, The Fantastic, ch. 3 (Ithaca, N.Y.: Cornell University Press, 1975).
Hélène Cixous, ‘Fiction and its Phantoms’, New Literary History 7 (1975) pp. 525–48; p. 543.
See Viktor Shlovsky, ‘Art as Technique’, in L. T. Lemon and M. J. Reis (eds), Russian Formalist Criticism: Four Essays (Lincoln, Nebr.: University of Nebraska Press, 1965).
Margaret McDowell, ‘Edith Wharton’s Ghost Stories’, Criticism, 12 (1970) pp. 133–52.
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© 1989 Allan Gardner Lloyd-Smith
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Lloyd-Smith, A.G. (1989). Women and the Uncanny. In: Uncanny American Fiction. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-19754-5_7
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DOI: https://doi.org/10.1007/978-1-349-19754-5_7
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