User:Libbyshields/sandbox
Analysis of Characters
[edit]Clarimonde may be labeled as a villian, yet a more in-depth look into her character shows her as a less traditional vampire. She loves Romuald and uncontrollably takes his blood when he cuts his finger just once; only taking what she needs. Yet in comparison to other texts involving vampires, including other Gautier works such as "Arria Marcella", most have a less-forgiving vampire character in which they kill their victims for blood. [1]
Themes
[edit]Femme Fatale
[edit]Clarimonde's character could be classified as a Femme fatale; a female character that uses seduction and mystery to lure a male character into harmful situations. Clarimonde is extremely looked down upon by Father Sérapion, and her fate at the end of the story shows that she was not worthy of keeping alive. Romuald's constant guilt and fear of his love for Clarimonde shows that he knows he should not be involved with her; yet his lust and Clarimonde's sexuality outweighs his conscience. Several of Gautier's works have this sort of female archetype. "Omphale" and "Arria Marcella" are both stories involving femme fatale women.[1]
Proposed edits from article:
DiLiberti, Julia. “Vampires Suck But Not as Much as the Men Who Use Them: The Narratological Stragety of the Vampire chez Gautier.” In Aimer et mourir: Love, Death, and Women’s Lives in Texts of French Expression, ed. Eilene Hoft-March, and Judith Holland Sarnecki, 66-97. Newcastle upon Tyne: Cambridge Scholars, 2009.
Add section about Clarimonde as a character, compare to other Gautier femme fatale characters/vampires in other stories. Add link to femme fatale, and other Gautier stories: "Omphale", "Arria Marcella". Quotes below show how she is different to most vampire characters and worth noting in comparison to other female characters/vampires in general.
-Add "femme fatale"/ otherness & demonization of women to "Themes" section.
-"The demonic Clarimonde, with her name alone suggesting the embodiment of both good and evil, tells us she is a more complex vampire than others who have come before and after" (pg. 75).
"She is not simply a vampire, but a vampire in love who will not kill the man who sleeps next to her, and will take no more blood than is necessary to sustain her life" p. 78.
Proposed edits:
-More efficient summary, citing & linking more words to proper articles, better wording in summary
-section about author
-possible section on gothic literature & what classifies it as gothic
-delete "Colors and Orientalism" section
-analysis, more thorough description of characters
- Grant, R. (1996). "Théophile gautier's 'la morte amoureuse': A study in repression." In G. Falconer, & M. Donaldson-Evans (Eds.), (pp. 145-156) Centre d'Etudes Romantiques Joseph Sablé.
2. Linton, A. E. (2015). "Redeeming the femme fatale: Aesthetics and religion in théophile gautier's la morte amoureuse." French Review: Journal of the American Association of Teachers of French, 89(1), 145-156.
3. Sanders, Joseph L. "Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts". Westport, CT: Greenwood, 1995. Print. pp. 67-70.
4. Manceau, Nathalie. ""Théophile Gautier," par Stéphane Guégan." Histara, 2012.
5. Meglin, Joellen A. "Behind the Veil of Translucence: An Intertextual Reading of the "Ballet Fantastique" in France, 1831-1841: Part Three: Resurrection, Sensuality, and the Palpable Presence of the Past in Théophile Gautier's Fantastic." Dance Chronicle - Studies in Dance and the Related Arts, vol. 28, no. 1, 2005., pp. 67-142.
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Sylvia Garcia: I believe we had to move from proposed edits to proposed rough draft.
Below is a good page from one of the students User:Cgrisham/sandbox
- ^ a b DiLiberti, Julia. “Vampires Suck But Not as Much as the Men Who Use Them: The Narratological Stragety of the Vampire chez Gautier.” In Aimer et mourir: Love, Death, and Women’s Lives in Texts of French Expression, ed. Eilene Hoft-March, and Judith Holland Sarnecki, 66-97. Newcastle upon Tyne: Cambridge Scholars, 2009.