Jennifer Mitchell – författare

Ordinary Masochisms reveals how literary works from the nineteenth and twentieth centuries frequently challenged the prevailing view of masochism as a deviant behavior, an opinion supported by many sexologists and psychoanalysts in the 1800s. In these texts, Jennifer Mitchell highlights everyday examples of characters deriving pleasure from pain in encounters and emotions such as flirtations, courtships, betrothals, lesbian desires, religious zeal, marital relationships, and affairs.

Mitchell begins by examining the archetypal tale of Samson and Delilah together with Venus in Furs by Leopold von Sacher-Masoch, from whom masochism gets its name. Through close readings, Mitchell then argues that Charlotte Brontë’s Villette, George Moore’s A Drama in Muslin, D. H. Lawrence’s The Rainbow, and Jean Rhys’s Quartet all experiment with masochistic relationships that are more complex than they seem. Mitchell shows that, far from being victimized, the characters in these works achieve self-definition and empowerment by pursuing and performing pain and that masochism is a generative response rather than a destructive force beyond their control.

Including readings of Octave Mirbeau’s The Torture Garden and Ian McEwan’s The Comfort of Strangers, Mitchell traces shifts in public consciousness regarding sex and gender and discusses why masochism continues to be categorized as a perversion today. The literary world, she asserts, has repeatedly questioned this notion as well as masochism’s associations with passivity and femininity, using the behavior to defy heteronormative and heteropatriarchal gender dynamics.

For women-identified writers of both eras, the fantastic offered double vision. Not only did the genre offer strategic cover for challenging the status quo, but also a heuristic mechanism for teasing out the gendered psyche’s links to creative, personal, and erotic agency. These dynamic presentations of female and gender-queer subjectivity, are linked in intriguing and complex matrices to key moments in gender(ed) history.

This volume contains essays from international scholars covering a wide range of topics, including werewolves, mummies, fairies, demons, time travel, ghosts, haunted spaces and objects, race, gender, queerness, monstrosity, madness, incest, empire, medicine, and science. By interrogating two non-consecutive decades, we seek to uncover the inter-relationships among fantastic literature, feminism, and modern identity and culture. Indeed, while this book considers the relationship between the 1890s and 1920s, it is more an examination of women’s modernism in light of gendered literary production during the fin-de-siècle than the reverse.

For women-identified writers of both eras, the fantastic offered double vision. Not only did the genre offer strategic cover for challenging the status quo, but also a heuristic mechanism for teasing out the gendered psyche’s links to creative, personal, and erotic agency. These dynamic presentations of female and gender-queer subjectivity, are linked in intriguing and complex matrices to key moments in gender(ed) history.

This volume contains essays from international scholars covering a wide range of topics, including werewolves, mummies, fairies, demons, time travel, ghosts, haunted spaces and objects, race, gender, queerness, monstrosity, madness, incest, empire, medicine, and science. By interrogating two non-consecutive decades, we seek to uncover the inter-relationships among fantastic literature, feminism, and modern identity and culture. Indeed, while this book considers the relationship between the 1890s and 1920s, it is more an examination of women’s modernism in light of gendered literary production during the fin-de-siècle than the reverse.