Motherhood and Representation: The Mother in Popular Culture and MelodramaFrom novels of the nineteenth century to films of the 1990s, American culture, abounds with images of white, middle-class mothers. In Motherhood and Representation, E. Ann Kaplan considers how the mother appears in three related spheres: the historical, in which she charts changing representations of the mother from 1830 to the postmodernist present; the psychoanalytic, which discusses theories of the mother from Freud to Lacan and the French Feminists; and the mother as she is figured in cultural representations: in literary and film texts such as EMEast Lynne, Marnie and the EMT. |
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Page 160
... Harriet needs to assert control over her life a control symbolized in her obsessive keep her house spotless . The ... Harriet's sister : the traditional , good mother figure is seen near the film's opening as unattractive , aging and in ...
... Harriet needs to assert control over her life a control symbolized in her obsessive keep her house spotless . The ... Harriet's sister : the traditional , good mother figure is seen near the film's opening as unattractive , aging and in ...
Page 161
... Harriet through the Aunt , Mrs Harold . Unable to stand Harriet's obsessional control of the household , the Aunt decides to leave , noting before she does so that Harriet ultimately does not want anyone in the house , and warning that ...
... Harriet through the Aunt , Mrs Harold . Unable to stand Harriet's obsessional control of the household , the Aunt decides to leave , noting before she does so that Harriet ultimately does not want anyone in the house , and warning that ...
Page 162
... Harriet will not provide ( there is an image , shot from Harriet's point of view , of the three framed within the doorway , happily chatting ) . It is Mrs Austin who , at the end of the film after Harriet has driven everyone away by her ...
... Harriet will not provide ( there is an image , shot from Harriet's point of view , of the three framed within the doorway , happily chatting ) . It is Mrs Austin who , at the end of the film after Harriet has driven everyone away by her ...
Contents
INTRODUCTION | 3 |
THE PSYCHOANALYTIC SPHERE | 27 |
Motherhood and fictional representation | 57 |
Copyright | |
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Other editions - View all
Motherhood and Representation: The Mother in Popular Culture and Melodrama E. Ann Kaplan Limited preview - 2013 |
Motherhood and Representation: The Mother in Popular Culture and Melodrama E. Ann Kaplan Limited preview - 2013 |
Motherhood and Representation: The Mother in Popular Culture and Melodrama E. Ann Kaplan No preview available - 1992 |
Common terms and phrases
American argue articulated baby Barbara body Carlyle century Chapter child Chodorow Christopher Strong codes complicit concept constructed context culture Cynthia daughter Delilah desire developed discussed dominant East Lynne East Lynne film erotic explore fantasies father feminine feminism feminist fiction figure film versions film's focus foetus Freud Freudian gaze gender genre Harriet heroine historical Hollywood husband ideal identification ideology images Imaginary Irigaray Isabel Kristeva Lacanian Levison linked Lois Weber look male Marnie maternal melodrama maternal sacrifice middle-class mother-child mother-daughter mother-figure Mother's Day motherhood discourses narrative nineteenth-century North America notes novel nuclear family nurturing Oankali Oedipal patriarchal Peola phallic phallus play popular position postmodern pre-Oedipal produced psychic psychoanalytic theory relation relationship representations represents reproductive technologies resisting role Rousseau scene sexual social specific sphere Stella Dallas Symbolic terrain Uncle Tom's Cabin unconscious upper-class Voyager Weber woman women York