By Victoria Anderson, Griselda Pollock
The story of the serial wife-murderer Bluebeard, his defiant, and surviving, ultimate spouse, a bloodied key and a mystery chamber of horrors, has interested writers, composers, artists and film-makers all through smooth occasions. it's a specified tale that dares to reveal and discover masculine violence: the homme fatal.This transdisciplinary ebook explores the deep allure of the Bluebeard tale for twentieth-century tradition. Its significant concentration is how the modernist mind's eye used the weather of Bluebeard’s story to discover masculinity’s anxieties within the face of the rising calls for of girls for redefinition and sexual equality: anxieties additionally of ethnic and cultural distinction, and primary disquiet approximately sexuality, pathology and violence within the masculine.Starting with investigations into Bartók’s opera 'Duke Bluebeard’s Castle', significant cultural thinkers, together with Elisabeth Bronfen, Ian Christie, Griselda Pollock and Maria Tatar, hint Bluebeard’s evolution from Perrault within the 17th century to the cinematic hommes fatals of Méliès, Fritz Lang and Hitchcock. the result's an interesting kaleidoscope of sexuality, interest, violence and demise.
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Additional info for Bluebeard's Legacy: Death and Secrets from Bartok to Hitchcock (New Encounters: Arts, Cultures, Concepts)
Perrault did not, in fact, attach his name to his published collection, although everyone knew that he had written them. They were sold as ‘Mother Goose’ tales, and the nurse on the frontispiece may be assumed to be this same ‘Mother Goose’. So although this most famous and inﬂuential book of children’s stories was written by a man, it evokes a feminine tradition of storytelling as well as springing from the avowedly 6 BLUEBEARD’S LEGACY feminine space of salon literature. As such, then, it may or may not strike us as peculiar that the thrust of the tales was somewhat antifeminist, particularly when one compares Perrault’s tales to the oral folk tales that would have been in circulation at the time, and from which Perrault undoubtedly derived a great many of his themes.
When it appears that Mark has indeed made his homicidal move, his voice takes over, relating the events that lead to the avoidance of tragedy and to the installation of a postnuptial happily-ever-after ending. Operating as an expert detective, Celia, like Alicia, secures a key to the forbidden chamber in her marital home. Armed with a ﬂashlight and key, she enters the secret space constructed by her architect husband. Through her voice-over, Celia had already dominated the narrative in acoustic terms.
This is the story of an aristocratic boy whose mother does not wish him to join the army when he becomes a man; for this reason, she dresses the infant as a girl and continues to do so throughout childhood. Of course, we are aware that womanhood was, at that time, conferred young on aristocratic girls, and by the age of twelve this Marquise–Marquis was already attracting the attentions of all the men … and so on. But ‘L’Histoire de la Marquise–Marquis de Banneville’ itself plays a prominent role in the play of identities that surround Histoires ou Contes du Temps passé.