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Necrophilia and Authorship in Rachilde's La Tour diamour

Necrophilia and Authorship in Rachilde's La Tour diamour The most taboo of perversions, necrophilia, is often incorporated into Decadent fiction as a theme testifying to the strength of a passion that defies corruption and endures everlastingly. In contrast to these elegiac celebrations of indestructible love, Rachilde's 1899 novel La Tour d'amour reintroduces the intense biological horror, the terrible sexual transgressivity of genuine necrophilia. Additionally, through a remarkable process of imaginary doubling, Rachilde uses her novel to stage a split in her authorial persona. Casting the helpless novice writer she was at the start of her career as the female corpse exploited by a pseudonymous male writer, she assumes the aggressive role in preying on her status as a victim. She thereby transforms herself into the necrophilic criminal whose violence is creatively reutilized as the shocking subjects of her books. (RZ) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nineteenth Century French Studies uni_neb

Necrophilia and Authorship in Rachilde's La Tour diamour

Nineteenth Century French Studies , Volume 34 (1)

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Publisher
University of Nebraska Press
Copyright
Copyright © 2005 The University of Nebraska Press.
ISSN
1536-0172
Publisher site
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Abstract

The most taboo of perversions, necrophilia, is often incorporated into Decadent fiction as a theme testifying to the strength of a passion that defies corruption and endures everlastingly. In contrast to these elegiac celebrations of indestructible love, Rachilde's 1899 novel La Tour d'amour reintroduces the intense biological horror, the terrible sexual transgressivity of genuine necrophilia. Additionally, through a remarkable process of imaginary doubling, Rachilde uses her novel to stage a split in her authorial persona. Casting the helpless novice writer she was at the start of her career as the female corpse exploited by a pseudonymous male writer, she assumes the aggressive role in preying on her status as a victim. She thereby transforms herself into the necrophilic criminal whose violence is creatively reutilized as the shocking subjects of her books. (RZ)

Journal

Nineteenth Century French Studiesuni_neb

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