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The Classical Versus The Grotesque Body In Edith Wharton's Fiction, Joshua T. Temples
The Classical Versus The Grotesque Body In Edith Wharton's Fiction, Joshua T. Temples
Electronic Theses and Dissertations
In her landmark works The House of Mirth (1905), The Custom of the Country (1913), and The Age of Innocence (1920), Edith Wharton responds to earlier depictions of the classical, pure Victorian and Edwardian woman. Wharton's "inconvenient" women overturn popular stereotypes. Subsequently, they are barred from their social groups, but they are independent, unlike the complicit and obedient women of the classical body, most of whom ascribe to the trope of the "Angel in the House." The grotesque seeks to undercut the unrealistic expectations enforced by the classical through its embodiment of progression and humanity, and Wharton is drawn to …
Female Art And Artisans In Edith Wharton’S The House Of Mirth, The Custom Of The Country, And “Roman Fever”, Julia B. Welch
Female Art And Artisans In Edith Wharton’S The House Of Mirth, The Custom Of The Country, And “Roman Fever”, Julia B. Welch
Electronic Theses and Dissertations
In early twentieth century old and new New York social circles, the marriage market’s commodification of women acted as the controlling factor for relationships, female power, and personal identity. When considering Wharton’s works for the first-hand viewpoint that she provided of the marriage market, it becomes clear that her interest in art plays heavily into the way women comport themselves within her novels. In order to discuss this relationship in Edith Wharton’s works, I’ve created terms that delineate the various ways female characters respond to the pressures of the marriage market. The best way to analyze Wharton’s women is by …