'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia.

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Standard

'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia. / Søndergaard, Peter Brix.

I: Romantik - Journal for the Study of Romanticisms, Bind 7, Nr. 1, 01.2019, s. 115-126.

Publikation: Bidrag til tidsskrift/Konferencebidrag i tidsskrift /Bidrag til avisTidsskriftartikelForskningpeer review

Harvard

Søndergaard, PB 2019, ''Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia.', Romantik - Journal for the Study of Romanticisms, bind 7, nr. 1, s. 115-126.

APA

Søndergaard, P. B. (2019). 'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia. Romantik - Journal for the Study of Romanticisms, 7(1), 115-126.

CBE

Søndergaard PB. 2019. 'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia. Romantik - Journal for the Study of Romanticisms. 7(1):115-126.

MLA

Søndergaard, Peter Brix. "'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia.". Romantik - Journal for the Study of Romanticisms. 2019, 7(1). 115-126.

Vancouver

Søndergaard PB. 'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia. Romantik - Journal for the Study of Romanticisms. 2019 jan;7(1):115-126.

Author

Søndergaard, Peter Brix. / 'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia. I: Romantik - Journal for the Study of Romanticisms. 2019 ; Bind 7, Nr. 1. s. 115-126.

Bibtex

@article{d41a04e3d5f240338a272ac9f4901e87,
title = "'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia.",
abstract = "This paper analyses J. E. Millais’s Pre-Raphaelite painting Ophelia. Drawing on ideas formulated by Hermann Broch regarding the origins of romanticism and Adorno and Horkheimer’s theory of a dialectic of Enlightenment, the analysis focuses on the complex handling of gender and nature in the painting in order to show the shifting and contradictory constellations of meaning inherent in the subject. Central to the argument is the relationship between the characterization of Ophelia as a femme fragile and the nature that surrounds her, rendered with an almost hallucinatory clarity. Both nature and woman are shown to be capable of both conforming to and escaping from Millais’s painterly control. The painting turns out to be a vehicle for a young middle-class Victorian and his anxieties and yearnings.",
keywords = "pre-raphaelite painting, ophelia, femme fragile, millais",
author = "S{\o}ndergaard, {Peter Brix}",
year = "2019",
month = "1",
language = "English",
volume = "7",
pages = "115--126",
journal = "Romantik - Journal for the Study of Romanticisms",
publisher = "Aarhus University Press",
number = "1",

}

RIS

TY - JOUR

T1 - 'Something strangely perverse'. Nature and Gender in J. E. Millais's Ophelia.

AU - Søndergaard, Peter Brix

PY - 2019/1

Y1 - 2019/1

N2 - This paper analyses J. E. Millais’s Pre-Raphaelite painting Ophelia. Drawing on ideas formulated by Hermann Broch regarding the origins of romanticism and Adorno and Horkheimer’s theory of a dialectic of Enlightenment, the analysis focuses on the complex handling of gender and nature in the painting in order to show the shifting and contradictory constellations of meaning inherent in the subject. Central to the argument is the relationship between the characterization of Ophelia as a femme fragile and the nature that surrounds her, rendered with an almost hallucinatory clarity. Both nature and woman are shown to be capable of both conforming to and escaping from Millais’s painterly control. The painting turns out to be a vehicle for a young middle-class Victorian and his anxieties and yearnings.

AB - This paper analyses J. E. Millais’s Pre-Raphaelite painting Ophelia. Drawing on ideas formulated by Hermann Broch regarding the origins of romanticism and Adorno and Horkheimer’s theory of a dialectic of Enlightenment, the analysis focuses on the complex handling of gender and nature in the painting in order to show the shifting and contradictory constellations of meaning inherent in the subject. Central to the argument is the relationship between the characterization of Ophelia as a femme fragile and the nature that surrounds her, rendered with an almost hallucinatory clarity. Both nature and woman are shown to be capable of both conforming to and escaping from Millais’s painterly control. The painting turns out to be a vehicle for a young middle-class Victorian and his anxieties and yearnings.

KW - pre-raphaelite painting

KW - ophelia

KW - femme fragile

KW - millais

UR - https://tidsskrift.dk/rom/article/view/112555/161356

M3 - Journal article

VL - 7

SP - 115

EP - 126

JO - Romantik - Journal for the Study of Romanticisms

JF - Romantik - Journal for the Study of Romanticisms

IS - 1

ER -