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

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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.
Original languageEnglish
JournalRomantik - Journal for the Study of Romanticisms
Volume7
Issue1
Pages (from-to)115-126
Number of pages11
Publication statusPublished - Jan 2019

    Research areas

  • pre-raphaelite painting, ophelia, femme fragile, millais

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