User talk:Radiodead77

Actual Proposed Edits for La Morte Amoureuse

The plot can be read as an allegory in which Clarimonde, a manifestation of Romuald's sexual desires, is the devil luring man to sin through temptation, embodied by her desire to break Romuald’s priestly vows of chastity through seducing him, Romuald’s mutual desire for her, and contrasting descriptions of her as “divine” from a distance and “cold as a serpent’s skin” when touched.

Comments by Damaris Sanchez: Maybe consider explicitly stating Clarimonde's goal and how she accomplishes it. It can help make the sentence more clear. — Preceding unsigned comment added by Orabela (talk • contribs) 05:35, 31 August 2016 (UTC)[reply]

Bibliography

Donald F Brown, “Azevedo’s Naturalistic Version of Gautier’s La Morte Amoureuse,” Hispanic Review 13 (1945): 252-257.

Grant Crichfield, “Decamps, Orientalist Intertext, and Counter-Discourse in Gautier’s Constanstinople,” Nineteenth-Century French Studies 21 (1993): 305-321.

Anne Linton, “Redeeming the Femme Fatale: Aesthetics and Religion in Théophile Gautiers La Morte amoureuse,” The French review 89 (2015): 145-156.

Nigel E Smith, “Gautier, Freud, and the Fantastic: Psychoanalysis avant la letter?,” in Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts, ed. Joe Sanders, (Westport, CT: Greenwood, 1995), 67-75.

Gerardo Piña, “The Rhetoric of the Fantastic in Late-Victorian Literature,” (PhD diss., University of East Anglia, 2008).

Bettina L. Knapp, Judith Gautier: Writer, Orientalist, Musicologist, Feminist, a Literary Biography (Lanham, MD: Hamilton, 2004). — Preceding unsigned comment added by S.C. Kaplan (talk • contribs) 16:49, 16 August 2016 (UTC)[reply]

Comments on works in bibliography: Pay attention to auto-correct, it inserted a mistake in the title of Smith's work. Get rid of Gerardo's work, no dissertations are to be included in this list. Finally, please explain why you included the work by Knapp? — Preceding unsigned comment added by S.C. Kaplan (talk • contribs) 16:54, 16 August 2016 (UTC)[reply]

       I included the work by Knapp because the "Colors and Orientalism" section of the article had no sources that confirmed Gautier's penchant for Orientalism. That book mentions it.

Proposed Edits

“La Morte Amoureuse” as an allegory, as described by Virginia Marino in “The Devil’s Discourse.” Clarimonde represents Romuald’s inner desires, acting as “a personification of his state of mind,” that may or may not have basis in reality. She is an undead vampire, so her existence already embodies the supernatural and, realistically speaking, illusory, and Gautier’s narrative often describes Romuald as being in a state of “hysteria” when in her presence. However, Marino emphasizes that the “overlapping of fantastic and allegorical representations,” must not be seen as a dichotomy, but a fusion of the two modes that “critical thinking must seek to develop a comfortable way of being neither here nor there, but in both spaces at once.” I might need to use another source to make the section more credible.

Response: Your wording needs to be tightened up, as it's currently a little hard to understand, but one solid sentence about Clarimonde as the allegory of Romuald's desires with Marino as the reference is good. What section would you put it in? — Preceding unsigned comment added by S.C. Kaplan (talk • contribs) 17:08, 22 August 2016 (UTC)[reply]

Comments by Damaris Sanchez: The beginning of is a pretty long sentence. Consider breaking it down. Elaborate more on Marino. Maybe provide some background information. This is off to a great start! — Preceding unsigned comment added by Orabela (talk • contribs) 05:26, 31 August 2016 (UTC)[reply]

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