Framed uses fin de siècle British crime narrative to pose a highly interesting question: why do female criminal characters tend to be alluring and appealing while fictional male criminals of the era are unsympathetic or even grotesque? In this...
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Hochschule der Polizei des Landes Brandenburg, Hochschulbibliothek
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Framed uses fin de siècle British crime narrative to pose a highly interesting question: why do female criminal characters tend to be alluring and appealing while fictional male criminals of the era are unsympathetic or even grotesque? In this elegantly argued study, Elizabeth Carolyn Miller addresses this question, examining popular literary and cinematic culture from roughly 1880 to 1914 to shed light on an otherwise overlooked social and cultural type: the conspicuously glamorous New Woman criminal. In so doing, she breaks with the many Foucauldian studies of crime to emphasize the genuinely subversive aspects of these popular female figures. Drawing on a rich body of archival material, Miller argues that the New Woman Criminal exploited iconic elements of late nineteenth- and early twentieth-century commodity culture, including cosmetics and clothing, to fashion an illicit identity that enabled her to subvert legal authority in both the public and the private spheres.
Private and public eyes : Sherlock Holmes and the invisible woman -- Beautiful for ever! cosmetics, consumerism, L.T. Meade, and Madame Rachel -- The limits of the gaze : class, gender, and authority in early British cinema -- Dynamite, interrupted : gender in James's and Conrad's novels of failed terror -- "An invitation to dynamite" : female revolutionaries in late-Victorian dynamite narrative.
