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                        Pleasures Taken - Performances of Sexuality and Loss in Victorian Photographs (Paperback, New)
                    
                        
                            
                            
                            
                            
                                
                                
                                    Loot Price: R962
                                
                            
                            
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                Pleasures Taken - Performances of Sexuality and Loss in Victorian Photographs (Paperback, New)
            
                
                
                  
                    
                        
                        
                    
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                    An intimate look into three Victorian photo-settings, Pleasures
Taken considers questions of loss and sexuality as they are raised
by some of the most compelling and often misrepresented photographs
of the era: Lewis Carroll's photographs of young girls; Julia
Margaret Cameron's photographs of Madonnas; and the photographs of
Hannah Cullwick, a maid of all work, who had herself pictured in a
range of masquerades, from a blackened chimney sweep to a
bare-chested Magdalene. Reading these settings performatively,
Carol Mavor shifts the focus toward the subjectivity of these girls
and women, and toward herself as a writer.Mavor's original approach to these photographs emphatically sees
sexuality where it has been previously rendered invisible. She
insists that the sexuality of the girls in Carroll's pictures is
not only present, but deserves recognition, respect, and scrutiny.
Similarly, she sees in Cameron's photographs of sensual Madonnas
surprising visions of motherhood that outstrip both Victorian and
contemporary understandings of the maternal as untouchable and
inviolate, without sexuality. Finally she shows how Hannah
Cullwick, posing in various masquerades for her secret paramour,
emerges as a subject with desires rather than simply a victim of
her upper-class partner. Even when confronting the darker areas of
these photographs, Mavor perseveres in her insistence on the
pleasures taken--by the viewer, the photographer, and often by the
model herself--in the act of imagining these sexualities. Inspired
by Roland Barthes, and drawing on other theorists such as Julia
Kristeva and Luce Irigaray, Mavor creates a text that is at once
interdisciplinary, personal, and profoundly pleasurable.
 
                    
                    
                        
                            
                            
                            
                        
	
	
		
	
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