Titlebook: Victorian Melodrama in the Twenty-First Century; Jane Eyre, Twilight, Katie Kapurch Book 2016 The Editor(s) (if applicable) and The Author(

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JEER

Brain-Imaging

Powerless Protagonists: Melodramatic Heroines of Victorian and Postfeminist Girlhood,torical moments. When they recognize their own inadequacies, the protagonists’ self-consciousness is a response to restrictive discourses of “successful” Victorian and postfeminist girlhood. And as they aspire for equal footing with their respective Edwards, melodramatic expression makes the protago

向下

,Spatial Invasions and Melodrama’s Narrative Structure: Innocence, Villainy, and Vigilance in Girlhorative form positions the heroine as an innocent persecuted by villainy; this narrative sequence continues to confirm frustration with powerless social positions. The chapter concludes by briefly considering how powerlessness and anxiety are translated to the screen in Hardwicke’s . through voice-ov

Mediocre

Musical Gestures: Melodramatic Lullabies of Anxious Desire,plores references to music in . and .. In the literary texts, music simultaneously cues the protagonists’ insecurities and accentuates their sexual longings. Although Bella’s desire for physical intimacy with Edward is consistently thwarted throughout much of the series, music’s circularity validate

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模仿

,Melodrama’s Gothic Remnants: Nightmares and Vampire-Girl Doubles,illains antagonize Jane’s and Bella’s psyches. In the cinematic saga, when this villainy is visualized on-screen, such gothic remnants are externalized in dramatic ways that make the critique all the more obvious. Nightmares validate over-the-top fears about change, especially aging and motherhood,

贫困

RAGE

sparse

Book 2016ions and fan-authored texts. Attention to conventions such as crying, victimization, and happy endings in the context of the .Twilight.-.Jane Eyre. relationship reveals melodrama as an empowering mode of communication for girls. Although melodrama has saturated popular culture since the nineteenth c