Elves, the Demonic, and Leechbook III

Keyword(s):  
Author(s):  
Per Faxneld

Chapter 7 discusses Decadence as a highly visible counter-discourse, which popularized tactics of counter-reading. Félicen Rops’s enthusiastically debauched engravings and paintings of Satanic women are examined. Next, J.-K. Huysmans’s novel Là-bas (1891) is considered, especially the female Satanist Mme Chantelouve who is portrayed in it. She is a self-governing woman with modern ideas about free love and described as hysterical. Hysteria carried connotations of feminism, and the independent Chantelouve can be seen as a caustic caricature of an emancipated New Woman. Certain bohemian females were undaunted and approached her as an object of identification. Finally, Stanislaw Przybyszewski’s highly ambivalent attitude towards the demonic feminine is read in view of his œuvre at large, which makes it difficult to understand his at times quite ghastly descriptions of female Satanists as a simple condemnation. At times unwittingly, Decadents contributed to a destabilization of gendered categories and ideals.


Author(s):  
Serinity Young

Witches, women believed to have supernatural powers, have been with us since ancient times. Often they were beautiful, highly sexual women whom men bedded at their own risk. They had magical powers (including that of flight), communed with the dead, and did not conform to patriarchal ideas of womanhood. Their sexuality led them to be classified as succubi, or female spirits who visited men at night and had sexual intercourse with them while they slept. In medieval Christian Europe, witches were refigured as ugly over time, and they became the face of evil. They were believed to fly to their unholy Sabbaths, where they participated in orgies with Satan and sacrificed babies. In truth, most people who were accused of being witches were women caught up in the changing mores and beliefs of the medieval Church, which began to view women as more susceptible to the demonic than men, a Church that needed evidence of their unholy activities, even if extracted by torture.


Author(s):  
Alison Milbank

Chapter 10 compares the work of J. Sheridan Le Fanu, Edgar Allan Poe, and Emmanuel Swedenborg. Le Fanu is closely connected to Maturin and copies a number of his tropes in ‘Spalatro’: mimetic contagion, blood for money, the demonic tempter, and suicide. Le Fanu, aware of the deathliness of his Anglo-Irish culture, seeks ways to engender life and movement through narrating and revealing death so that a transcendence beyond can be imagined. He is compared to Poe, whose female protagonists remain entrapped by materiality even as they seek to escape it, and shown to be more grotesque. He uses Swedenborg to render the afterlife itself material and real, especially through his spiritual creatures, and to make the transcendent the cause of the natural. A proto-feminist theology yokes female Gothic entrapment to the power of death, and the heroines of ‘Schalken the Painter’ and ‘Carmilla’ apocalyptically reveal the presence of death in its grotesque materiality, while the women of Uncle Silas act as agents of heavenly charity.


1983 ◽  
Vol 6 (2) ◽  
pp. 85-95
Author(s):  
Noreen Wales Kruse
Keyword(s):  

Theology ◽  
2008 ◽  
Vol 111 (860) ◽  
pp. 83-92
Author(s):  
Stephen C. Barton
Keyword(s):  

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