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2020
- handle: 10670/1.vy5r69
- hal: hal-02899076
- doi: 10.29162/ANAFORA.v7i1.10
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info:eu-repo/semantics/altIdentifier/doi/10.29162/ANAFORA.v7i1.10
Mots-clés
John Keats "The Eve of St. Agnes" Gaze Lacan divided selves resistance Real Regard - Dans l'artSujets proches
Results of analysis Analysis results Poems Womyn Wimmin Woman Womon Human females Social science Sciences, Social Human sciences Social studies Behavioral sciences Poetry--Philosophy Poems Verses (Poetry) Human males Masculinity (Psychology) Life--Philosophy Femininity (Psychology) Sketch, Literary Literary sketch Human emotions Passions Feelings Death--Philosophy Dying End of life Structures Edifices Halls Western art (Western countries) Fine arts Iconography Arts, Fine Art, Occidental Arts, Visual Visual arts Occidental art Art, Visual Art, Western (Western countries) Ambivalency Women's work ArtsCiter ce document
Shafigheh Keivan, « Lacanian "Gaze" in John Keats’s "The Eve of St. Agnes": A Romance of Resistance », HAL-SHS : histoire de l'art, ID : 10.29162/ANAFORA.v7i1.10
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"The Eve of St. Agnes" is one of Keats’s most challenging poems when it comes to the poet’s emotions and beliefs on social structures, life, death, men, and women. Consequently, The Eve of St. Agnes becomes the arena of the conflict between femininity and masculinity, which preoccupied the poet during the composition of the poem. In the essay, we seek to examine this conflict in The Eve of St. Agnes through the Lacanian concept of the Gaze. This point of view allows us to analyze Keats’s ambivalence towards gender.