Madeleine C Seys
Biographic Data
| ID | 3430257 |
|---|---|
| NAME | Madeleine C Seys |
| GIVEN NAMES | Madeleine C |
| FAMILY NAME | Seys |
| SIGNATURE | SEYS M C |
| AFFILIATIONS | The University of Adelaide |
| ORCID | 0000-0003-3996-9057 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Dressed in Time
The Muslin Gown as “A White Unblemished Page”
This essay argues that in Mary Elizabeth Braddon’s Aurora Floyd (1863) and The Doctor’s Wife (1864) the heroines’ muslin gowns function as sites where conflicting notions of femininity and of literature are explored. The white gown represents the Victorian feminine ideal of innocence and virginity, yet Aurora and Isabel’s gowns are inscribed with models of subversive femininity drawn from literature and history, thereby contradicting the analogy …
Looking Back at Samoa
Samoan Japanese artist Yuki Kihara’s photographic series Where Do We Come From? What Are We? Where Are We Going? (2013) focuses on sites of current and historical significance in Samoa. In taking on the title of French artist Paul Gauguin’s 1897 work, Kihara signals her desire to engage with the history of representation of the Pacific in Western art through dialogue with Gauguin and the history of colonial photography. Casting herself as a versi…
Changing the Victorian Subject
She has researched gendered histories
Changing the Victorian Subject
She has researched gendered histories
Changing the Victorian Subject
She has researched gendered histories
Looking Back at Samoa
Samoan Japanese artist Yuki Kihara’s photographic series Where Do We Come From? What Are We? Where Are We Going? (2013) focuses on sites of current and historical significance in Samoa. In taking on the title of French artist Paul Gauguin’s 1897 work, Kihara signals her desire to engage with the history of representation of the Pacific in Western art through dialogue with Gauguin and the history of colonial photography. Casting herself as a versi…
The Muslin Gown as “A White Unblemished Page”
This essay argues that in Mary Elizabeth Braddon’s Aurora Floyd (1863) and The Doctor’s Wife (1864) the heroines’ muslin gowns function as sites where conflicting notions of femininity and of literature are explored. The white gown represents the Victorian feminine ideal of innocence and virginity, yet Aurora and Isabel’s gowns are inscribed with models of subversive femininity drawn from literature and history, thereby contradicting the analogy …
Dressed in Time
Art history (3 works) · History (3 works) · Art (2 works) · Philosophy (2 works) · Archaeology (1 work) · Asian American and Pacific Histories (1 work) · Australian History and Society (1 work) · Biology (1 work) · Colonialism (1 work) · Computer Science (1 work)