INTRODUCTION
1.1 THE ASYMMETRICAL CHARACTER OF HETEROSEXUAL RELATIONS
1.2 WOMEN´S ECONOMIC DEPENDENCY ON MEN
1.3 MEN UNDER SCRUTINY
1.4 THE TENACIOUS PATTERNS OF POWER
1.5 THE INTERACTION BETWEEN THE PUBLIC AND PRIVATE SPHERES
1.6 WOMEN’S UNSISTERLY RITES OF PASSAGE
1.7 THE COERCIVE CHARACTER OF FEMININITY
1.8 MEN’S UNBRIDLED SEXUALITY
1.9 WOMEN’S BODIES AS ARENAS FOR CONTROL
1.10 WOMEN’S CHANGING IDENTITY: THE LADY IS A TRAMP
1.11 PLAYING HAVOC WITH STEREOTYPES
1.12 DECONSTRUCTION OF THE TRADITIONAL CONCEPT OF IDENTITY
2. UNDER THE SPELL OF THE GOTHIC
2.1 A NEO-GOTHIC PERSPECTIVE
2.2 THE RADICAL NATURE OF WELDON’S SATIRIC AIMS
2.3 THE GOTHIC TEXTURE: A HARSH REALITY
2.4 INCORPORATION OF FOLK ELEMENTS
2.5 THE SUPERNATURAL
2.6 MORAL RELATIVITY: LACK OF IMPOSITION OF SET VALUES
2.7 THE NEED TO ESCAPE GOTHIC LABRYNTHINE PLOTS
2.8 COMPLEX SUBJECTS
2.9 REACHING DEVELOPMENT THROUGH THE AGENCY OF ALTER-EGOS
2.10 WE ARE A WOMAN SPLIT FIVE WAYS, A HUNDRED WAYS, A MILLION WAYS
2.11 CROSSING BORDERS: ETHICAL AND FORMAL OPENNESS OF WELDON’S NOVELS
2.13 AFFECTIVE NARRATORS AND THEIR BENEFICIAL EFFECT ON THE NARRATEES
2.14 NARRATORS AS AGENTS OF CHANGE
2.15 BORDER-CROSSING: Remember Me
2.16 DECEPTIVE MATERIALITY OF OBJECTS
2.17 THE SINISTER MATERIALITY OF WOMEN’S BODIES
2.18 SOME OF THE CONTRADICTIONS AT THE ROOTS OF THE GOTHIC GENRE
2.19 A WHOLE SPEW OF NASTINESS AND CORRUPTION
2.20 Trouble: MAZE/MUDDLE
2.21 Puffball: DISSECTING GESTATION
2.22 THE DOUBLE CHARACTER OF THE FRAMEWORK OF WELDON’S NOVELS
2.23 NARRATORS/DOUBLES
2.24 The Heart of the Country: PUBLIC CONSCIENCE
2.25 The President’s Child: THE INORDINATE PROPORTIONS OF THE PRIVATE
2.26 THE DEVIL AND THE NEED FOR FUN
2.27 THE GOTHIC AS A CONSUMERIST PHENOMENON
2.28 THE UNCANNY MEANING OBJECTS MAY ACQUIRE
2.29 RUTH: A CROSS BETWEEN FRANKENSTEIN AND GALATHEA
2.30 Leader of the Band: AN ETHICAL EMBRACING OF CHANCE
2.31 SLIDING MULTIPLICITIES: A PICARESQUE NARRATIVE
CONCLUSION
BIBLIOGRAPHY
ÍNDICE
