Abstract This paper discusses how "Venus in Furs" theatrically transgresses conventions of nature, gender and sexuality and how this transgression is nonetheless marked by limits. It is description of a male protagonist who is so captivated by a woman that he desires to live as her slave. It looks at how it offers forms of transgression and a fantasy of dis-empowerment available only to the empowered Western elite male subject.
From the Paper "Severin experiences pleasure by having pain inflicted on him in sexual circumstances. Traditionally, it is the woman who feels pain during sexual intercourse. This has been reversed in Sacher Masoch's novel; however it seems unrealistic as it can easily be reversed back to the original state. Wanda is continually referenced as a woman with miniature hands and feet, and a very tiny waist. She could easily be overpowered by a man if he so chose - the masochist male fantasy in Venus In Furs appears as just that - a fantasy - since it can so easily be overturned. The empowered male is only acting submissive - in truth he is much stronger than the woman and can take control physically at any time."
Abstract This paper examines the original protagonist Catherine, introduced to the reader via her diary, which the author calls a window to the psyche. The author points out that Catherine appears to be a happy child, outgoing with a playmate she adores; however, she deplores the bad treatment of the child-vagabond Heathcliff. The paper suggests that the only melodramatic character flaw is a tendency to internalize emotional pain. The author states that, in chapters 6-8, Catherine and Heathcliff are inseparable; he is her alter ego, her male side. The log relates that Catherine begins to exhibit a dual nature, a split personality. The author states that she is disappointed with Catherine because, with Heathcliff gone, she marries Edgar betraying her very nature. The author concludes that the heroine doesn't always win.
From the Paper "Nelly begins the flashbacks, and Catherine is now a real-time child. She asks her father to bring her a whip when he returns from a business trip. A whip is a strange choice for a child, especially a female child, even if she intends to use it only on her horses. It reveals a domineering personality. In fact, Catherine is a little dominatrix, defying everyone in the household, and enjoying their wrath as well as their pain. How easily she hides the willfulness of her actions behind a mischievous, playful behavior! I sense her face is fixed in a constant smirk."
