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4 books match the query 'Villains in literature'
Clothed Villainy
Acting White in Early Modern DramaJamie Paris
University of Alabama Press, 2026
Examines how centuries-old stagecraft shaped modern racial politics—and why the performance of whiteness still commands the spotlight.
From Shakespearean blackface to the alt-right’s khaki-clad protests, Clothed Villainy: Acting White in in Early Modern Drama by Jamie Paris confronts the uncomfortable truths of racial performance across centuries. Paris argues that whiteness is not a fixed identity but a precarious and performative construct—shaped and sustained through actions, appearances, and cultural scripts.
Drawing on critical race theory, performance studies, and Indigenous scholarship, Clothed Villainy traces how racial scripts—whether “playing Black,” “playing Indian,” or especially “playing white”—have been used to uphold white supremacy and erase marginalized identities. By examining the costuming and characterization of white actors portraying Black villains on the early modern stage, Paris reveals how these theatrical traditions continue to echo in contemporary racial politics.
Written with bold clarity and personal insight, this book opens space for reimagining race, history, and identity through a more critical and inclusive lens. Clothed Villainy is essential reading for scholars, students, and anyone seeking to understand the deep-rooted performance of race in society and how we might reimagine it for a more equitable future.
The Bitch is Back
Wicked Women in LiteratureSarah Appleton Aguiar
Southern Illinois University Press, 2001
Although the “bitch” has always commanded a prominent spot in popular culture—television, movies, art—she virtually disappeared from the work of the second wave of feminist writers in the late 1960s and early 1970s. Now, announces Sarah Appleton Aguiar, the bitch is back, returned once more to cultural center stage in the world of serious literature.
Feminist writers such as Mary Gordon and Alice Walker, to name only two, felt obligated to subvert literary misrepresentations of females as dimensionless, to refute preconceptions of objectified characters, and, of paramount importance, to create memorable women full of complexity and character. They wanted to create a subjective reality for their protagonists. And they succeeded admirably.
But along the road to subjectivity, that vital woman, empowered with anger, with ruthless survival instincts—the bitch—was banished from the pages of feminist fiction. The village gossips, calculating gold-diggers, merciless backstabbers, sinful sirens, evil stepmothers, deadly daughters, twisted sisters, hags, bags, and crones—all had vanished from the fiction written by women. Ubiquitous in other forms of media, the bitch was noticeably absent from the feminist literary canon.
Aguiar, however, points to indications in contemporary culture that the season of the bitch is fast approaching. Contemporary feminist writers and theorists are making substantial reevaluations of the archetypal bitch. Focusing on the traits and the types of guises usually associated with this vital character, Aguiar discusses such characters as Zenia in Margaret Atwood’s The Robber Bride, Ruth Patchett in Fay Weldon’s The Life and Loves of a She-Devil, Sula in Toni Morrison’s Sula, and Ginny in Jane Smiley’s A Thousand Acres.
The Dangerous Lover
Gothic Villains, Byronism, and the Nineteenth-Century Seduction NarrativeDeborah Lutz
The Ohio State University Press, 2006
The dangerous lover has haunted our culture for over two hundred years; English, American, and European literature is permeated with his erotic presence. The Dangerous Lover takes seriously the ubiquity of the brooding romantic hero—his dark past, his remorseful and rebellious exile from comfortable everyday living. Deborah Lutz traces the recent history of this figure, through the melancholy iconoclasm of the Romantics, the lost soul redeemed by love of the Brontës, and the tormented individualism of twentieth-century love narratives. Arguing for this character’s central influence not only in literature but also in the history of ideas, this book places the dangerous lover firmly within the philosophy of Martin Heidegger, the Modernism of Georg Lukács, and Roland Barthes’s theories on love and longing. Working with canonical authors such as Ann Radcliffe, Charles Maturin, Lord Byron, Charles Dickens, George Eliot, and Oscar Wilde, and also with non-canonical texts such as contemporary romance, The Dangerous Lover combines a lyrical, essayistic style with a depth of inquiry that raises questions about the mysteries of desire, death, and eroticism.
The Dangerous Lover is the first book-length study of this pervasive literary hero; it also challenges the tendency of sophisticated philosophical readings of popular narratives and culture to focus on male-coded genres. In its conjunction of high and low literary forms, this volume explores new historical and cultural framings for female-coded popular narratives.
Toxic Voices
The Villain from Early Soviet Literature to Socialist RealismEric Laursen
Northwestern University Press, 2013