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Untitled - Sexey's School Moodle

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addition, following Michelle A. Massé’s argument that much as voyeurism is<br />

predominantly considered a masculine drive, exhibitionism is a feminine one (58-9), it<br />

could be argued that such descriptions can appeal to both male and female readers, to<br />

masculine voyeurism and repressed feminine exhibitionism. Taking a closer look at the<br />

aforementioned scene, the ways in which male readers are capable of adopting<br />

Ambrosio’s point of view, while female readers might assume the position of Antonia<br />

become apparent:<br />

The scene was a small closet belonging to [Antonia’s] apartment.<br />

She was undressing to bathe herself. The long tresses of her hair<br />

were already bound up. The amorous monk had full opportunity to<br />

observe the voluptuous contours and admirable symmetry of her<br />

person. She threw off her last garment, and advancing to the Bath<br />

prepared for her, She put her foot into the water. It struck cold,<br />

and She drew it back again. Though unconscious of being<br />

observed, an in-bred sense of modesty induced her to veil her<br />

charms; and She stood hesitating upon the brink, in the attitude of<br />

the Venus de Medici. At this moment a tame Linnet flew towards<br />

her, nestled its head between her breasts, and nibbled them in<br />

wanton play. The smiling Antonia strove in vain to shake off the<br />

Bird, and at length raised her hands to drive it from its delightful<br />

harbour. (271)<br />

What is striking here is how the narrative gradually takes on Ambrosio’s point of view<br />

and the seemingly modest—yet playful—attitude adopted by Antonia. She is<br />

unconsciously aware of being observed, which prompts her to become narcissistic and<br />

engage in a poise of simultaneous veiling and unveiling, bearing witnesses to the<br />

repressed exhibitionist drive pointed out by Massé. What is most noteworthy about the<br />

above observations regarding the scopophilia/exhibitionist dyad is that this enjoyment is<br />

not at a “distance,” the distance is annihilated by the process of rapprochement and<br />

139<br />

identification mentioned above. Once again, this rapprochement between text and reader

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