By Jeffrey Richards, Scott Wilson, Linda Woodhead
Cultural critics throughout disciplines current the following a considerate, illuminating dialogue of the parable of Diana--her profession, attraction and iconicity. Chapters contain: the Hollywoodization of Diana; Diana as a logo of world intake and discomfort; Diana and Islam; spatial Diana; Diana as exemplar of a brand new faith; Diana and the remedy tradition; and lots more and plenty extra. individuals comprise Rosalind Brunt, Alvin Cohan, Simon Critchley, Richard Fenn, and Paul Heelas.
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Extra resources for Diana, The Making of a Media Saint
Smith adopts another fictional analogy for Diana in her essay, ‘The Frog Princess’ from her Misogynies13 collection which acknowledges its debt to Roland Barthes’ cultural analyses of contemporary myth. In the essay, Smith compares Diana, the romantic heroine of the 1981 engagement-wedding period with the eponymous heroine of Georgette Heyer’s Regency novel, Arabella (1964). She suggests that the appeal of Diana-Arabella for Regency bucks, as much as for Prince Charles and a present-day misogynistic culture, is that key figure of arrested development: the child-woman.
References 1 Nigel Fountain, ‘A trash icon for our times’ The Observer, 27 July 1997. 21 2 Michel Foucault, The History of Sexuality: Volume 1: An Introduction, Allen Lane Penguin Books 1979. p. 33 3 Diana Simmonds, Princess Di: The National Dish, Pluto, 1984. 4 See also Celia Lury’s exemplary account, ‘A public romance: “The Charles and Di Story”’ in L Pearce, J Stacey (eds), Romance Revisited, New York University Press, 1995, which, inter alia, discusses Diana’s appeal to a ‘global panhumanity’ through a celebrity which blurs the public-private distinction and effects the ‘symbolic castration’ of Charles after 1983, confining him to a limited national and public role.
But Paglia then wraps up all these images into the dominant persona of the pagan goddess, DianaArtemis and concludes thus: ‘Diana’s multiple personae from princess and mother to Greek ephebe, are rich and far-ranging but also mutually contradictory, and they are clearly consuming her. No one, least of all a nervous, vulnerable young woman, could sustain the voyeuristic laser beam of the world’s adulation ... The modern mega-celebrity, bearing the burden of collective symbolism, projection, and fantasy, is a ritual victim, cannibalised by our pity and fear ...