Kaara Peterson
In her far-ranging study Over Her Dead Body: Death, Femininity and the Aesthetic, Elisabeth Bronfen elucidates Western culture's fascination with depictions of dead, beautiful women in literature and the visual arts respectively, concluding that because such images are so omnipresent we are scarcely aware of their status as a resolute cultural tradition. Likening portraits of dead women to Poe's famous purloined letter—so numerous as to be invisible to the viewer's eye—Bronfen elaborates the aesthetic association between women and death, quoting Poe's notorious statement, "the death of a beautiful woman is, unquestionably, the most poetical topic in the world." Bronfen's study, of course, is part of a general concern these days with the implications of "representation," and her discussion can also be situated in the larger context of current interarts debates about whether traditions in one aesthetic mode affect and should be studied in conjunction with each other, or whether such approaches end up as a kind of ecphrastic iconology, wherein the verbal invariably becomes the interpreter of the visual.
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