Abstract In anticipation of the 2023 centenary of Sarah Bernhardt’s death, this article considers the survival of the nineteenth century’s most famous woman in the writings of contemporary feminists. Today the pre-eminent ‘personality actress’ of her time is celebrated for personifying female self-promotion at the dawn of a new culture of spectacle. Yet she accomplished this by dying night after night in stage melodramas that have largely – unlike their star – failed to survive. Considering Freud’s own remarks on watching the star, as well as Elisabeth Bronfen’s pioneering work on the figure of the dead woman, this study examines Bernhardt’s stage and screen performances in La Dame aux camélias as a modernization of mortality.

中文翻译：

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莎拉·伯恩哈特 (Sarah Bernhardt) 的死后名人

摘要 在 2023 年莎拉·伯恩哈特 (Sarah Bernhardt) 逝世一百周年之际，本文探讨了当代女权主义者著作中 19 世纪最著名女性的幸存。如今，这位当时杰出的“个性女演员”因在新奇观文化的曙光中将女性的自我推销拟人化而受到赞誉。然而，她通过在舞台情节剧中夜复一夜地死去来实现这一目标，这些情节剧在很大程度上 - 不像他们的明星 - 未能幸存。考虑到弗洛伊德自己关于观看明星的评论，以及伊丽莎白·布朗芬 (Elisabeth Bronfen) 对死去女人形象的开创性工作，本研究将伯恩哈特 (Bernhardt) 在《茶花女郎》中的舞台和银幕表演视为死亡的现代化。