In this chapter of Bad Affection, the central theme is involved in the decomposition and more immediately, the ownership of the body. There are several angles and arguments to be explored, but the one that seems most prominent here is the idea of confinement of the body within the house of the father. A similar argument was explored in John Gowere's "Tale of Canace and Machaire", in which the daughter experiences the imprisoning situation within her father's house. In such a case, an incestuous relationship between father and daughter is underscored by two similar assertions of independence as Riku shows here. There are two conflicting notions at play here, wherein in the first case, Riku's body is feminized by dress, a physical feminization, but yet at the same time Dilan is feminized by the notion of his own physicality. This notwithstanding, Braig is the ultimate presence of femininity within the piece, as per Julia Kristeva's understanding of the monsterous feminine, however when he is not physically present, he becomes the
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While it might be argued that Dilan is now in a patriarchal role and thus has control over Riku, this is but one level of the space that the two now occupy. As Dilan himself notes: “It sounded like some sort of trap that Braig would set. Tempt him with a cute little boy (in a skirt no less) and then crucify him for it when he gave into the temptation.” (BA, Ch.9). Kristeva defines the (monstrous) feminine as having to do with the lower body but the (classical) masculine having to do with the mind and the organized. Braig, upon leaving Riku clearly calculated to ultimately ‘crucify’ Dilan and bring him into his own body, takes Dilan from the realm of rational thought - that is to say, were he thinking rationally he would choose to abstain from tormenting Riku. By association, Riku is even further feminized by the use of and impeding destruction of his own body
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