By Shirley Foster
ISBN-10: 0333626737
ISBN-13: 9780333626733
ISBN-10: 134923933X
ISBN-13: 9781349239337
What Katy learn specializes in a far missed quarter of literary feedback: literature for women. Written by means of girls for kids, such texts were doubly marginalized via the severe institution. Shirley Foster and Judy Simons use twentieth-century feminist severe perform to open up clean views on renowned fiction for ladies written among 1850 and 1920. The learn analyses either American and British novels for ladies that have got 'classic' prestige, from the household delusion to the college tale, and considers their scope and effect in supplying function types for woman readers.
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Extra info for What Katy Read: Feminist Re-Readings of ‘Classic’ Stories for Girls
Sample text
119 As these quotations make clear, most of Warner's early readers accepted her representation (and validation) of the age's conception of ideal womanhood; the North American Review's admiration for heroines who' are conscious of having a power and place in the world, and ... claim it without assumption or affectation, and fill it with a quiet self-respect, not inconsistent with modesty and due humility,"? for instance, voices approval for the essentialist and separatist view of female roles which the novel seems to endorse.
It is only with the introduction of the school story in the form pioneered by Brazil that family is replaced in English fiction for girls by the notion of an independent female community within which female adolescence can find scope for redefinition. Instead of being located within a familial context, American girls are encouraged to define their selfhood through a strong sense of patriotism and national identity. American national characteristics, including a more developed spirit of independence, are seen to affect models of girlhood that challenge the more rigid standards of conduct prevailing for their English counterparts.
There is of course a danger in predicating the extent to which women in particular reproduce autobiographical narratives in their fictions, what Mary Jacobus terms the 'autobiographical "phallacy" - whereby male critics hold that women's writing is somehow closer to experience than men's, that the female text is the author, or at any rate a dramatic extension of her unconsciousness/'" At the same time, theorists of women's autobiography have been keen to emphasize 'the many distancing devices by which a woman writer weaves her strategy of self-representation" into texts that appear on the surface to conform to regulated modes of female discourse.
What Katy Read: Feminist Re-Readings of ‘Classic’ Stories for Girls by Shirley Foster
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