In early 2016, as part of an effort to encourage more university Women’s Studies programs to include courses about popular fiction in their offerings, one of the largest US publishing companies, HarperCollins Publishers, created a blog called Gender & Genre (full disclosure: this is currently my publisher), and invited its academically inclined authors of women’s fiction to contribute to it. My piece came directly from my experience teaching romance fiction and the genre romance industry to undergraduate students at Duke University. As part of our ongoing conversation about women and popular fiction, I’m sharing it here.
Home » Uncategorized » Cinderella Revisited (Or, Why I Teach the History of the Romance Novel to University Students)
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- 1920s Prohibition and Alcohol
- 1930s Reception to GWTW
- 1930s Vice, Virtue, and Censorship
- 1950s Ads in Comics
- 1950s Comics and the Ideal Woman
- 1950s Comics and Vogue
- 1950s Depictions of Attraction
- 1950s Lesbian Novel Covers
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- 1980-2000 Black Publishers
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- 1993 Cover Art
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- 2018 RITA Snub
- A Safe Space for Bad Boy Addicts
- Age Diversity
- Alcott’s Secret Identity
- Alpha Heroes
- Ann Bannon Lesbian Pulp
- Anna Todd’s “After” Series
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- Iola Leroy’s Romance
- Jane Austen vs. Jane Eyre
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- Lesbian Pulp 1950s-60s
- Literature and Pornography: Story of O
- LJ Smith and Self Publishing
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- Masculine Identity in Contemporary Romance
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- Masculinity in Contemporary Romance: Alpha or Virtuous?
- Masculinity in Medieval Historical Romance
- Men on Covers
- Men With Female Pen Names
- Modern Suffragettes
- Mr. Romance Competition
- Native American Heroes
- New Adult Community on Goodreads
- Novellas in Romance Fiction
- Orientalism in Romance Fiction
- Otome Games
- Patricia Highsmith and The Price of Salt
- Patricia Highsmith’s Pseudonym
- Plagiarism in Regency Romance
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- Popularizing Black Romance
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- Resistance Romance
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- Reviews of Anna Karenina
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- Sensitivity Readers
- Settings in Historical Romance
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- Southern Identity in Gone With The Wind
- Star Trek Fanzines
- Static Masculinities in Historical Romance
- Strong Heroines in Suspense Romance
- Team Edward or Team Jacob?
- To All The Boys I’ve Loved Before
- Transgender Romance
- Twilight Moms
- Twilight Tourism
- Unhappy Endings in Pulp
- Unlikable Heroines
- Well-Loved Heroines in Contemporary Romance
- Who We Are
- Women’s Barracks In Government Hearing
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- WWI Reviews
- WWII Armed Services Editions
- YA Heroines
- YA Romance Origins
- Zines and Romance
Hi Katherine, thanks for sharing your article. As a mum of two young daughters myself, it’s interesting to see how these old stories with their antiquated views of gender roles are still being served up to new generations, e.g. the Disney live action remakes of Cinderella and Beauty and the Beast. I suppose the counterpoint in the Disney world would be the casting of a strong, independent female lead in the new Star Wars films (and associated novels ;)). Modern pop culture, whole still seemingly stuck in the past to a certain extent, does seem to at least be trying to move forward to embrace a wider vision of the scope of female identity. The fact that a lot of these new heroines need to be princesses or of some kind of royal lineage in order to justify their worthiness in the story, however, would suggest we still have quite a way to go.
Well said, Cristel. The princess fantasy is still strong in our popular imagination. Perhaps it’s particularly strong because of the powerful rags-to-riches myth that underpins so much of American exceptionalism. In that case the princess fantasy would be about both class and gender. It’s certainly intertwined more often than not in genre romances. Thanks for commenting!