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Proquest Dissertations Eat Me, Drink Me: Examining the Ways that Twentieth-Century Heroines Outgrow the Prescribed Feminine Spaces of Victorian Fantasy Literature for Children by Coleena Fanjoy Bachelor of Arts, University of New Brunswick, Saint John, 2007 A Thesis Submitted in Partial Fulfillment of the Requirements for the degree of Masters of Arts in the Graduate Academic Unit of English Supervisor: Dr. Sarah Maier, English Examining Board: Dr. Robert Moore, English, Chair Dr. Linda Eyre, Interdisciplinary Studies Dr. David Creelman, English Dr. Sandra Bell, English This thesis is accepted by the Dean of Graduate Studies THE UNIVERSITY OF NEW BRUNSWICK April, 2010 ©Coleena Fanjoy, 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your Tile Votre reference ISBN: 978-0-494-82650-8 Our file Notre r6f4rence ISBN: 978-0-494-82650-8 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada Abstract In the Victorian literature written for children that is considered "classic"— defining the parameters of the literature that follows—norms prescribed for social behavior are rampant. Although masculine codes do exist, they are in place for the male hero to reach his full potential, whereas the code of femininity negatively impacts the heroine and highlights her shortcomings. The heroine must be passive, domestic and silent while the woman who fails to conform to this ideal must be silenced. Essentially, a woman is angel or monster. This binary of womanhood that is present in the fairy tales of Charles Perrault and the Grimm Brothers, Charles Dodgson's Alice books, and J.M. Barrie's Peter Pan is challenged in a number of feminist retellings of these stories. Angela Carter's The Bloody Chamber, Stephanie Bolster's White Stone and Laurie Fox's The Lost Girls rewrite feminine space as a locus of the active, the vocal, and, indeed, the passionate in order to challenge their predecessors and emancipate their heroines from the confines of male-authorship and static, dichotomous Victorian ideals. n Preface As Wendy Saw It It wasn't as pretty as he made it out to be—Barrie, that is. Waking up to a stranger sniffing around the foot of the bed, whispering under your blankets—half truths at best— offering a kiss in his palm. Standing on the windowsill, making like it's your decision to step off the edge; he and the stars, laughing behind your back because they know it's not. Forces this dust up your nose and flies you off to East Jesus Nowhere in the middle of the night. On the island, you clean to keep your hands busy; instead of socks, wish you could slipstitch the mouth that crows, baste the eyes that won't look straight at you. You storm out, children in tow like beaten puppies, into the arms of a man with a hook for a hand who calls himself 'Captain.' Brings you aboard his ship—you're the only one he lifts by the hips. Calls you -worm to bait the bird whose shell's stuck in his craw. Lashed to the mast to the tune of a ticking clock— and then you're as good as pushed back through the bedroom window without so much as a hey, it was fun while it lasted. First thing Monday: buy that pair of crocodile boots you've been eyeing. in Acknowledgement There are a number of people that deserve my gratitude for the part they have played in the completion of this project. First, to my supervisor, Dr. Sarah Maier: your support and direction have been invaluable over the course of my academic career and throughout this process. It has truly been a pleasure and an honour to work with you. To the members of the English department at UNB: thank you for the guidance and knowledge that you have shared with me. Without you, this project would not have been possible; your expertise is inspiring. To my parents: the fact that you are proud of me drives my success. To my grandparents: your unwavering belief in my capabilities is more than anyone could ask for. Lilly: your dedication and patience makes me a better person. And to my friends: your distractions were as helpful and appreciated throughout this endeavor as your support was. You all had faith in my ability to see this through when I did not—you can never know how grateful I am. IV TABLE OF CONTENTS ABSTRACT ii PREFACE iii ACKNOWLEDGEMENT iv TABLE OF CONTENTS v EPIGRAPH vi INTRODUCTION 1 CHAPTER ONE 19 CHAPTER TWO 54 CHAPTER THREE 90 CONCLUSION 126 REFERENCES 133 CURRICULUM VITAE or CV v "I am only a little girl" (Barrie 101; my emphasis). VI Reductive thinking like that of Wendy Darling, exhibited in the epigraph from J.M. Barrie's Peter Pan (1911), appears with startling frequency in Victorian and Edwardian children's fantasy fiction. The insignificance associated with being female is a common theme in the nineteenth and early-twentieth century works included in this study. Both Charles Perrault and the Grimm Brothers' versions of "Little Red Riding Hood" (1697 and 1812 respectively) and "Cinderella" (1697 and 1812 respectively), the Grimm version of "Snowdrop" (1812), Charles Dodgson's Alice's Adventures in Wonderland (1865) and Through the Looking Glass (1871), and Peter Pan will serve to illustrate the gender stereotypes that exist into Victorian and Edwardian society. These male-authored, or, in the case of the fairy tales, male-recorded, narratives establish a binary of proper and improper female behavior. Lyn Pykett, in The "Improper" Feminine: The Women's Sensation Novel and the New Woman Writing (1992), expounds the traits of these two versions of femininity: The system of the proper feminine may be represented by the following set of polarities (the list is by no means exhaustive): the domestic ideal, or angel in the house; the madonna; the keeper of the domestic temple; asexuality; passionlessness; innocence; self-abnegation; commitment to duty; self-sacrifice; the lack of a legal identity; dependence; slave; victim. In the economy of the improper feminine, woman is figured as a demon or wild animal; a whore; a subversive threat to the family; threateningly sexual; pervaded by feeling; knowing; self-assertive; desiring and actively pleasure-seeking; pursuing self- fulfilment and self-identity; independent; enslaver; and victimiser or predator. (16) In short, the proper woman is an angel and the improper woman, a monster. The texts in this study primarily depict children's negotiations of the world around them, so the term "monster" is apt. Children fear the monster in the closet or the monster under the bed; within the nineteenth and early-twentieth century narratives in this study, female children 1 are taught to fear the monster within themselves: the corruptible, desiring impulses that threaten their respectability. The idea of monstrosity is pertinent to this study. Monstrosity is both a physical and a moral state. Nina Auerbach, in Woman and the Demon: The Life of a Victorian Myth (1982), suggests that Victorian society was particularly apt at suppressing monstrous qualities; patriarchal culture constructed an elaborate angelic ideal as a reaction to the fear of the monstrous: "The social restrictions that crippled women's lives, the physical weaknesses wished on them, were fearful attempts to exorcise a mysterious strength" (8). It is far easier to impose physical restrictions upon a population and use the body as the locus of control than it is to impose moral idealizations because physical progress can be represented visually: "one of the original meanings of 'monster' is from the Latin monstrare, meaning 'to warn' or 'to show.' With its usually horrific features, the monster demands to be seen" (Creed ix). It is not surprising, then, that in literature in which female characters feature prominently there is an overwhelming theme of body manipulation: The sexual nausea associated with all of these monster women helps explain why so many real women have for so long expressed loathing of (or at least anxiety about) their own, inexorably female bodies [...] all this testifies to the efforts women have expended not just trying to be angels but trying not to become female monsters.
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