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Discursive Construction of the Ideal Girl in 20Th Century Popular American Girls' Series by Kate Ha

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Discursive Construction of the Ideal Girl in 20Th Century Popular American Girls' Series by Kate Ha “Too Good to Be True”: Discursive Construction of the Ideal Girl in 20th Century Popular American Girls' Series by Kate Harper A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved April 2013 by the Graduate Supervisory Committee: Georganne Scheiner Gillis, Chair Heather Switzer Lisa Anderson ARIZONA STATE UNIVERSITY May 2013 ABSTRACT This dissertation examines the discursive construction of the trope of the ideal girl in popular American girls' series in the twentieth century. Girls' cultural artifacts, including girls’ literature series, provide sites for understanding girls' experiences and exploring girlhood itself as a socially constructed identity, yet are often overlooked due to their presumed insignificance. Simple dismissal of these texts ignores the weight of their popularity and the processes through which they reach such status. This project challenges the derisive attitude towards girls' culture and begins with the assumption that these cultural texts do ideological work and therefore require consideration. The dissertation traces the development of the ideal and non-ideal girl over time, taking into account the cultural, political, and economic factors that facilitate the production of the discourses of girlhood. I include analysis of texts from six popular American girls' series as primary texts; visual elements or media productions related to the series; and supporting historical documents such as newspapers, "expert" texts, popular parents' and girls' magazines, film; and advertising. Methodological approach incorporates elements of literary criticism and discourse analysis, combining literary, historical, and cultural approaches to primary texts and supporting documents to trace the moments of production, resistance, and response in the figure of the ideal girl. Throughout the project, I pay particular attention to the intersections of race, class, gender, sexuality, and nationality in the figure of the ideal girl and her non-ideal counterparts. I argue that girls' series, slipping under the radar as a denigrated cultural medium, capture and perpetuate cultural anxieties around heterosexuality, whiteness and American identity, appropriate gender roles, and class mobility. These texts discipline the non-ideal girl toward the ideal, always with the expectation of failure. i ACKNOWLEDGMENTS I want to say a sincere “thank you” to the following: To Georganne Scheiner Gillis, my advisor and mentor, whose guidance and encouragement has been more than I could hope for, and who taught me far more than this dissertation suggests. I expect you to be present for the birth of my children. <wink> Thanks also to Marv Gillis, for cheering me on and carrying my heavy suitcase. To Lisa Anderson, for her administrative direction and advice on self-care, without which I could not have survived graduate school. To Heather Switzer, for her timely responses, careful critique, and comprehensive advice throughout the project. To Yasmina Katsulis, for making time for fun, and for inviting me to work on the Girls’ Sexualities and the Media project—an incredible learning experience. To Sarah Gardner, the coolest professor I know, for inspiring me to pursue teaching. Her advice, friendship, and brutal honesty keep me going. To my Aunt Shellie and Uncle B for enthusiasm and countless offers of help. To Ryan, for the endless supply of love and encouragement. Finally, to Lauren, who has stood by me for the past fifteen years through the darkest moments, and who reminds me of my strengths when I forget. The completion of this dissertation was made possible by a Graduate College Completion Fellowship through Arizona State University. This project was partially supported by the Arizona State University Graduate and Professional Student Association’s JumpStart Grant Program. Special thanks to the Marjorie Rothschild Fellowship for Women’s Studies Research, and to Mary Rothschild for her dedication to feminist scholarship. Thanks also to the English department at University of Texas at Austin for supporting me as a visiting scholar. ii TABLE OF CONTENTS Page CHAPTER 1 INTRODUCTION: CONSTRUCTING THE IDEAL GIRL ..................................... 1 Literature Review ............................................................................................. 3 Project Goals ................................................................................................... 11 Methodologies ............................................................................................. 12 Key Terms and Theoretical Considerations ............................................... 13 Overview of Chapters ................................................................................. 20 2 THE SERIAL GIRL COMES TO LIFE IN DOROTHY DALE ............................ 26 3 CONTRADICTORY GIRLHOOD IN THE NANCY DREW SERIES .................. 49 4 THE IDEAL GIRL NEGOTIATES THE FRACTURED FIFTIES ....................... 84 5 THE BABYSITTERS CLUB SELLS DIVERSITY ................................................ 113 6 SWEET VALLEY HIGH ROMANCES THE IDEAL GIRL ................................. 147 7 CONCLUSION:THE IDEAL GIRL ON THE BIG SCREEN ............................... 181 REFERENCES ...................................................................................................................... 203 APPENDIX: GIRLS’ SERIES ........................................................................................... 223 iii Chapter 1 INTRODUCTION: CONSTRUCTING THE IDEAL GIRL Writing to publishers Grosset and Dunlap in 1928, Edward Stratemeyer outlined a new hero for an adolescent series, a rapidly developing and highly profitable genre: Stella Strong, a girl of sixteen, is the daughter of a District Attorney of many years standing. He is a widower and often talks over his affairs with Stella and the girl was present during many interviews her father had with noted detectives and at the solving of many intricate mysteries. Then, quite unexpectedly, Stella plunged into some mysteries of her own and found herself wound up in a series of exciting situations. An up-to-date American girl at her best, bright, clever, resourceful and full of energy.1 Stratemeyer’s proposal would spark the creation of the Nancy Drew mystery series, which would become the longest running and best selling of the adolescent detective genre. In outlining his heroine, Stratemeyer presented young readers with a new role model, one who conveyed many of the social expectations of the ideal girl in the early twentieth century. This project explores the discursive production of the ideal girl in popular American girls’ serial literature over the course of the twentieth century. At this center of the project is an exploration of the ideal girl as such—a historical and cultural construct that becomes concretized and essentialized over time through replication, reassertion, and exclusion. The ideal girl functions much like gender: a copy without an original, continually remade through representations.2 Because the figure of the ideal girl is a copy, she requires constant reiteration, produced and reproduced through repetition. Despite the fact that the ideal girl only exists as a constructed image, her continued presence impacts our expectations of lived girlhood. Representations do not simply reflect the world; they help constitute our realities. The figure of the ideal girl, haunted by the specter of the non-ideal girl, functions as a political and ideological force, shaping our perception of who and what girls should be.3 In order to denaturalize and contest the 1 figure of the ideal girl, this project seeks to consider her discursive production through the cultural site of girls’ serial literature. In order to trace productive shifts in the trope of the ideal girl, I examine her uneven journey over the course of the twentieth century in popular girls’ series to construct a genealogical account of the ideal girl. I employ “genealogy” not to produce an end result of a cohesive history of the ideal girl or to find an original, but in a methodological fashion. This genealogy “does not trace concepts back to their origins (a task which presupposes continuity), but to points at which contradictions and contestations erupt in a manner productive of later discursive formations.”4 As Nikolas Rose notes, a genealogy is “not a history of ideas: its domain of investigation is that of practices and techniques.”5 Rather than claiming to produce a seamless history of the ideal girl in serial literature, I examine the representational processes through which the ideal girl is produced and maintained over time—through reiteration, repeated exclusion, and the simultaneous rejection and integration of shifting cultural and social expectations. Children’s scholar and cultural critic Henry Giroux captures perfectly the central motivations for this project: My concern with the depictions of such representations lies not in deciding whether they are good or bad, but in analyzing them in relation to the pedagogical work they are doing. That is, what knowledge, values, and pleasures do such representations invite or exclude? What particular forms of identity, agency, and subjectivity are privileged, and how do they help to reinforce dominant reactions, messages, and meanings?6 To understand the ideological functions of the ideal girl in girls’ serial literature and the implications for girls today, we must consider the historical foundations of current mainstream
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