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CHICK LIT and ITS CANONICAL FOREFATHERS: ANXIETIES ABOUT FEMALE SUBJECTIVITY in CONTEMPORARY WOMEN's FICTION by Laura Gronewol

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CHICK LIT and ITS CANONICAL FOREFATHERS: ANXIETIES ABOUT FEMALE SUBJECTIVITY in CONTEMPORARY WOMEN's FICTION by Laura Gronewol Chick Lit and Its Canonical Forefathers: Anxieties About Female Subjectivity in Contemporary Women's Fiction Item Type text; Electronic Dissertation Authors Gronewold, Laura Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 10:31:52 Link to Item http://hdl.handle.net/10150/238894 CHICK LIT AND ITS CANONICAL FOREFATHERS: ANXIETIES ABOUT FEMALE SUBJECTIVITY IN CONTEMPORARY WOMEN’S FICTION by Laura Gronewold ________________________________________ Copyright © Laura Gronewold 2012 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Laura Gronewold entitled “Chick Lit and Its Canonical Forefathers: Anxieties about Female Subjectivity in Contemporary Women’s Fiction” and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _________________________________________________________ Date: 20 July 2012 Charles Scruggs _________________________________________________________ Date: 20 July 2012 Edgar A. Dryden _________________________________________________________ Date: 20 July 2012 Jennifer Jenkins Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. _________________________________________________________ Date: 20 July 2012 Dissertation Director: Charles Scruggs 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Laura Gronewold 4 ACKNOWLEDGEMENTS It has been a long road to this dissertation, filled with unexpected challenges both physically and emotionally. I lost my father along the way, but gained a mentor and friend who has become like a father to me. To my dissertation director Dr. Charlie Scruggs: your friendship and guidance throughout my graduate career have helped me survive. We have talked about so many things: American literature, teaching, film, the state of higher education, the many lives we all live, and second chances. They say that you only get one mom and dad in life, but every once in a while, a person gets a second chance, and I got one with you. From the bottom of my heart, thank you, Sir Charles. Thank you, as well, to the other faculty members who have supported me on this dissertation: Dr. Edgar Dryden helped to ground this project in the literary canon. Dr. Caryl Flinn and Dr. Miranda Joseph helped give the project wings. Dr. Jennifer Jenkins stepped in late in the process when I needed a favor, and my project needed an injection of life. You are a true mentor, Dr. J, and I will be forever grateful for your enthusiasm, dedication, and meticulous reading. Patrick Baliani provided mentorship on my teaching; I’m thrilled we will continue to be colleagues in UA’s Honors College. And thanks to Dr. Susan White for inviting me to teach film with her. I also want to express my gratitude for a wonderful group of graduate student friends. Lauryn (Berlant) Bianco, Erin Durban-Albrecht, Eva Romero: you helped balance my experience with much-needed GWS perspectives. Mike Kolakoski, Stephanie Merz, Rachel Lewis, Jessica Shumake, Rosanne Carlo, Susan Meyers, Amanda Gradisek, Kristen Haven, Jordan Tracy, and Ryan Paul helped me find humor in difficult circumstances. Randi Tanglen hosted me on my first trip to Tucson and has been a valued friend ever since. Thanks also to Krista Millay for showing me that the post-dissertation world has so many possibilities and is full of freedom. My family has been supportive and understanding, if sometimes baffled, by my crazy desire to pursue a PhD. Thank you Mom, for wanting me to pursue my dreams. To my siblings, Ann, Peggy, and Steve, thanks for being proud of your little sister. To my niece Esther, you are a future intellectual colleague, so keep asking good questions of the world. Three longtime friends helped me remember that life goes on beyond the walls of the academy. Maria Winkler reminded me that I would never forgive myself if I didn’t finish, and Jen Longtin always made a phone call at the right time to encourage me. And to Steph Ewalt: thanks lady, for not saying, “I want to go.” There is a special thank you that must go out to my gals: Alison Betts, Mary Bell, and Marlowe Daly-Galeano. We started as a reading group, then became friends, and then became family. You all continue to inspire me. Thanks, especially, to MDG, for reading my chapters, laughing at my stupid jokes, and listening to more conversations about graduate school than any non-therapist should have to. Extra-special thanks go to Arianne Burford, my peer mentor: I couldn’t have done this without you, friend. I look forward to many more years of friendship and conversation. Finally, to my favorite person of all, Chad Blair: how do you thank someone who makes you a better version of yourself? Thank you for sharing everything beautiful and funny and sad and true, and for patience, good food, laughter, love, and more love. I can’t wait for our next chapter. 5 DEDICATION To my dad, who did not get to see me finish this project, and to my mom, who raised a feminist daughter in spite of herself. Thank you both for your love and patience. And, especially, to Chad: I cannot imagine finishing this project without you. I cannot imagine my life without you. 6 TABLE OF CONTENTS ABSTRACT ..........................................................................................................................................8 INTRODUCTION: THE RETURN OF THE FEMININE MYSTIQUE ..........................10 CHAPTER 1 READING THE NEW SENTIMENTAL FICTION ..............................................................20 Definitions and Generic Conventions of Chick Lit ...............................................................28 Literary Criticism and (Popular) Women Writers ...................................................................47 Theoretical Frameworks for Reading Chick Lit ......................................................................56 CHAPTER 2 READER, I SLEPT WITH HIM: NEGOTIATING ANXIETIES ABOUT FEMALE SEXUALITY IN PAMELA, BRIDGET JONES’S DIARY, AND THE DEVIL WEARS PRADA ........................................................................................67 The Confessional Diary Form .....................................................................................................83 The Mystery of Sally Godfrey .....................................................................................................97 The Slutty Best Friend ................................................................................................................106 Respectable Sexuality ..................................................................................................................119 CHAPTER 3 PASSING AND PERFORMANCE IN THE GENDERED WORKPLACE: SISTER CARRIE AND I DON’T KNOW HOW SHE DOES IT .....................................................................................123 The “Good Life” .........................................................................................................................127 Sister Carrie, Flânerie, and Possibilities in the City ..................................................................133 Gender Performance in the City ...............................................................................................144 I Don’t Know How She Ends Up Saving A Dollhouse Factory ........................................165 Work and Agency ........................................................................................................................180 7 TABLE OF CONTENTS – Continued CHAPTER 4 DESIGNER IDENTITY: FEMALE SUBJECTIVITY AND THE GLOBAL CONSUMER MARKETPLACE IN BREAKFAST AT TIFFANY’S AND CONFESSIONS OF A SHOPAHOLIC ..................................................183 A Woman You Wanted to Be ...................................................................................................192 Nothing Very Bad Could Happen To You There .................................................................201 “People will refer to me as the Girl in the Denny and George Scarf” ...............................223 “End Orientated Happiness” ....................................................................................................243 WORKS CITED .............................................................................................................................246
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