Building upon the ideas of Illouz (Illouz, 2017b) this practice led research project encompasses a survey of readers and writers of romance fiction which supports the contribution to knowledge. Included in this thesis are textual analyses of romance fiction exploring engagement with feminism and feminist issues. The creative component is a self-reflexive and reflective futuristic science fiction novel, which explores gender and feminism by deliberately applying the motif of romance fiction as a conceptual ‘bridge’ between the present and the past. The degree to which feminism—the discussion of feminist ideals and issues—has been taken up in romance fiction demonstrates and explains how romance fiction has become increasingly feminist. It is not just the feminist movement itself but upheaval in society caused by changes in the 1970s, 1980s and 1990s which created a ‘perfect storm in marriage and family life’ (Coontz, 2005, p. 282). Selective aspects of feminism have been co-opted by Western governments and capitalism combined with a cultural focus on love in Western society. Feminism through these vectors promulgates notions of feminist equality in relation to education, employment and how both can increase purchasing power and participation in the economy (McRobbie, 2004, p. 14). Feminism since the 1970s has been part of the romance writers’ and readers’ habitus. Romance fiction has absorbed and reflected facets of the feminist movement surrounding the depiction of the heroine, her situation in the world and even the perspectives of the hero. This incorporation includes gender politics, the economics of romantic relationships; and changing social views of love, marriage, sex and gender roles. Moreover, these works of fiction written mostly by women for women become culturally valuable historical documents (Auchmuty, 1999, pp. x-xi). This research argues that the ideas of ‘romance’ and ‘feminism’ are cojoined twins, providing the habitus for romance writers and their readers.
Contents
1. Introduction -- 2. Critique of romance fiction -- 3. Methodology -- 4. Data: Romance Readers' Survey -- 5. Data: Romance Writers' Survey -- 6. Crossing the romance bridge to the past -- 7. Creative work: Sihem -- 8. Conclusions -- Sihem: a novel.
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The texts at the core of this research are drawn from a pool of largely contemporary realist novels of the Mills & Boon type, from the 1970s to the present (approximately 85). Additional reading includes 48 titles in the J. D. Robb ‘In death’ series, futuristic suspense/crime, Keri Arthur’s dark urban fantasy novels, science fiction romance titles and other single title works. (1)
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Like other types of narratives, romance fiction texts are cultural artefacts because authors absorb and reflect aspects of culture at the time of writing. While they are fiction, as in created from the imagination or fantasy, many contain valuable insights to the human condition, particularly centred on women. Older texts, therefore, provide a glimpse of the social and cultural dispositions relative to their respective time periods. (2)
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This research project exposes feminist ideas and values within romance fiction, and—in contrast to the notion of feminist fiction proposed by Cranny-Francis—suggests that these value propositions and character traits can also functionwithinthe dominant ideologies. Feminist ideals and values within romance fiction fit within the definition of liberal feminismbut also reflect values of sex-positive third wave feminism such as ‘... being able to interact with men as equals and claim sexual pleasure as they desire it (heterosexual or otherwise) ...’(Snyder, 2008, p. 179). (14)
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The primary intention of the reader survey is to assess reader reception of popular romance fiction novels that include discussion of the broad feminist agenda or feminist issues in the narrative. Secondly, the survey seeks to assess reader identification with feminism and/or with feminist ideas. Because readers are asked to identify what type of reader they are (avid, dedicated, occasional or never read one), their level of identification with feminism could also be considered against their degree of engagement with the genre. As there are a plethora of ‘feminisms’ in existence, there was no one concept to define and include in the survey. It is up to readers to subjectively identify with feminism using their own set of beliefs at the individual level. The survey contains questions on reading habits, acquisition of books, characteristics of heroines and heroes preferred, the motivation to read romance books, as well as questions on other genres read. Descriptive questions are also asked in relation to age, gender and employment. (54)
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The intention of the writer survey is to assess whether romance authors included discussion of the broad feminist agenda or feminist issues in their narratives. Secondly, the survey seeks to assess writer self-identification with feminism and/or with feminist ideas. As with the reader survey, no specific definition of ‘feminism’ is included. Instead, writers are required to subjectively identify with feminism using their own set of beliefs at the individual level. The writer survey is similar in design to the reader survey, with some questions corresponding in intent and others deviating to include perspectives on motivations for writing romance. Authors are asked if they read romance novels and are also asked if they read other genres. Descriptive questions are also asked in relation to age, gender and employment. (55)
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The survey was launched on 20 October 2016. By the close of the survey period on 30 June 2017, the surveys had garnered 602 completed responses from readers of popular romance fiction. (55-56)
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popular romance novels contain discussion on broader feminist social issues and that readers are noticing them. Social issues such as domestic violence, including child abuse, rape and sexual harassment filtered through into popular romance fiction by being unconsciously or even consciously taken up by the authors. As these romance novels are cultural artefacts, they can include issues that abound in society. (74)
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Romance readers answering the survey overwhelmingly felt that inclusion of feminist issues in romance fiction was a good thing, albeit if it was done well by the author [...] with 438 out of 602 or 73% responding positively. (76)
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do writers of popular romance fiction identify with feminism and include the depiction of feminist ideals and feminist issues within their own creative work? The key interrogation tool was an online survey targeting self-identified romance writers. The link to the survey questionnaire was circulated widely between 1 October 2016 and 30 June 2017, garnering an international response. The key findings and analysis in this chapter are based on the 266 complete responses to key questions contained in this survey. (87)
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Chapter 6 "provides text examples of domestic violence, rape, sexual harassment and issues surrounding equal opportunity" (109).
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Sihemdeals with the romance between the protagonists Tal and Gen and the human need for bonding and love in whatever form. What is especially interesting is their exploration of gender through an experiential history machine that uses an analysis of category romance novels to develop scenarios for an immersive, virtual reality experience. This immersive journey puts two non-gendered humans into male and female simulated realities and allows them to experience gendered bodies and gendered life. (127)
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Chapter 6 "provides text examples of domestic violence, rape, sexual harassment and issues surrounding equal opportunity" (109).
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Sihem deals with the romance between the protagonists Tal and Gen and the human need for bonding and love in whatever form. What is especially interesting is their exploration of gender through an experiential history machine that uses an analysis of category romance novels to develop scenarios for an immersive, virtual reality experience. This immersive journey puts two non-gendered humans into male and female simulated realities and allows them to experience gendered bodies and gendered life. (127)
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