Titlebook: Happily Ever After?; Women’s Fiction in P Niamh Baker Book 1989 Niamh Baker 1989 body.Britain.corpus.fiction.Great Britain.love.myth.women

Introduction

虛弱的神經(jīng)

Introduction: A myth of happiness,pinion as mistaken — as that powerful image of the Victorian lady palely reclining on her couch, smelling-salts held delicately to her nostrils. The postwar British woman was more robust than her Victorian grandmother, but she was still the Angel in the House. A slightly battered angel it is true, o

使入迷

BUCK

觀察

lipids

,‘Remember Madame Bovary’: infidelity,ten sought, to provide the excuse as well as the energy to break up a marriage. In the immediate postwar period there was a steep rise in marital breakdown and the divorce rate began to climb.. The reasons were many: marriages begun in the artificial atmosphere of war; long separation during war, wi

Ventricle

Ugly sisters,her mother, ‘She seems such a clever little girl. What a pity she is so U-G-L-Y.’ Unfortunately Pamela Hansford Johnson’s cleverness meant she could spell at this age and she therefore understood the cruel remark. Her mother, challenged to explain the remark by the young Pamela, claimed she was mist

紅潤

,Children: ‘strange unexpected flowerings’,rime carers of children. This can result in child characters being seen simultaneously from both sides of the adult/child divide, with the adult’s and child’s worlds running parallel and only occasionally touching. The child’s perception and innocence is balanced by the adult’s knowledge and experie

閹割

Women and work,ncharacteristic of Beth, whose immersion in her fictional world precludes such a sharp view of male manipulation. Apart from its anger, it effectively states the dilemma . work outside the family presents for a woman, and is still as true today as when it was written in 1947.

Spinal-Tap

Fictions: subverting the stereotypes,what goes before, by their own culture, and women novelists cannot ignore the messages embedded in the stories they inherit. Despite the number of women writing novels, it is the male viewpoint which dominates narrative patterns. The strong hold of the heroic pattern and a long line of sleeping prin