In Harlequin Presents, the recurrence of particular moments of resistance suggests that these structures of events have meaning apart from -and perhaps even antithetical to - the ideological outcome of any specific text. The ideological structures presented in the romance novel are not passively accepted, nor do they simply fulfill a single pre-existing need or desire in their reading public. Romance novels utilize ideologies in a self-consciously playful and ironic way. These texts offer multiple ways of understanding the worlds they depict, the structures of understanding contained within being posited and discarded. This thesis proposes a means of interpreting the romance novel captures the ambivalence of the reading experience. I will show how the paradox of the romance novel - the seemingly limitless potential of a feminine discourse of the private sphere that is set within the conservative confines of repetitive narratives of social integration - is incorporated into the structure of the texts themselves.
While the texts in the series manifest standardized outcomes, they also exhibit recurrent patterns of resistance. The serial form of Harlequin Presents dictates that this tension between separate value sets and ideologies is never fully resolved. The appeal of the romance novel must then lie between these competing demands. Each of my chapters examines the ways that this ironic tension functions within a different intellectual space. In considering how the domestic sphere, the body and the nation are overlayed with multiple, contested meanings, this thesis maps out the scope of ideological resistance and adherence throughout Harlequin Presents. / Thesis / Doctor of Philosophy (PhD)
| Identifer | oai:union.ndltd.org:mcmaster.ca/oai:macsphere.mcmaster.ca:11375/16078 |
| Date | 07 1900 |
| Creators | Downey, Kristin |
| Contributors | Szeman, Imre, English |
| Source Sets | McMaster University |
| Language | en_US |
| Detected Language | English |
| Type | Thesis |
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