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Product details
File Size: 1099 KB
Print Length: 282 pages
Page Numbers Source ISBN: 0807843490
Publisher: The University of North Carolina Press; 2 edition (November 18, 2009)
Publication Date: November 18, 2009
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00ZVEZRWG
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Despite the growing popularity of cultural studies, it's still surprising to find a literary academic who embraces popular culture. More surprising still is that Janice Radway managed to head down this path almost twenty years ago. Recognizing that a theorist who refuses to engage with popular fiction is ignoring perhaps 90% of what people actually read, Radway does not dismiss romantic fiction as beneath her attention. Rather, she sets out to conduct an empirical study into the genre. In doing so, she addresses some important questions: Why do women read romance? What social and psychological needs does it meet? If there is an "ideal" romance, what are its components and why? How does the unique language of romance do its work? In answering these, Radway not only manages to define an entire genre. She also draws out some rather chilling and not so obvious conclusions about the role of romantic fiction in preventing the feminist agenda from taking hold. And unlike many criticisms of romance, Radway's is based on observation, experience and facts. Her preference for foregrounding the evidence rather than her own views is mightily refreshing. My only reservation is the ease with which she extrapolates the reading experiences of a small group of women into conclusions about American culture in general. However, her excellent introduction to the second edition recognizes this, positions her study in relation to the emerging discipline of cultural studies, and suggests ways in which her study's insights might be further explored and tested. I strongly recommend this to anyone interested in the romance genre, or in academic approaches to popular fiction in general. Readers, writers, students and critics will all find something to learn here.
hugely influential work of scholarship. Should be mandatory reading for any contemporary lit class.
Information contained in the book was useful. However the fog was so small that I absolutely can't read it at all and I don't even wear glasses. I'm not quite sure how it was printed but it's a difficult copy
A scholarly book somewhat difficult to stay awake.
Shoddy ethnography, but that's what could be expected at the time. There are some hidden gems in the subtext, though the author doesn't seem to have realized it. Her thinly veiled contempt for her subjects and topic make this hard to swallow. If you hate romance, why write about it?
I found the responses of the individuals interviewed interesting, but the analysis rather uninteresting. Unless you are a proponent of feminist theory the authors thoughts and interpretations of the women's reasons for reading romance novels is bound to seem pretty suspect. She does own up to this in the introduction, and the material is still interesting, I just got sick of hearing about patriarchal marriages mighty quick.
I was disappointed to see that an earlier reviewer found the book condescending. I think it is true that when the book was written, for a largely academic audience, back in 1984, she probably felt she had to bend over backwards to have her work taken seriously by academics, so she couldn't have written "as a fan." But condescending? I really didn't think so. This book was inspirational to me when I was trying to find a way to approach the material I study (and personally enjoy), Japanese girls' and women's comics. I don't know if Janice (whom I know and admire) is a fan of romance novels, but I know she has always enjoyed popular literature, and that she really tried, in this book, to see romances as their readers see them, and to convey that point of view to academics and feminists who have always looked on romance with contempt. But think about it: if she had written the book from a "fannish," "gee-aren't-romance-novels-great" point of view, it would have ended up as a book by and for romance readers, and wouldn't have contributed to helping non romance-readers understand the genre. I would recommend this book to A) anyone who has always considered "genre fiction" to be pap, B) feminists who want to break out of the "feminists vs. non-feminist women" paradigm, and C) romance readers who would like some ammunition in defending the genre to others.
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