Recent years have witnessed important new initiatives in the
study of popular fictional modes of writing. At one time the field
could have been described with reasonable accuracy by two
traditions: one that analyzed the production and distribution of
popular fiction as commodities; and one whose proponents regarded
popular fiction as the negative which offered definition to the
exposure of the positive - the great canonic literary tradition.
Generally, then, popular fictions were to be evaluated according to
the institutionalized norms which had been established as common
sense practice around literary studies.
The decade of the 1970s, however ushered in a bewildering range
of theoretical debates - a crucial gain was establishment of
interdisciplinary courses in communication, cultural and media
studies, providing a network of contexts within which serious
analysis could evolve and progress. Responding to a fundamental
challenge from feminism, a primary objective of this book is to
propose that all narrative and its reading are intrinsically
inflected by sexual politics.
Various approaches represented here demonstrate problems of
confronting the gendered pleasures of reading. Questions about
self, sexuality and identity within specific historical formations
are raised. The objective is to frame, describe and unearth the
notion of men as readers as a project rather than as the usual,
unquestioned normative procedure.
Drawing eclectically upon Marxist, psychoanalytic and discourse
theory, the essays set out readings of popular texts and genres the
Western, the sentimental novel, detective and crime fiction,
political thrillers and horror and science fiction in the interest
of provoking other readers to see the critical study of popular
fiction as unthinkable without gender as a central concern.
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