The coming of age of the emancipated woman : a study of the bildungsroman as a form amenable to the feminist struggle for identity

Abstract

Acknowledging the wide proliferation and practise of the bildungsroman since its origins, this dissertation reviews the genre's appropriation in the domain of women's writing and in the context of postmodernism by Margaret Atwood and Toni Morrison. The two novels Cat's Eye and The Bluest Eye are analysed in depth as specific reworkings of the bildungsroman. As such, the study is not an exhaustive one and neither does it chronicle the development of the bildungsroman more generally and that of the female bildungsroman more specifically, throughout literary history, as other studies have done, but refers to such studies in so far as this is necessary to the understanding of the arguments set forth in relation to the texts under detailed discussion. A brief but relevant overview outlined in the introduction therefore helps to situate the study in the right context, thus enabling a more holistically structured approach. The first novel discussed is Cat's Eye with the first section devoted to establishing the narrative stance and the interplay of Elaine the protagonist's past and present, as well as her past and present selves. The themes that emerge here are relativity in age and gender constructs, inclusion/exclusion dynamics, and Elaine's sensitivity to others' perceptions of her. This is then related to lasting memories of her past and her formative relationship with Cordelia which impacts her present-day interactions, images she upholds publicly, and her relationship with herself. Next, attention is drawn to the struggle between appearance and reality that she becomes aware of on entering the all-female world, with regard to which the image of the innocence associated with little girls is debated, subverted and broken. Finally, a debate on the novel's The chapter on The Bluest Eye starts by again introducing the narrative situation as established by Claudia, with the difference that she is paired with the other voiceless protagonist Pecola. The resulting effect this unusual device has on the bildungsroman is then noted. The young Claudia's worldview allows for insight into the way children acquire consciousness of the harsh realities in the world around them, and her particular reactions are looked into and traced. Pecola is then introduced, providing a stark contrast of vulnerability to Claudia's confidence. Connections between her tragic life and society's complicity are identified, along with the damaging national construct of a white-picket-fence ideal that she measured her worth against, resulting in her prayer for the bluest eyes. This section ends on the note of reflections on Morrison's intentions for the reader. The dissertation concludes with comments concerning the novels' characterisation in terms of the postmodern subject, their comparison to non-literary fiction written by women, and the importance of bildungsromane like them within the tradition of the genre. This is followed by a list of the works cited throughout.