<abstract xmlns="http://www.w3.org/1999/xhtml"><p>In their landmark text <italic>The Madwoman in the Attic: The Woman Writer and the Nineteen Century Literary Imagination</italic> (1970), Sandra Gilbert and Susan Gubar pose a series of hypotheses concerning women-authored fiction in the nineteenth century, identifying two archetypical female figures in patriarchal literary contexts – the Angel in the House, and the Monstrous (Mad)Woman. Gilbert and Gubar echo a Woolf-ian call to action that women writers must destroy both the angel and the monster in their fiction, and many contemporary women authors have answered that call – examining and complicating Gilbert and Gubar’s original dichotomy to reflect contemporary concerns with female violence and feminism. Gillian Flynn’s <italic>Gone Girl</italic> (2012), and in particular the character of Amy Elliott Dunne, explores modern iterations of the Angel v. Monster dynamic in the guise of the “Cool Girl,” thus revising these stereotypes to fit them in a postmodern socio-historical context. The controversy that surrounds the text, as well as its incredible popularity, indicates that the narrative has struck a chord with readers and critics alike. Both Amy and Nick Dunne represent the Angel and the Monster in their marriage, embodying Flynn’s critical feminist commentary on white, upper-middle class, heterosexual psychopathy.</p></abstract>

In their landmark text The Madwoman in the Attic: The Woman Writer and the Nineteen Century Literary Imagination (1970), Sandra Gilbert and Susan Gubar pose a series of hypotheses concerning women-authored fiction in the nineteenth century, identifying two archetypical female figures in patriarchal literary contexts – the Angel in the House, and the Monstrous (Mad)Woman. Gilbert and Gubar echo a Woolf-ian call to action that women writers must destroy both the angel and the monster in their fiction, and many contemporary women authors have answered that call – examining and complicating Gilbert and Gubar’s original dichotomy to reflect contemporary concerns with female violence and feminism. Gillian Flynn’s Gone Girl (2012), and in particular the character of Amy Elliott Dunne, explores modern iterations of the Angel v. Monster dynamic in the guise of the “Cool Girl,” thus revising these stereotypes to fit them in a postmodern socio-historical context. The controversy that surrounds the text, as well as its incredible popularity, indicates that the narrative has struck a chord with readers and critics alike. Both Amy and Nick Dunne represent the Angel and the Monster in their marriage, embodying Flynn’s critical feminist commentary on white, upper-middle class, heterosexual psychopathy.

“Catastrophically Romantic”: Radical Inversions of Gilbert and Gubar’s Monstrous Angel in Gillian Flynn’s <italic>Gone Girl</italic>

American, British and Canadian Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

“Catastrophically Romantic”: Radical Inversions of Gilbert and Gubar’s Monstrous Angel in Gillian Flynn’s 

In their landmark text The Madwoman in the Attic: The Woman Writer and the Nineteen Century Literary Imagination (1970), Sandra Gilbert and Susan Gubar pose a...

“Catastrophically Romantic”: Radical Inversions of Gilbert and Gubar’s Monstrous Angel in Gillian Flynn’s Gone Girl

Online veröffentlicht: 01. März 2021

Seitenbereich: 86 - 110

DOI: https://doi.org/10.2478/abcsj-2020-0018

Schlüsselwörter
Sandra Gilbert, Susan Gubar, Gillian Flynn, feminist fiction, contemporary fiction, domestic noir, female violence, gender, performative femininity

© 2020 Ashley E. Christensen, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

“Catastrophically Romantic”: Radical Inversions of Gilbert and Gubar’s Monstrous Angel in Gillian Flynn’s Gone Girl

Online veröffentlicht: 01. März 2021

Seitenbereich: 86 - 110

DOI: https://doi.org/10.2478/abcsj-2020-0018

SchlüsselwörterSandra Gilbert, Susan Gubar, Gillian Flynn, feminist fiction, contemporary fiction, domestic noir, female violence, gender, performative femininity

© 2020 Ashley E. Christensen, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Schlüsselwörter
Sandra Gilbert, Susan Gubar, Gillian Flynn, feminist fiction, contemporary fiction, domestic noir, female violence, gender, performative femininity