(S) Plot, What Plot? Critical Perspectives on Romance Fiction

Rugged love interests, relentless self-improvement, tales of heartbreak, abundant alcohol consumption, and frantic last-minute dashes through crowded cities – most, if not all, of these plot points are hallmarks of romance novels or "Chick Lit". Though intended primarily for women and focused on women’s experiences, the genre is paradoxically criticized as post-feminist and accused of undermining the progress feminism has achieved in recent decades. It is frequently dismissed as "candy floss romance" (Ferris & Young 2006: 2), yet it continues to be a hugely popular, profitable, and influential part of contemporary fiction.

Through close readings of selected texts, we will explore whether and how Chick Lit challenges or reinforces gendered beliefs about women, and whether it should be considered feminist or anti-feminist—or if such a binary framing is even useful. Additionally, we will examine the social fantasies these works engage in and trace how female authorship has been constructed throughout literary history. Romance literature will also be analysed as a deconstruction of traditional notions of femininity.

Assigned texts and films may include Persuasion (1818, with the 2022 film adaptation), Bridget Jones’ Diary (2001), Love, Actually (2004), The Beauty and the Highland Beast (2011), along with other selected texts to be provided at the start of the semester.