Feel free to download the PDF printable booklist below to see all books, series, and available formats. Know exactly which historical romance series you're. Her Sudden Groom (Historical Regency Romance) by Rose Gordon Series: Fairchild Regency Romance. . Series: The Brambridge Novels, Book 1. ( from 9 reviews). From nationally bestselling author Kristina Cook comes an award-winning historical romance set in Regency England--first time in digital!.
| Author: | BENITA GRATER |
| Language: | English, Spanish, Hindi |
| Country: | Serbia |
| Genre: | Art |
| Pages: | 717 |
| Published (Last): | 18.04.2016 |
| ISBN: | 291-6-50041-631-3 |
| Distribution: | Free* [*Registration needed] |
| Uploaded by: | LILA |
The Three Musketeers can be termed as a Romantic Historical Fiction work written by the French Author Alexandre Dumas. Key characters behind this story are. Results 1 - 20 of Explore our list of Historical Romance NOOK Books at Barnes & Noble®. Shop now & receive FREE Shipping on orders $25 & up!. Featured Historical Fiction Book. See All Historical Fiction Books · The Price of Innocence (Book One of The Legacy Series) by Vicki Hopkins.
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As my analyses illustrate, the novels selected for this genre study share an allegiance to the tenets and motives of heterosexual hegemony. I am inspired in this approach by the following passage by Umberto Eco: The very dichotomy between order and disorder, between a work for popular consumption and a work for provocation, though it remains valid, should perhaps be reexamined from another point of view.
In other words, I believe it will be possible to find elements of revolution and contestation in works that apparently lend themselves to facile consumption, and it will also be possible to realize, on the contrary, that certain works, which seem provocative and still enrage the public, do not really contest anything.
In this regard, the distinction between conformity and subversion is frequently delineated along the lines of the opposition which Beer identified between escape and instruction. Joseph Allen Boone frames his discussion of the romance in terms of an opposition between tradition and counter-tradition. This is by no means an exhaustive list, but I hope it indicates that romance, before it is anything else, is a dynamic, difficult, and uncertain genre which warrants further study and consideration.
That is to say romance is constituted by its uncontainability; it is infinitely iterable.
I also want to keep open the possibility that those aspects of postmodernism and romance which Elam highlights are also present in popular historical romance. Recent scholarship has noted significant changes in the structure and style of literary historical novels. Over the last two decades, a number of critics have argued that a new classificatory term is necessary to signal the difference between traditional historical novels and recent manifestations of the genre.
For Hutcheon, this paradox marks the postmodernism of the genre.
As noted above, in this study I look at texts from both ends of this scale with a view to exposing their common ground. Simply put, this classificatory term applies to heterosexual love stories set in the past. This book is principally motivated by feminist and antihomophobic politics in its efforts to interrogate the terms and discourses of heterosexual hegemony.
Without precedence, however, was the way in which homo- and heterosexuality became identificatory markers by which every given person, just as he or she was necessarily assignable to a male or female gender, was now considered necessarily assignable as well to a homo- or hetero-sexuality, a binarized identity that was full of implications, however confusing, for even the ostensibly least sexual aspects of personal existence.
Indeed, canvassing the principal, oft-cited texts in studies of the genre indicates that most, if not all, extended critiques of romance published to date have been flawed in this regard.
To this extent, she is interested in exposing the unfortunate and delimiting effects of the institutionally required distinction between the proper object for feminist studies and the proper object for gay and lesbian studies. An awareness of this danger motivated me to write this book. With these goals in mind, the two chapters in Part I build the theoretical scaffolding for the remainder of the book.
My starting point is the extraordinary work of J. Theories of performativity are seductive because of their capacity to describe the tenuousness of processes of naturalization or normalization. This aspect of theories of performativity fuels my optimism in this book.
Instead the book seeks to demonstrate that the very forces which destabilize and subvert the principal messages of these texts are always already at work within them. This insight motivates the readings offered in the following chapters as they try to avoid presenting a constructivist account of gender and sexuality which leaves us no room within which to imagine a different and better future.
Part II does not offer a wide-ranging survey of popular historical romance fiction. A number of other scholars have already met the demand for such a study Wallace, Strehle and Carden.
Instead, the chapters in this section provide an introduction to an important and intriguing subgenre of popular historical romance which has been overlooked by earlier studies: cross-dressing novels.
Chapter 3 examines the contribution to the form by Heyer and Chapter 4 presents a survey of cross-dressing novels published over the last twenty-five years by a range of contemporary popular novelists, including Kathleen Woodiwiss, Norah Roberts, Catherine Coulter, and Jude Deveraux.
What role does the romantic speech act play in the form and function of literary historical romance fiction? The germ for this selection of texts was my frustration with the gaps and errors in scholarly discussion of these intimately related novels.
