Scholarly Paper (Advanced Seminar) aus dem Jahr 2002 im Fachbereich Amerikanistik - Literatur, einseitig bedruckt, Note: 2,7, Johann Wolfgang Goethe-Universitat Frankfurt am Main, Veranstaltung: Women Writers in the 19th century, 18 Quellen im Literaturverzeichnis, Sprache: Englisch, Abstract: I. Introduction In the conclusion to Feminist Fiction, Anne Cranny-Francis (compare to 201-202) brings up the question: How can a feminist use the genre of detective fiction which seems superficially to be about detection and revelation, but which is ideologically about concealment and mystification? Charlotte Perkins Gilman made one of the earliest attempts in 1929 out of feminist despair at what had become of her society and the movements to build a new one from it (Robinson 276). She wrote a novel, a spirited novel in a popular genre, the murder mystery, that would encapsulate her vision of feminism for the new times. The idea, this time, was not so much to hurl feminism into the jaws of post-feminism as to pry open those jaws and slip in a sugar-coated pill (Robinson 277). On the one hand, Unpunished has a feminist message about domestic abuse and marital rape. On the other hand, it contains a husband-wife detective team, common stock characters since 1913 (compare to G & K 101/103), not a single woman detective or at least a professional partnership as one could have expected. Creating this unequal couple, it could be said that Gilman adopted the conventions of detective fiction. First of all, I am going to summarize the history of detective fiction and fictional detectives created by women writers to demonstrate the prevailing conventions of the genre and the way these are converted in the book. I shall confine myself to a consideration of the detective couple Bessie and Jim Hunt disregarding their rival sleuth Gus Crasher. According to William Aydelotte, conventions are the elements that make detective stories popular because they correspond to wish-fulfillment fa
