By M. Makinen
Faraway from being a conservative author endorsing women's family function, Agatha Christie's ebook depicts girls as adventurous, autonomous girls who renegotiate sexual relationships alongside extra equivalent strains. girls also are allowed the harmful competency to disrupt society and but the texts refuse to determine them as double deviant due to their femininity. This designated textual research of her oeuvre demonstrates precisely how quietly innovatory Christie used to be in terms of gender, starting in nineteen twenty and concluding within the early seventies.
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Additional resources for Agatha Christie: Investigating Femininity (Crime Files)
400). As Rowland has argued, Tuppence renegotiates traditional gender roles, within the social structure of marriage itself, in her dissatisfaction ‘with the mundane “happy ever after” of her marriage’30 at the beginning of Partners in Crime. Where the married woman is supposed to devote herself to her home and husband, Tuppence confesses to ‘a wild secret yearning for romance – adventure – life’ (PIC, p. 9), and dismisses the ‘Woman’s sphere’ of domesticity as demanding only ‘ “Twenty minutes work after breakfast” ’ (PIC, p.
69 17 In Christie’s fictional world, intellect and sensibility, weakness and strength, drive and inertia, sexuality and morality are not simply factors of gender or age. In a Christie novel, young men are often frivolous sex objects, and appreciated as such, while young women are the solid breadwinners. 75 However, Gill argues in relation to the biographical material that this is because Christie ignores her social contexts and retreats into her own unconscious to create these fantasy characterisations that fight shy of gendered expectations.
There are also pastiches of the more heroic kind, with Bulldog Drummond and Edgar Wallace, and the rejection of Sherlock Holmes and Father Brown as ineffective in solving the particular cases in question. Thornley Cotton and Inspector French are taken in a more unproblematic pastiche. The twist of the gender blindness, since there are not enough female role models for Tuppence, and the power politics involved in whether the great detective or the sidekick solves the case argue that these rewritings are as much parodies as pastiches in signalling an ironic critique behind the playful repetition, and a critique that is gendered in relation to the power politics of the traditional detective duo, the very thing that the Beresfords problematise in their own sexual/textual relationships.
Agatha Christie: Investigating Femininity (Crime Files) by M. Makinen