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se, Waters  devoted  herself  to  demonstrating  the  real  women  who  had  their  character  and individuality.  She  broke  the  stereotype  that  Victorian  women  were  “angels  in  the house,”  which  was  shaped  by  most  writers  in  the  Victorian  age  and  beyond.  She reshaped and presented the more authentic female characters, who are the real women about the Victorian past. The author argues that female figures in Fingersmith revealed their evil side of nature instead of being docile Victorian daughters or housewives, even though they were repressed by the overbearing patriarchy at that time. In other words, they  were  no  longer  traditional  female  Gothic  women  who  were  merely  victims threatened by patriarchy.  On the contrary, they had been developed into contemporary female Gothic women who had potential to threat others and resist the patriarchal social values.

Chapter Three Anxiety and Terror: Confinement Images in Fingersmith .. 35

Confinement Images in Fingersmith .................................. 35

Female Anxiety and Terror .................................. 45

Chapter Four Subversion and Identity Construction ........................... 54

Subversion of Male-dominated Writing ..................................... 54

Construction of Female Subjectivity............................. 63

Chapter Four  Subversion and Identity Construction

Subversion of Male-dominated Writing

Since  the  power  of  speech  is  the  manifestation  of  authority,  writing  is  a significant way women employed to gain power in the male-dominated society, which women  are  marginalized  and  lose  their  voices.  Women  in  their  writings  manage  to struggle for the female power and subjectivity. Accordingly, the subversion of the male discourse  and  male-dominated  writing  is  one  of  the  most  striking  features  of  the women‟s writing.

As  a  female  Gothic  and  Neo-Victorian  feminist  fiction,  Waters‟  Fingersmith  is inevitably  asserting  women‟s  voice  and  power  by  subverting  the  tradition  of male-dominated writing, which will be unfolded from two parts in the following section, including  the  foregrounding  of  narrative  voices  from  Victorian  female  outcasts,  Maud and  Sue,  and  the  feminist  subversive  rewriting  of  Maud  and  the  writer  Sarah  Waters herself.

According  to  Susan  Sniader  Lanser,  interpretive  practices  of  the  feminist narratology  are  concerned  with  the本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。