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Resumen
En este artículo, analizo tres novelas de romance histórico: Suffragette in the City de Katie MacAlister (2011), The Suffragette Scandal de Courtney Milan (2014) y A Rogue of One’s Own de Evie Dunmore (2020). Basándome en sus características similares en cuanto a caracterización, trama y desenlace, se puede decir que estas obras forman un subgénero específico de romance histórico, al que propongo llamar “Suffragette Historical Romance” (Autora/a 2024). Primero, exploro estos romances partiendo de las convenciones narrativas recurrentes que Pamela Regis (2003) asocia con el género, la más distinguible de las cuales es lo que ella define como la “barrera”: aquello que impide la unión entre el héroe y la heroína (14). Argumento que lo que hace únicas a estas novelas es que presentan el papel de la protagonista como sufragista o suffragette como la barrera que impide la resolución positiva de la historia de amor. En consecuencia, el final feliz solo puede llegar cuando la heroína decide renunciar a su activismo. A continuación, me centro en cómo estos romances contemporáneos están impregnados de la “sensibilidad postfeminista” que Rosalind Gill atribuye a las narrativas postfeministas (2007) debido a su paradójica y simultánea incorporación y repulsa de los valores feministas. Finalmente, sostengo que el movimiento sufragista se utiliza aquí para promover una ideología postfeminista según la cual el feminismo ha conseguido sus objetivos y, como resultado, se presenta como importante, pero ya no necesario.
Citas
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