学期论文

论文题目： From Ja ne Eyre a nd Ma ry Sue : t he

Cha ra ct e ri z at i on of Wom e n i n Nove l s a nd T V Se rie s

学生姓名 路安然

班 级 19 级英语 1 班

学 号 2018200946
 Jane Eyre, a novel of high romance and great intensity, has enjoyed popular success and
critical acclaim ever since its first publication in 1847. Jane’s journey from a troubled childhood
to independence – and her turbulent love affair with the enigmatic Mr. Rochester – electrified
readers hundreds of years with its narrative power. Jane Eyre ranks among the most influential
English novels ever written. However, it can be viewed from a different way as it had profound
influences for today’s novels and screenplay.
The term “Mary Sue” originally came from the name of a character created by Paula Smith
in 1973 for her parody story “A Trekkie's Tale” published in her fanzine. The story starred
Lieutenant Mary Sue (“the youngest Lieutenant in the fleet- only fifteen and a half years old”),
and satirized unrealistic characters in Star Trek fan fiction. Mary Sue was first a dazzling, young
and beautiful starship officer. She joined the core group and became the focus of attention. She
was omnipotent, won the hearts of the protagonists, and finally died dramatically in their arms. It
is assumed that many similar plots of novels and TV series can be inferred from this. Arguably,
Mary Sue exists in the hearts of almost all readers. “Mary Sue” has since come to stand for the
insertion of an idealized authorial representative in a popular work.
It is acknowledged that love has been the important theme in all kinds of literary works
throughout human history. Nowadays, with plots fancier and genres more diversified, we are
faced with more of them than any era before. Moreover, it seems that those “Mary Sue” novels
have been even more prosperous and thriving. This trend could be traced back to Jane Eyre, the
classic and popular novel in Victorian era.
In Chapter 23, where the story reaches its climax when Jane and Rochester finally
confessed their feelings to each other, there are plenty of details which reveal its “Mary Sue”
features and worth our thinking. At first, before Mr. Rochester came in reader’s view, there are
plenty of warm-ups for his perfect arrival. For example:
I looked round and I listen. I see trees laden with ripening fruit. I hear a nightingale
warbling in a wood half a mile off; no moving form is visible, no coming step audible; but that
perfume increases; I must flee. (252)
Charlotte here presented readers with lots of Jane’s minds: she carefully looked for a way
out but there was a pleasant perfume signaling Mr. Rochester’s presence. How wonderful that is
to show Mr. Rochester’s charm by portraying his perfume before he came up. In addition, the
dialogue between Jane and Rochester is also romantic and moving.
“Come to my side, Jane, and let us explain and understand one another.”
“I will never again come to your side: I am torn away now, and cannot return.”
“But, Jane, I summon you as my wife: it is you only I intend to marry.”
 I was silent: I thought he mocked me.
“Come, Jane—come hither.”
“Your bride stands between us.”
He rose, and with a stride reached me.
“My bride is here,” he said, again drawing to him, “because my equal is here, and my
likeness. Jane, will you marry me?” (258)
Each single words Rochester had said have such a magic power which can make countless
girls believe in him without hesitation. Just like the story of Cinderella, every girl has such a
dream. And in reading Jane Eyre and other works their dreams come true.
Mary Sue literature has been attracting large numbers of readers. The reason for its lasting
popularity can be traced back to the growing anxiety about the real world. Under the pressure of
modern world, people are overwhelmed by the endless work and stress. Common as we are, it is
easy to be found and drowned. It is totally understandable that everyone wants to be concerned,
recognized and played a leading role.
In China, the traits of “Mary Sue” have a pedigree going back to romantic novels of gifted
scholars and beautiful ladies emerging in the late Ming and early Qing Dynasties. As it comes
to contemporary literature, it has a more fixed pattern, as the heroines are all elegant and has
countless admirers. Though Jane Eyre was an orphan and was treated badly by her aunt, she
grew up as a learned and understanding woman. Moreover, she gained an unexpected big
fortune as found to be an heiress as well.
What is noteworthy is that there is often evil woman in those stories, serving as a
contrast to the perfect Mary Sue. In Jane Eyre, Miss Ingram was such a figure, who was
described as a hypocritical woman who agreed to marry Mr. Rochester only for his money.
Mary Sue’s wisdom and courage are contrasted by the evil and vicious nature of other female
characters. This kind of stereotype seriously affected the diversity of women's life. In order to
create the all-perfect heroine, some writers even choose to suppress other female role’s choice,
which is no doubt the vilification of women characters. Desperate Housewives, Sex and the
City and Two Broke Girls serve as good examples of this. In Desperate Housewives (2014-
2012), there is not a perfect heroine. Instead, each of the four main female characters has a
rounded personality. The world they are in embraces all their joys, sorrows, weaknesses and
persistence, and provides a variety of possibilities for their development. Lynette opened a shop
with her sister and became a successful businesswoman; Susan obtained satisfaction and
happiness in the process of bringing up his daughter who did great in school, Gabrielle became
an owner of a big online shop, and Bree entered politics.
 Mary Sue appears because of her anxiety to the reality or lack of a sense of value. It's a
dream of being lost in search, lost in the boundless material world and obsessed with self. At
the same time, she is also looking for her lost self and feels confused to find her own existence.
In the free space of networking and liberalization, the expansion of the “Mary Sue” group also
indirectly reflects a certain female consciousness and stimulates the reflection on the existence
of women themselves.
 Works cited
[1] Chander, Anupam, and Madhavi Sunder. “Everyone’s a Superhero: A Cultural Theory of
‘Mary Sue’ Fan Fiction as Fair Use.” California Law Review, vol. 95, no. 2, 2007, pp. 597–626.
[2] 李 亚 芝 .“ 玛 丽 苏 ” 现 象 背 后 的 女 性 意 识 [J]. 安 庆 师 范 大 学 学 报 ( 社 会 科 学
版),2019,38(05):17-22.
[3] 刘 莎 . 符 号 暴 力 : 玛 丽 苏 电 视 剧 中 人 物 形 象 设 置 的 特 征 [J]. 吉 林 广 播 电 视 大 学 学
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[4]张欣杰.走出象牙塔仅仅是开始——性别批评视角下的“大女主”剧女性叙事[J].艺术
评论,2017(12):86-93.