What brand of heroine can be found in the Twilight series? What discernible characteristics of a heroine can be found in gothic fiction and do these characteristics contribute to a social definition of girlhood/womanhood? In an analysis of the Twilight series' protagonist as a gothic heroine in contrast to Charlotte Brontë's Jane Eyre, I claim that the author, Stephenie Meyer, constructs a particular category of contemporary gothic heroine. Drawing on the statement made by the novel's leading male character, Edward, to Bella that she is his “brand of heroin,“ this article plays with the idea that Meyer merged elements of the bildungsroman and the Female Gothic to create her brand. This brand of heroine fulfills the three distinct categories of girlhood/womanhood that characterize both the Gothic novel and the bildungsroman: a dependent stage, a caretaker stage, and a wife stage.
Convergences and Divergences of the Gothic Literary Heroine
Queer Gothic Girlhood in John Harding's Florence and Giles
Of course, TTOTS already belongs to an established tangent of Gothic studies—the Female Gothic, a term first coined by Ellen Moers in 1976 . What began with Moers's definition—“the work that women writers have done in the literary mode that, since