The Fall of the Damsel in Distress and the Rise of the Modern Heroines: An Archetypal-Gynocriticist Study of Select Contemporary Epic Fantasy Novels

Abstract

Aim/Purpose:  This study examines the evolving representation of female heroines in contemporary epic fantasy, addressing the long-standing marginalization of women in the genre. While earlier works often confined women to roles such as the “damsel in distress” or passive companions, recent novels have begun to subvert these tropes by presenting heroines who are complex, empowered, and central to the narrative. Using Elaine Showalter’s gynocriticism and Carl Jung’s archetypal criticism, this paper investigates how female protagonists in Samantha Shannon’s (2019) The Priory of the Orange Tree (2019), Leigh Bardugo’s (2012) Shadow and Bone, and Alexandra Bracken’s (2021) Lore reflect newly emerging constructs of womanhood. In doing so, it identifies shared traits and interprets the cultural and literary implications of these portrayals within the 21st-century epic fantasy tradition.

Introduction/Background: Historically, women have been confined to domestic roles and excluded from education and public life, their subordination reinforced by social norms and even Darwinian ideology (Beck, 2016; Bergman, 2002; Sultana, 2011). Literature mirrored this hierarchy: classical and early epic fantasy privileged male heroes, reducing women to damsels or supporting figures (Wolford, 2011). Recent feminist writers, however, have subverted these tropes, introducing heroines who lead, fight, and redefine power—paralleling the increasing prominence of women in contemporary literature (Thomas-Corr, 2021). By analyzing how these more recent works construct female protagonists, this study highlights the paradigmatic shift from male-centered heroism to empowered female archetypes, positioning itself as a pioneering contribution at the intersection of feminist criticism and fantasy studies.

Methodology: This study employed a descriptive-qualitative design, which is well-suited for interpreting rather than measuring literary texts. It explored how female protagonists in selected 21st-century epic fantasy novels shift from the “damsel in distress” archetype to empowered heroines. Following Flick (2014), qualitative inquiry in literature enables the reconstruction of meaning and recognition of cultural patterns.

Corpus and Scope: The primary texts were three contemporary epic fantasy novels by women: The Priory of the Orange Tree by Samantha Shannon (2019), Shadow and Bone by Leigh Bardugo (2012), and Lore by Alexandra Bracken (2021). Selection criteria included: (1) women authors active in the 21st century, (2) English-language epic fantasy, and (3) central female protagonists. The scope was limited to heroines in these novels.

Data Collection: The authors surveyed and selected novels based on specific criteria, conducted close readings to extract passages that highlighted heroines’ traits, roles, and struggles, noted instances where portrayals aligned with or challenged archetypes, and analyzed the findings through gynocriticism and archetypal criticism.

Data Analysis:  The analysis identified central heroines and their archetypal roles, compared similarities and differences across texts, and interpreted the findings through feminist discourse, highlighting the evolving role of heroines in epic fantasy.

Findings: These include Archetypal Subversion, where characters such as Ead (Huntress/Sage) and Lore (Huntress) resist traditional constructions of passive femininity by embodying both physical prowess and intellectual authority. Similarly, Sabran IX (Queen) and Alina Starkov (Maiden → Unwilling Hero) dramatize the conflict between socially prescribed roles and the pursuit of individual self-actualization. Philosophical Resonance shows that the heroines engage with deeper philosophical paradigms. Socratic ideals of wisdom and self-examination inform the trajectories of Ead and Athena. At the same time, essentialist notions of predetermined destiny surface in Sabran and Alina—though both characters ultimately contest and negotiate these constraints. Narrative Agency shows that in contrast to classical damsels confined to reactive roles, these heroines serve as narrative catalysts. Through deliberate choice, rebellion, and leadership, they propel their stories forward, embodying feminist redefinitions of agency in 21st-century epic fantasy.

Contribution/Impact on Society: This study underscores how contemporary epic fantasy serves as a transformative space for reimagining gender roles, positioning heroines not as passive figures but as agents of autonomy, resilience, and leadership. Beyond literature, such representations foster reader empowerment, encourage critical conversations on gender equality, and enrich cultural perceptions of women in leadership and heroism. Importantly, these insights hold value for curriculum reform, inviting educators to reframe literary study around inclusive narratives that better reflect the diversity and dynamism of contemporary society.

Recommendations:

1. For Authors and Publishers: Expand the spectrum of female archetypes beyond the “warrior woman,” incorporating intersectional identities (race, class, sexuality, disability) to reflect broader lived realities.


2. For Educators: Incorporate feminist fantasy into curricula alongside male-centered epics to empower readers and foster dialogue on equity, diversity, and identity.


3. For Scholars: Examine epic fantasy heroines through intersectional lenses—feminist, postcolonial, and queer—to reveal how power and identity are negotiated.

Research Limitation: Focus on three novels limits generalizability; broader genre surveys are needed. Gynocriticism and Jungian archetypes may overlook postmodern or non-Western feminist frameworks. Examining post-2010 works excludes earlier feminist fantasy pioneers.

Future Research:

1. Conduct cross-cultural studies comparing female constructs in Western and non-Western epic fantasies, revealing how cultural contexts shape the roles of heroines.


2. Explore historical trajectories, tracing continuities and ruptures between classical heroines and their modern re-imaginings.


3. Undertake reception-based analyses of how diverse readerships interpret, relate to, or resist empowered heroines in fantasy.


4. Examine philosophical frameworks (Socratic, Essentialist, Existentialist) to assess how female characters embody or disrupt dominant worldviews.


5. Extend Showalter’s notion of the “female phase” by mapping its development across contemporary fantasy, especially works authored by women and other marginalized voices.