{'fraction_non_alphanumeric': 0.023387668320340185, 'fraction_numerical': 0.0, 'mean_word_length': 5.220264317180617, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
FROM SAVAGE PASSION TO THE SWEETNESS OF SELF-CONTROL: FEMALE ANGER IN LITTLE WOMEN AND “PAULINE'S PASSION AND PUNISHMENT”

Female rage is perceived by many feminist critics as a primary source of creative power. Feminist criticism of the socialized “angel in the house” has led to the creation of the “wrathful angel of destruction”: the violently angry self that is regarded as the authentic creative female self, existing in perpetual opposition to the socialized false female self. The feminist discussion of Louisa May Alcott's works is mainly focused on the tension between the socially tamed “false” female self and the powerfully transformative “true” female self. Alcott's domestic fiction is generally criticized for its adherence to social conventions of femininity, while her Gothic thrillers are mostly hailed as subversive and poignant representations of independent angry women. This essay explores the uses and abuses of female and male anger in Alcott's Little Women and “Pauline's Passion and Punishment”. Contrary to the feminist discussions of female anger that view the wrathful persona in generalized terms, decreeing that the authentic female self is only the self that seeks to cast off her feminine roles, this essay will look into the more subtle aspects of female anger, and consider the similarities and differences of male and female anger, as they are represented in Alcott's works.