Use Style: Paper Title

Total Page:16

File Type:pdf, Size:1020Kb

Use Style: Paper Title JNROnline Journal Journal of Natural Remedies ISSN: 2320-3358 (e) Vol. 21, No. 7(S1). 2020 ISSN: 0972-5547(p) EXPLORATION OF SOCIAL IDENTITY IN MARGARET DRABBLE’S JERUSALEM THE GOLDEN Author R. ANTO SINDHUJA Ph.D Scholar (Reg. No:18121274012021), St. John’s College, Palayamkottai Manonmaiam Sundaranar University, Abishekapatti Co-Author Dr. D. NALINA PALIN Assot. Prof of English, St.John’s College, Palayamkottai Manonmaiam Sundaranar University Abishekapatti ABSTRACT The contemporary women seek social identity and fight to attain a greater position in the society. This struggle can be seen in the lives of the protagonists of Drabble’s novel. Margaret Drabble is a post modern writer. Her works are the great fiction of the individuals’ growth and development in the society. Her novels usually end with its protagonists’ attainment of wisdom and triumph. Her protagonists struggle for their identity in the society. In the novel Jerusalem the Golden Clara Maugham’s quest for the social identity has been depicted clearly. The novel has been portrayed in the postmodern aspect. In her every work and character the readers can sense the strong feminist view. She sketches the characters as searching for their position in academic level and in the society. According to Drabble, one becomes relevant to others by living with external rhythms. This is how relationships in the society are formed and this helps human beings to lead harmonious life. This paper deals with the efforts of Clara Maugham, the central character of Jerusalem the Golden who seeks her social identity. Key Words: Post modernism, Feminism, Social identity. Women know their massive strengths; they strive to pinpoint their self-identity. Women fight ferociously not only for individuality but also fight to identify their position in the society. As a result women attain almost all the positions in the society. Women expose themselves as strong workers, excellent home makers, shinning stars, powerful leaders, creative artists, inventive scientists, leading entrepreneurs etc. Women play important role in the society. Drabble’s protagonists strive to explore their self-identity, their role in the family and also they explore their positon in the society. This paper throws light on the search for the social identity by Clara Maugham, the protagonist of the novel Jerusalem the Golden. Post modernism gives voice to the insecurities, disorientation and fragmentation of the twentieth century western world. The Narrative Techniques of postmodern works are, fragmentation, paradox, and unreliable narrator. Post modernism gives way to multiple interpretations the style which emerged in the post World War II era. Postmodernism is at once a continuation of and a break away from the modernist stance. Postmodernism does not easily or directly convey a solid meaning. Feminism is another major theory in her novels. Most of her novels deal with female characters; the life, the struggle, the development of the women.NeeruTandon, the topper and gold medalist obtained Ph.D in Indian English Literature from Kanpur University. She is a feminist. She says in the introduction to Feminine Psyche: A Post-Modern Critique, “Feminism is a diverse collection of social theories, political movements and moral philosophies. Many focus on analyzing what they believe to be social constructions of gender and sexuality. Many focus on studying gender inequality and promoting women’s rights, interests and issues” (1). Margaret Drabble was born in Sheffield on 5 June 1939. She studied at the Mount School, a Quaker boarding school in York, and read English at Newnham College, Cambridge. After she 61 Journal of Natural Remedies Vol. 21, No. 7(S1), (2020) leaves the University of Cambridge she started writing. She got married to the biographer Michael Holroyd and lives in London and Somerset. Her sister A.S.Byatt is a novelist and critic. She became an actress and worked for the Royal Shakespeare Company at Stratford-upon-Avon before her first novel, A Summer Birdcage. Her other novels include The Garrick Year ; The Millstone, winner of the Mail on Sunday, John Llewellyn Rhys Prize, in which a young academic becomes pregnant after a casual relationship; Jerusalem the Golden, The Waterfall, The Needle's Eye, The Realms of Gold, The Ice Age. The Radiant Way, A Natural Curiosity and The Gates of Ivory, The Witch of Exmoor, The Peppered Moth, The Seven Sisters, The Red Queen, The Sea Lady andThe Pattern in the Carpet. Her most recent novel is The Pure Gold Baby. Margaret Drabble is also the author of biographies of Arnold Bennett and Angus Wilson. She is a former Chairman of the National Book League from 1980 to 1982, and was awarded the CBE in 1980. She received the E. M. Forster Award from the American Academy of Arts and Letters in 1973, and holds honorary doctorates from the universities of Sheffield, Manchester, Keele, Bradford, Hull, East Anglia and York. Her latest books are the memoir, The Pattern in the Carpet, in which she looks at her own life, the history of games and the delights of puzzling and A Day in the Life of a Smiling Woman, a collection of short stories. The Bible says, “A sewer went out to sow his seed, and as he sowed, some fell by the way – side; and it was trampled down and the birds of the air devoured it.” “Some fell on rock; and as soon as it sprang up, it withered away because it lacked moisture.” “And some fell among thorns, and the thorns sprang up with it and chocked it.” “But others fell on good ground sprang up and yielded a crop a hundred fold”.(1004) The life of the protagonist is paralleled to this parable. Clara believes that her ancestry or her community has great impact in her life. As some seeds which fall on thorns are scorched by it, the women belong to certain community are not satisfied with it and so they suffer. Some of them struggle to come out from thorny group and search for good ground, some struggle to change their community into good ground. Saul McLeod in his ‘Social Identity Theory’ says that social identity has three levels; categorization, social identification and social comparison. At the first stage an individual categorizes people in order to identify oneself, then in the second stage a person spots oneself in particular group and in the final stage an individual compares her own group with other groups. McLeod’s first stage of social identity theory is social categorization. An individual categorizes people or objects into particular groups in order to understand the social environment or quality. He says, If we can assign people to a category then that tells us things about those people and as we saw with the bus driver example, we couldn’t function in a normal manner without using these categories; i.e., in the context of the bus. Similarly we find out things about ourselves by knowing what categories we belong to. We define appropriate behavior by reference to the norms of groups we belong to, but you can only do this if you can tell who belongs to your group. An individual can belong to many different groups (web). The second stage is social identification. In this stage an individual adapts the identity of the group one has categorized. For example if an individual has categorized oneself as a writer, then that individual adapts the identity of a writer and begins to act as a writer. There will be an emotional significance to one’s identification with a group and one’s self-esteem becomes bound up with group membership. The third stage of social identity theory is social comparison. In this stage an individual, after identifying oneself in a particular group compares that group with other groups.“The final stage is social comparison, once we have categorized ourselves as part of a group and have 62 Journal of Natural Remedies Vol. 21, No. 7(S1), (2020) identified with that group we then tend to compare that group with other groups. If our self esteem is to be maintained our group needs to compare favourably with other groups”(web). Drabble believes that an individual’s behaviourcan not be judged too harshly. They reflect what they have seen and experienced from their surrounding and environment. Most of Drabble’s protagonists strive for social identification. In the second stage a person adapts, the identity of the group, one has categorized. This social identity is gained from their surroundings i.e, family members, friends, relatives and colleague. In this novel Jerusalem the Golden Clara belongs to the Northam family and she never finds satisfaction as a member of the Northam family. She sees the Denham family as superior. So she wants herself to fix in that family and she is ready to do anything to join in that family. Mary Hurley Moran says that “Just as poor environmental conditions can impede the growth of a plant, so unhealthy familial and social conditions can deflect a person’s proper development” (39). Clara feels barren and infertile in her native soil with her undesirable family heritage. So she attempts to plant herself in a new family in London. She also tries to get away from her roots, but this connection is blood relation, it is so basic and so she can not get away from her own family psychologically. She is terrified that she will begin to follow the footsteps of her ancestors as she declares “I will never get away, the apple does not fall far from the tree”(202). Just to come again, in social identity theory the group membership is not something foreign or artificial, but it is a real, true and vital part of a person.
Recommended publications
  • Identity, Culture, Class and Gender in the Novels of Margaret Drabble
    The Question Of "Englishnessff. Identity, culture, Class and Gender in the Novels of Margaret Drabble Elizabeth Eastman Somerton Submitted in partial fuifiilment of the requirements for the degree of Doctor of Philosophy Dalhousie University Halifax, Nova Scotia September 1998 Q Copyright by Elizabeth Easmian Somerton, 1998 Acquisitions and Acquisitions et Bibliographie SeMces seNices bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence allowbg the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or seli reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic fonnats. la forme de rnicrofiche/film, de reproduction sur papier ou sur format électronique. The author retains owership of the L'auteur consewe la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette îhèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Acknowledgements 1want to thank Dr. Victor Li, my supervisor, without whose help and encouragement this thesis would not have been writîen. I also want to thank Dr. Roberta Rubenstein of American University, Wa~hhgtonD.C. for taking the from a busy schedule to be the external examiner of my thesis and for making her report available to me. 1 also want to thank the intemal readers-Drs. Stephen Brooke. Anthony Stewart and Rohan Maitzen-for their constructive criticisrn of my work.
    [Show full text]
  • Recent British Fiction: Part 3 Catherine Bernard, Liliane Campos, Michelle Ryan-Sautour
    Recent British Fiction: part 3 Catherine Bernard, Liliane Campos, Michelle Ryan-Sautour To cite this version: Catherine Bernard, Liliane Campos, Michelle Ryan-Sautour. Recent British Fiction: part 3. In- ternational conference of the Société d’études Anglaises Contemporaines (SEAC) State of Britain: Representing/Writing Britain in the 20th and 21st Centuries, Société d’études anglaises contempo- raines, Oct 2014, Paris, France. hal-01292636 HAL Id: hal-01292636 https://hal.archives-ouvertes.fr/hal-01292636 Submitted on 23 Mar 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Études britanniques contemporaines 49 (2015) State of Britain ................................................................................................................................................................................................................................................................................................ Catherine Bernard, Liliane Campos and Michelle Ryan-Sautour Recent British Fiction (Part 3) Concluding panel of the 2014 SÉAC
    [Show full text]
  • Margaret Drabble's Portrayal of Male
    T. C. SELÇUK ÜN İVERS İTES İ SOSYAL BİLİMLER ENST İTÜSÜ İNG İLİZ D İLİ VE EDEB İYATI ANAB İLİM DALI İNG İLİZ D İLİ VE EDEB İYATI B İLİM DALI MARGARET DRABBLE’S PORTRAYAL OF MALE CHARACTERS YÜKSEK L İSANS TEZ İ DANI ŞMAN YRD. DOÇ. DR. AY ŞE GÜLBÜN ONUR HAZIRLAYAN SATMEN DEM İRTA Ş KONYA 2006 ACKNOWLEGEMENTS First and foremost, I would like to thank and express my deep gratitude to my estimable teacher Asst. Prof. Dr. Ay şe Gülbün Onur who guided, tutored, and supported me with patience, great knowledge and courtesy throughout our master program and the completion of my thesis. I also would like to thank Lec. Nezih Onur for his great hospitality during our long sessions of study. I would like to thank my teachers Asst. Prof. Dr. Nazan Tuta ş and Asst. Prof. Dr. Ece Sarıgül who were very enlightening and helpful throughout our master program. My grateful thanks are also for Asst. Bilge Cantekinler and Asst. Bahadır C. Tosun who helped me in every step of this thesis. I also would like to thank my friend Burak İlhan who helped me to reach the sources I needed and for his endless support. Lastly, I would like to thank and express my deepest gratitude to my mother, my father, and my sister who supported and encouraged me throughout this study. Without them I wouldn’t be able to complete this work. i ÖZET Feminizm kökleri 1790lara kadar dayanan, dü şünsel ve yazınsal hayatta önemli bir kavramdır. 19’uncu yüzyılda özellikle ya şanan sava şlarda ve sonrasında kadının toplumdaki yeri ve önemi daha iyi anla şılmı ştır.
    [Show full text]
  • Download This PDF File
    epiphany Journal of the Faculty of Arts and Social Sciences International University of Sarajevo ISSN 1840-3719 / No. 4 Spring 2010 The Emancipatory Potential in Drabble’s The Garrick Year, The Waterfall, and The Realms of Gold Mohsen Hamlı University of Manouba “I strongly believe,” Margaret Drabble told me in 1990, “that every reader is creating the meaning of my novels.... I find this increasingly fascinating; the way the reader alters my perception of what I'm writing, and he indeed alters the book.”1 In the mid‐1980s, she told Olga Kenyon: "none of my books is about feminism because my belief in the necessity of justice for women (which they don't get at the moment) is so basic that I never think of using it as a subject.”2 And in 1980, she told Diana Cooper‐Clark the following: “I've tried to avoid writing as a woman because it does create its own narrowness. I'm not at all keen on the feminist view that there's a male conspiracy to put women down.”3 Fascinating is that Drabble’s quasi‐advocation that her novels are more like palimpsests harboring more than one tale or reading blows up her assertion that she is not a feminist.4 Margaret Drabble’s The Garrick Year (1964) charts the spaces the novel’s protagonist Emma Evans creates in response to two megalomaniac men (her husband David Evans and the stage manager Wyndham Farrar) during a year’s theatrical season at a provincial festival. It is “the very essence of provocation and bargaining for domination,” which both share, that draws Emma to David Evans during their second decisive encounter in the train.5 “He looked like an actor,” she thought of him before discovering that he was one, “had all the air of self‐projection,” and seemed rough, 14 but his was “roughness that amounted in itself to gloss” (21).
    [Show full text]
  • Margaret Drabble's Writing Emerged from The
    argaret Drabble’s writing emerged right after the Nobel Winner’s death, in 2013, is of extraordi- from the turbulences of the second nary emotional power and political wisdom while seeming a wave feminist movement and the rad- simple recollection of Lessing as a visitor and as a host. ical demands and changes it brought I spoke with Margaret Drabble in Toronto, during her to contemporary fiction. She married brief stay at a writers’ festival, where she came to talk about Myoung, had children, and started work on what would become her most recent novel, The Pure Gold Baby. She is a gener- her first published novel at the age of twenty-one, soon after ous interlocutor, and after the first quarter-hour it felt like a graduating from the University of Cambridge, in 1960. In a basic understanding was tacitly established, many of the for- BBC documentary about the young Drabble, recorded around malities left aside. —Lydia Perović the time of her first literary successes—mid-to-late sixties, the time of her award-winning novels The Millstone and Jeru- I. THE PRESSURE salem the Golden—she appears the embodiment of cool: the FOR THINGS TO BE SAID young Glenda Jackson style, the mini-skirt, the knee-high boots, the effortless, understated 1960s glamour. THE BELIEVER: The big Feminist Fiction wave that you Her first novel,A Summer Bird-Cage, is a joyful bundle were part of, together with Doris Lessing, Margaret Atwood, of contradictions, in which the chatty musings about clothes, Angela Carter, Toni Morrison, A.S. Byatt, Octavia Butler— popularity, and men do not distract from the historical ques- how did it take shape? That kind of critical mass of fiction tion at hand: what can a young woman do with her life in the and criticism that focused on gender philosophy and poli- latter half of the twentieth century? All her young novels have tics can’t be matched with anything happening today.
    [Show full text]
  • 1. Narrative As Soft Violence in Margaret Drabble's the Pure Gold Baby
    Page no.1 1. Narrative as Soft Violence in Margaret Drabble’s The Pure Gold Baby Bushra Juhi Jani Research Student School of English The University of Sheffield United Kingdom ORCID iD http://orcid.org/0000-0001-6329-3603 E-Mail: [email protected] Abstract This article deals with Pierre Bourdieu’s concept of “symbolic” or “soft” violencein Margaret Drabble’s latest novel, The Pure Gold Baby (2013). The novel is about a young anthropologist student, who becomes pregnant whilst in a relationship with her married professor. Her promising academic career and dreams of being a field anthropologist and of returning to Africa are put to one side and she becomes a desk-bound anthropologist in north London while caring for her daughter, the “pure gold baby” of the title, who suffers from serious developmental problems. The article reflects the importance of the ambiguity of narration in the novel in which soft violence is practiced by the author, the narrator, the protagonist, the educational and religious institutions, as well as through the class structure. It shows a complex and interrelated thematic and theoretical strands, discussing the novelist as anthropologist, narration as controlling authorial act, the shift from victimhood to perpetration of violence in the exploration of gender, education and sexuality.It explores the soft violence of racism and colonial exploitation and domination. Keywords Margaret Drabble; The Pure Gold Baby; Pierre Bourdieu; soft Violence; anthropology; disability; education; domination; IQ racism; colonialism; neo-Colonialism; missionaries. Vol 3 No 1 (2015) ISSUE – March ISSN 2347-6869 (E) & ISSN 2347-2146 (P) Narrative as Soft Violence in Margaret Drabble’sThe Pure Gold Baby by Bushra J.
    [Show full text]
  • Rebelling Against the Regency: Jane Austen and Margaret Drabble
    Rebelling Against the RegencY: Jane Austen and Margaret Drabble NORA FOSTER STOVEL AB T6G 2E5 Department of English, University of Alberta' E'dmonton' an ambivalent Contemporary British writer Margaret Drabble has expressed and condemnation in attitude to Jane Austen, vacillatin[between admiration an f,.. commentaries. As i novelist, Drabble has also enjoyed "rl,i.uf relationship with her literary predecessor' fluctuating between writer' "-Uigr"rtimitation of her rectory precursor and reiellion against the Regency Bennett sisters con- Her first novel, A Summer Bird-Cag,e (1963), is about (1964')' is i"-piu,i"g marriage, and her novel, The Gqrrick Year '"tond In The uUoi u sEtf-deceived heroine named Emma considering adultery' i,'iiirion of Women's Fiction (1982), Drabble acknowledges: after Jane Austen When I began writing, in my innocence I called my characters Bennett which is characters. In a Summer ni.d-cage the characters are called unconsciously' the Bennet from Pride and PreJudice. I did this completely (93) im*a in The Garrick lear is aiso a Jane Austen character' ,.The Dower House at Austen frames Drabble's Career' for her latest fiction, for the 1993 6iitr.t," an original short story that she composed especially iesie it Late Louise, is a sequel to Austen's novel Persuasion.ln -"",ing "All my irr" qr"trl", pltoa following her reiding, she acknowledged' nor"it are a dialogue with Jane Austen"' Austen in enthusias- As a critic, Drablle has expressed her admiration for edition of tic introductions to Austen's works, beginning with the Penguin laneAusten:LailySusan,TheWatsons-,Sanditioninlg74'andconcluding of Austen's most recently witir her introductions to the new virago editions no,el,.oraruteopensherlgT4introductionbyassertingthat..Therewould by Jane ;;;";" genuine rejoicing at the discovery of-a complete new novel A;;, tiun uny &h".
    [Show full text]
  • The Quest for a Female Identity in Historical Novels by British Women Writers
    „My sense of my own identity is bound up with the past“ - The Quest for a Female Identity in Historical Novels by British Women Writers: Penelope Lively, Margaret Drabble, A.S. Byatt, Esther Freud Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Jessica Koch aus Roth Göttingen 2012 Danksagung Von den Anfängen dieser Arbeit bis hin zu ihrer Veröffentlichung war es ein langer Weg. Bei all den Personen, die mich hierbei tatkräftig unterstützt und über die Jahre hinweg stets begleitet haben, möchte ich mich herzlich bedanken. Besonderer Dank gilt dabei meinen Eltern Heidi und Hans-Dieter Koch, die immer an mich geglaubt haben. Ohne sie und ihre Unterstützung wäre diese Arbeit gar nicht erst möglich gewesen. Bedanken möchte ich mich auch bei Frau Prof. Dr. Brigitte Glaser, die meine Dissertation nicht nur betreut hat, sondern mir auch zahlreiche hilfreiche und zugleich inspirierende Denkanstöße gegeben hat. Ferner möchte ich auch Frau Prof. Dr. Barbara Schaff für ihre freundliche Übernahme der Zweitkorrektur meinen Dank aussprechen. Gewidmet ist diese Schrift schließlich meinen Großeltern, die die Fertigstellung leider nicht mehr erleben konnten. Roth, im Februar 2014 Jessica Koch “Only connect.” In loving memory of my grandparents. 1 Table of Contents List of Abbreviations ............................................................................................................................... 3 1. “My sense of my own identity is bound up
    [Show full text]
  • Margaret Drabble and the State of the Nation 249
    Eight: Margaret Drabble and the State of the Nation No, not a political novel. More a pathological novel. A psychotic novel. Sorry about that. It won't happen again. Sorry. A Natural Curiosity (194) As it is a rural route, avoiding the great industrial conurbations that straddle the middle of upper England, she is not here provoked into much political thought about the nature ofthe north andHow Britain Votes, andyou may be spared her occasional reflections on these themes, for this is not a political novel, and anyway her reflections are repetitive and do not seem to be getting her anywhere very fast. A Natural Curiosity (193) From the middle 'seventies onwards, Margaret Drabble became increasingly occupied as a novelist with representing and explaining the state of an increasingly-troubled nation. The novels that resulted are "pathological" in the sense that they might be said to belong to "the science or study of disease; that department of medical science, or of physiology, which treats of the causes and nature of diseases, or abnormal bodily affections or conditions" (OED). In this case the body is the body politic, and the novels are attempts to understand the pathology ("the sum of pathological processes or conditions" - OED) that afflicts late twentieth-century Britain. They also constitute a rigorous test ofthe traditional novel's adequacy to the task ofportraying and understanding the state of the nation. Beginning with The lee Age in 1977, Drabble questioned the ability of the past (i.e. history conceived of as a linear chain of cause-and-effect) to explain the present, and she therefore went on in subsequent novels to reject a traditionally linear, plotted narrative as a satisfactory means of representation.
    [Show full text]
  • Chronicler, Moralist, Artist
    CHANGES IN IDEOLOGY IN MARGARET DRABBLE’S FICTION CELIA M. WALLHEAD Universidad de Granada I have chosen to contribute to this homage to Dr. María Luisa Dañobeitia with an essay on English writer Margaret Drabble for three reasons. Drabble was born just a few months before María Luisa, so they are of an age. Secondly, Drabble came to the University of Granada and visited us at the Department of English and German in 1994. Thirdly, and most pertinently, María Luisa has always been interested in women’s writing or writing about women, which is one of the focuses of Drabble’s fiction and critical writing. Author of seventeen novels to date, also short fiction and journalistic writing, Drabble was successful with her very first novel, A Summer Bird Cage (1963), written at the tender age of twenty-three. Her more mature focus was brought to bear on English Literature in 2000, when, to great acclaim, she made the first major revision of the Cambridge Companion to English Literature. We hope that her creative and critical corpus is far from closed. MARGARET DRABBLE: CHRONICLER, MORALIST, ARTIST The title of this section is that of Mary Rose Sullivan’s chapter on Drabble in British Women Writing Fiction (Sullivan 2000:191–212). From the first novel, which made her name: […] each successive novel has been eagerly greeted, both by women who felt they had found a spokeswoman for their concerns and expectations and by a wider audience who found in her a chronicler of modern consciousness, a George Eliot of contemporary Britain (ibid.:191).
    [Show full text]
  • Interview with Margaret Drabble Ac
    Cercles 21 (2011) THREE INTERVIEWS WITH MARGARET DRABBLE CLAUDINE PEYRE Université Paul Sabatier, Toulouse Les deux premières interviews de Margaret En outre, il était tentant de mieux connaître les Drabble ont été effectuées à trois ans méandres de la créativité de la romancière: en d’intervalle, chez elle dans le Somerset, en août effet, la lecture de ses romans ressemble à une 1989 puis à Londres en octobre 1992. Dans ce promenade familière avec des dominantes laps de temps, elle a publié A Natural Curiosity, stylistiques qui permettent au lecteur entraîné suivi de The Gates of Ivory et a également dans un monde nouveau, d’avoir déjà des repères. démarré une longue recherche qui aboutira à La question de fond implicite de cette première une biographie d’Angus Wilson. interview était de définir les modalités de l’acte d’écriture: s’agit-il d’un exercice de style délibéré L’idée de l’interview a surgi après le constat ou d’un acte spontané et sans contraintes? La du nombre grandissant de recueils fondés sur le lecture de The Gates of Ivory publié en 1991 fut une principe même de l’interview, de femmes de surprise, les nouvelles orientations littéraires lettres essentiellement. Une œuvre de nos jours suggérées par la structure et le contenu même du n’est plus un ensemble de mots avec une roman méritaient certains éclaircissements et la signature, il faut tenir compte de l’image tentation d’une nouvelle rencontre s’imposa publique de leur auteur qui, en se montrant, en comme une nécessité. Il s’agissait cette fois de parlant de son travail, en donnant son opinion définir la nouvelle voie vers laquelle la romancière sur la société, met la littérature encore plus à la se dirigeait et les motivations qui l’animaient.
    [Show full text]
  • Gender, Culture and Social Change in the Fiction of Margaret Drabble
    ANGLIA RUSKIN UNIVERSITY FACULTY OF ARTS, LAW AND SOCIAL SCIENCES GENDER, CULTURE AND SOCIAL CHANGE IN THE FICTION OF MARGARET DRABBLE TALLA ABDULLAH RASHID A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy Submitted: July 2018 ACKNOWLEDGMENTS I would like to express my special appreciation and thanks to my supervisor, Professor Mary Joannou, who ploughed through several drafts of this thesis, gave me the courage to strive and the stimulus to write, and has been an invaluable source of guidance and constant encouragement throughout the several years of preparing this thesis when great changes in my life happened. She is exemplary as a supervisor and a scholar. Additional thanks must go to Professor Valerie Purton who gave me very incisive comments and helpful suggestions on the final draft of the thesis. l am indebted to Andy Salmon, Acting Dean of the Faculty of Arts and Letters, for his understanding and support when this was needed. Outside the sphere of academia, I am indebted to my parents. Though far away, their emotional support was always by my side and their belief in me has been unfailing – it is to them that this work is dedicated. Last but not least, I would like to thank Areen and Nma, my lovely son and sweet daughter, who both challenged and inspired me as a mother. I appreciate their patience and to them this work is dedicated as well. i ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILIOSOPHY GENDER, CULTURE AND SOCIAL CHANGE IN THE FICTION OF MARGARET DRABBLE TALLA ABDULLAH RASHID July 2018 This thesis, which is feminist and historicist in its methodological approaches, explores the social, cultural and political circumstances in which Margaret Drabble's nineteen novels were produced by using close textual reading to position her novels in their historical context.
    [Show full text]