DOCSLIB.ORG

Ursula K. Le Guin: a Critical Companion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ursula K. Le Guin: a Critical Companion Ursula K. Le Guin: A Critical Companion Susan M. Bernardo Graham J. Murphy Greenwood Press URSULA K. LE GUIN Ursula K. Le Guin. Photograph by Marian Wood Kolisch. URSULA K. LE GUIN A Critical Companion Susan M. Bernardo and Graham J. Murphy CRITICAL COMPANIONS TO POPULAR CONTEMPORARY WRITERS Kathleen Gregory Klein, Series Editor GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Bernardo, Susan M. Ursula K. Le Guin : a critical companion / Susan M. Bernardo and Graham J. Murphy. p. cm. — (Critical companions to popular contemporary writers, ISSN 1082–4979) Includes bibliographical references and index. ISBN 0–313–33225–8 (alk. paper) 1. Le Guin, Ursula K., 1929—Criticism and interpretation. 2. Science fiction, American—History and criticism. 3. Fantasy fiction, American—History and criti- cism. I. Murphy, Graham J., 1970– II. Title. III. Series. PS3562.E42Z54 2006 813'.54—dc22 2006017937 British Library Cataloguing in Publication Data is available. Copyright © 2006 by Susan M. Bernardo and Graham J. Murphy All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2006017937 ISBN: 0–313–33225–8 ISSN: 1082–4979 First published in 2006 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 To Mark Wagner, an ever-patient, astute reader and feline loyalist. To my parents, who taught me to read and pointed me in the direction of the public library. To my niece, Elise Leduc, avid reader, world explorer, and wise soul. SMB To Jennifer Pym-Murphy, for bringing me balance and never wavering in your faith and love. To my parents and family, who encourage me to keep moving forward despite the odds. To my colleagues, whose advice is never wasted. GJM ADVISORY BOARD Mary Catherine Byrd, English Teacher, East Montgomery High School, Biscoe, North Carolina Dana McDougald, Library Media Specialist, Cedar Shoals High School, Athens, Georgia Patricia Naismith, Library Media Specialist, Springfield High School, Springfield, Pennsylvania Italia Negroni, Head, Library Media Technology Department, Stamford High School, Stamford, Connecticut Rudy Rocamontes, Jr., English Teacher, Southwest High School, San Antonio, Texas Marcia Welsh, Assistant Director, Guilford Free Library, Guilford, Connecticut Contents Series Foreword by Kathleen Gregory Klein ix Acknowledgments xiii 1. Biography of Ursula K. Le Guin 1 2. The Literary Genealogy of Science Fiction and Ursula K. Le Guin 13 3. The Left Hand of Darkness (1969) 21 4. The Lathe of Heaven (1971) 35 5. The Dispossessed: An Ambiguous Utopia (1974) 47 6. The Eye of the Heron (1978) 63 7 . The Telling (2000) 75 8. Ursula K. Le Guin’s Earthsea Books and Fantasy 87 9. A Wizard of Earthsea (1968) 95 10. The Tombs of Atuan (1970) 107 viii Contents 11. The Farthest Shore (1972) 117 12. Tehanu (1990) 127 13. “The Finder” from Tales from Earthsea (2001) 143 14. “Dragonfly” and The Other Wind (1997 and 2001) 155 Bibliography 169 Index 191 Series Foreword The authors who appear in the series Critical Companions to Popular Contemporary Writers are all best-selling writers. They do not simply have one successful novel, but a string of them. Fans, critics, and specialist readers eagerly anticipate their next book. For some, high cash advances and breakthrough sales figures are automatic; movie deals often follow. Some writers become household names, recognized by almost everyone. But, their novels are read one by one. Each reader chooses to start and, more importantly, to finish a book because of what she or he finds there. The real test of a novel is in the satisfaction its readers experience. This series acknowledges the extraordinary involvement of readers and writ- ers in creating a best-seller. The authors included in this series were chosen by an Advisory Board composed of high school English teachers and high school and public librarians. They ranked a list of best-selling writers according to their popularity among different groups of readers. For the first series, writers in the top-ranked group who had received no book-length, academic, lit- erary analysis (or none in at least the past ten years) were chosen. Because of this selection method, Critical Companions to Popular Contemporary Writers meets a need that is being addressed nowhere else. The success of these volumes as reported by reviewers, librarians, and teachers led to an expansion of the series mandate to include some writers with wide x Series Foreword critical attention—Toni Morrison, John Irving, and Maya Angelou, for example— to extend the usefulness of the series. The volumes in the series are written by scholars with particular exper- tise in analyzing popular fiction. These specialists add an academic focus to the popular success that these writers already enjoy. The series is designed to appeal to a wide range of readers. The general reading public will find explanations for the appeal of these well-known writers. Fans will find biographical and fictional questions answered. Students will find literary analysis, discussions of fictional genres, care- fully organized introductions to new ways of reading the novels, and bib- liographies for additional research. Whether browsing through the book for pleasure or using it for an assignment, readers will find that the most recent novels of the authors are included. Each volume begins with a biographical chapter drawing on published information, autobiographies or memoirs, prior interviews, and, in some cases, interviews given especially for this series. A chapter on literary his- tory and genres describes how the author’s work fits into a larger literary context. The following chapters analyze the writer’s most important, most popular, and most recent novels in detail. Each chapter focuses on one or more novels. This approach, suggested by the Advisory Board as the most useful to student research, allows for an in-depth analysis of the writer’s fiction. Close and careful readings with numerous examples show readers exactly how the novels work. These chapters are organized around three central elements: plot development (how the story line moves forward), character development (what the reader knows of the important figures), and theme (the significant ideas of the novel). Chapters may also include sections on generic conventions (how the novel is similar or different from others in its same category of science fiction, fantasy, thriller, etc.), narrative point of view (who tells the story and how), symbols and liter- ary language, and historical or social context. Each chapter ends with an “alternative reading” of the novel. The volume concludes with a primary and secondary bibliography, including reviews. The alternative readings are a unique feature of this series. By dem- onstrating a particular way of reading each novel, they provide a clear example of how a specific perspective can reveal important aspects of the book. In the alternative reading sections, one contemporary literary theory— way of reading, such as feminist criticism, Marxism, new his- toricism, deconstruction, or Jungian psychological critique—is defined in brief, easily comprehensible language. That definition is then applied to the novel to highlight specific features that might go unnoticed or be Series Foreword xi understood differently in a more general reading. Each volume defines two or three specific theories, making them part of the reader’s under- standing of how diverse meanings may be constructed from a single novel. Taken collectively, the volumes in the Critical Companions to Popular Contemporary Writers series provide a wide-ranging investigation of the complexities of current best-selling fiction. By treating these novels seri- ously as both literary works and publishing successes, the series demon- strates the potential of popular literature in contemporary culture. Kathleen Gregory Klein Southern Connecticut State University Acknowledgments We would like to thank both Debby Adams at Greenwood Press, for her level-headed help, and Kathy Klein, the series editor who brought us to- gether. We would most especially like to thank Ursula K. Le Guin, whose generosity in giving of her time to reply to questions is remarkable and whose writing opens minds, moves hearts, and changes ways of seeing. Susan: I would like to thank my coauthor Graham J. Murphy, whose ability to meet deadlines is phenomenal. I would also like to thank the librarians at Wagner College for locating materials for me through inter- library loan. Graham: I would like to thank my coauthor Susan Bernardo, whose exemplary professionalism and administrative spearheading has been an inspiration. I would also like to thank my Trent students in CUEN229: Science Fiction and CUEN329: Utopia (future fiction) for providing the perfect venue to test early drafts of the manuscript. In addition, my thanks to both Trent University and Seneca College for their support on this project, notably Veronica Hollinger, whose encouragement has been unwavering. 1 Biography of Ursula K. Le Guin If you weren’t a writer what would you be? Dead. —from M.E. Wood’s BellaOnline interview with Ursula K. Le Guin Ursula K. Le Guin’s one-word answer to an interviewer’s question indicates her view that she is most essentially a writer. She began writing at five years old and has flourished as a writer throughout her life. Now in her seventies, she shows no signs of slowing down. Her most recent work, Gifts, was published in 2005, and she is at work on another novel set in the same place, the Western Shore, to be published in 2006.
Load more
Loading...
Loading...
Loading...
Loading...
Loading...

210 pages remaining, click to load more.

Recommended publications
  • <I>Always Coming Home</I>
    Volume 17 Number 3 Article 7 Spring 3-15-1991 The Making of Always Coming Home Ursula K. Le Guin Todd Barton Margaret Chodos-Irvine George Hersh Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Le Guin, Ursula K.; Barton, Todd; Chodos-Irvine, Margaret; and Hersh, George (1991) "The Making of Always Coming Home," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 17 : No. 3 , Article 7. Available at: https://dc.swosu.edu/mythlore/vol17/iss3/7 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact phillip.fitzsimmons@swosu.edu. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Transcript of panel discussion from 1988 Mythopoeic Conference. Author, illustrator, composer, and cartographer/ researcher discuss the genesis of Always Coming Home. Additional Keywords Le Guin, Ursula K. Always Coming Home; Le Guin, Ursula K.
    [Show full text]
  • Always Coming Home
    “A Mere Dream Dreamed in a Bad Time” A Marxist Reading of Utopian and Dystopian Elements in Ursula K. Le Guin’s Always Coming Home Sara Charléz Student Ht 2018 Examensarbete för kandidatexamen, 15 hp Engelska Abstract In Ursula K. Le Guin’s novel Always Coming Home, utopian and dystopian elements interact according to patterns inspired by anarchism and Taoism to criticise material excesses and oppressive social structures under capitalism. Via discussions of gender, state power, and forms of social (re)production, this Marxist reading proposes that the novel’s separation of utopia from dystopia hinges on the absence or presence of a state. The reading also suggests that the novel’s utopia is by its own admission a “mere dream” with limited relevance to anti-capitalist politics, and employs the novel’s own term “handmind” to show that the aesthetic and philosophical dimensions of its anti- capitalist sentiments encourage a reconsideration of utopia, to be viewed not as a fixed future product – a good-place – but as a constant process of becoming – a no-place. Keywords: anarchism, class, ideology, production, science fiction Table of contents Introduction .................................................................................................................... 1 On Always Coming Home ............................................................................................... 3 Utopia, Dystopia, and Marxist Criticism ..................................................................... 5 Utopian and Dystopian Elements in Always
    [Show full text]
  • Ursula K Le Guin
    Preface By calling this book The Compass Rose I hoped to suggest that some pattern or coherence may be perceived in it, while indicating that the stories it contains tend to go off each in its own direction. They take place all over the map, including the margins. It is not even clear to me what the map is a map of. A mind, no doubt; presumably the author’s. But I expect there is more to it than that. One’s mind is never simply one’s own, even at birth, and ever less so as one lives, learns, loses, etc. The four directions, NESW, of the Rose of the Winds, our magnetic compass, converge into or arise out of an unspoken fifth direction, the center, the corolla of the rose. Many of the American peoples who were dispossessed by the compass- guided invaders from the East structured their world upon the four wind directions (or half-directions) and two more, Above and Below, also radial to the center/self/here and now, which may sacramentally contain the other six, and thus the Universe. This is the compass in four dimensions, spatial and temporal, material and spiritual, the Rose of the New World. As a guide to sailors this book is not to be trusted. Perhaps it is too sensitive to local magnetic fields. Within it, various circling motions may be perceived,as between the first and last stories, and the fourth and seventeenth. It gives rise to apparent excursions outward which are in fact incursions inward, such as the eleventh story; while the only piece describing a place whose objective reality may be confirmed on a present-day map of present-day Earth, the seventh, is perhaps the most subjective one of the lot.
    [Show full text]
  • From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu
    From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu Len Hatfield Children's Literature, Volume 21, 1993 , pp. 43-65 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/chl.0.0516 For additional information about this article http://muse.jhu.edu/journals/chl/summary/v021/21.hatfield.html Access provided by Virginia Polytechnic Inst. __ACCESS_STATEMENT__ St.University __ACCESS_STATEMENT__ (Viva) (7 Feb 2014 09:28 GMT) From Master to Brother: Shifting the Balance of Authority in Ursula K. Le Guin's Farthest Shore and Tehanu Len Hatfield In literature as in "real life," women, children, and animals are the obscure matter upon which Civilization erects itself, phallologically. That they are Other is (vide Lacan et al.) the foundation of language, the Father Tongue. By climbing up into his head and shutting out every voice but his own, "Civilized Man" has gone deaf. He can't hear the wolf calling him brother—not Master, but brother. He can't hear the earth calling him child—not Father, but son. He hears only his own words making up the world. He can't hear the animals, they have nothing to say. Children babble, and have to be taught how to climb up into their heads and shut the doors of perception. No use teaching woman at all, they talk all the time, of course, but never say anything. This is the myth of Civilization, embodied in monotheisms which assign soul to Man alone. [Le Guin, Buffalo Gab 9-10] In recent years Ursula K.
    [Show full text]
  • On Space, Gender and Class in Ursula K. Le Guin's The
    Refectories and Dining Rooms as “Social Structural Joints”: On Space, Gender and Class in Ursula K. Le Guin’s The Dispossessed Joana Caetano, Mariana Oliveira & Miguel Ramalhete Gomes Introduction In “Restaurants, fields, markets, and feasts: Food and culture in semi-public spaces” (2016), Clare A. Sammells and Edmund Searles state that: “One can eat alone, but one can never truly eat in a way or in a place that is devoid of public meanings. It has long been clear that what, how, and with whom one eats indicates social status and economic class” (129). As members and collaborators of ALIMENTOPIA / Utopian Foodways Project, we have explored the social, political and economic implications that foodways have in shaping societies. It is therefore in the framework of this project that we, as researchers of different fields of Literature and Architecture, have come together and will jointly discuss primarily gender but also class dynamics, by projecting and analysing specific food-related spaces in Ursula K. Le Guin’s The Dispossessed. From a multidisciplinary perspective, this chapter proposes a reading of particular spaces where meals take place in Ursula K. Le Guin’s text. This analysis will make use of two specific lenses, gender and class, to argue that these spaces can be perceived as “social structural joints”, in the sense that an “architectural structural joint”, as architect Petra Čeferin proposes, is a junction where building elements meet. Using a three-dimensional view (space, gender and class), we will analyse how food spaces can be platforms for social aggregation or segregation and reveal gender and class dynamics.
    [Show full text]
  • The Other Ursula Le Guin History and Time in the Orsinian Tales
    The Other Ursula Le Guin History and Time in the Orsinian Tales Anastasia Pease Senior Lecturer in English Union College rsula Kroeber le guin, who died in January at the age of 88, was a prolific American writer, winner of Hugo and Nebula awards, and was named the first female UScience Fiction Grand Master by the Science Fiction and Fantasy Writers of America in 2003. She was at the forefront of the gradual recognition of science fiction and fantasy as serious literature, worthy of careful study and scrupulous critical attention. Le Guin was the first writer to send a boy wizard to school in 1 Le Guin has addressed this issue in an essay called “Despising her deeply imaginative Earthsea series, published decades before Harry Genres,” which may be found as a Potter. And her many other works, such as The Left Hand of Darkness free e-book extra in HarperCollins and The Dispossessed, are now classics of speculative fiction. Populated PerfectBound version of The Birthday of the World. by unforgettable characters and set on alien planets, they help readers explore our own world—its gender dynamics, social psychology, and even economics. As a result, these books have increasingly been studied, written about, taught at the college level, and examined critically. Yet one part of her body of work, the so-called mainstream stories, set in an imaginary country called Orsinia, have received relatively little critical attention. Part of the reason is that these early 2 This is a term from Le Guin’s creations are eclipsed by her later, more famous, works.
    [Show full text]
  • New Cultural Models in Women-S Fantasy Literature Sarah Jane Gamble Submitted for the Degree of Doctor of Philosophy University
    NEW CULTURAL MODELS IN WOMEN-S FANTASY LITERATURE SARAH JANE GAMBLE SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SHEFFIELD, DEPARTMENT OF ENGLISH LITERATURE OCTOBER 1991 NEW CULTURAL MODELS IN WOMEN'S FANTASY LITERATURE Sarah Jane Gamble This thesis examines the way in which modern women writers use non­ realistic literary forms in order to create new role models of and for women. The work of six authors are analysed in detail - Angela Carter, Doris Lessing, Margaret Atwood, Ursula Le Guin, Joanna Russ and Kate Wilhelm. I argue that they share a discontent with the conventions of classic realism, which they all regard as perpetuating ideologically-generated stereotypes of women. Accordingly, they move away from mimetic modes in order to formulate a discourse which will challenge conventional representations of the 'feminine', arriving at a new conception of the female subject. I argue that although these writers represent a range of feminist responses to the dominant order, they all arrive at a s1mil~r conviction that such an order is male-dominated. All exhibit an awareness of the work of feminist critics, creating texts which consciously interact with feminist theory. I then discuss how these authors use their art to examine the their own situation as women who write. All draw the attention to the existence of a tradition of female censorship, whereby the creative woman has experienced, in an intensified form, the repreSSion experienced by all women in a culture which privileges the male over the female. All these writers exhibit a desire to escape such a tradition, progressing towards the formulation of a utopian female subject who is free to be fully creative a project they represent metaphorically in the form of a quest.
    [Show full text]
  • Daoism and Environmentalism in Ursula K. Le Guin's
    Cosmic Landscapes Daoism and Environmentalism in Ursula K. Le Guin’s Utopian Fictions Erling Sølvskutt Brunskow A Thesis Presented to the Department of Literature, Area Studies and European Languages University of Oslo in Partial Fulfillment of the Requirements for the MA Degree UNIVERSITY OF OSLO 30-point thesis Spring 2017 II Cosmic Landscapes Daoism and Environmentalism in Ursula K. Le Guin’s Utopian Fictions Erling Sølvskutt Brunskow III © Erling Sølvskutt Brunskow 2017 Cosmic Landscapes: Daoism and Environmentalism in Ursula Le Guin’s Utopian Fictions Erling Sølvskutt Brunskow http://www.duo.uio.no/ Print: Reprosentralen, Universitetet i Oslo IV Abstract This study looks at how Ursula K. Le Guin’s utopian fiction, represented by The Dispossessed (1974) and Always Coming Home (1985) uses Daoism to challenge the traditions of the genre of utopian literature and to present an environmental ethos for the future. This study considers these novels alongside classic Daoist texts, as well as recent scholarly writings on Daoism in relation to ecology, to explore how the tradition informs Le Guin’s ecological vision. I show how these representations engage the reader to question and resist established ideas of the relationship between human beings and nature. Within this context, I argue that Le Guin makes use of the strategy of cognitive estrangement to allow readers to identify and consequently analyze established norms from alternative perspectives. V VI Acknowledgements First, I would like to thank my supervisor, Associate Professor Bruce Barnhart, for his encouragement and guidance throughout this project. I am also grateful to Associate Professor Mark Luccarelli for turning me on to environmental criticism through putting up the course on American environmentalist history.
    [Show full text]
  • Ursula K. Le Guin the DISPOSSESSED an Ambiguous Utopia Document4 3/18/02 9:30 AM Page 2
    Document4 3/18/02 9:30 AM Page 1 Ursula K. Le Guin THE DISPOSSESSED An Ambiguous Utopia Document4 3/18/02 9:30 AM Page 2 For the partner Document4 3/18/02 9:30 AM Page 2 Document4 3/18/02 9:30 AM Page 2 TOC 3/18/02 2:09 PM Page 1 CONTENTS MAPS OF ANARRES MAPS OF URRAS 1 THERE was a wall. it did not look impor- tant. It was built of uncut rocks 2 IN a square window in a white wall is the clear bare sky. 3 WHEN Shevek woke, having slept straight through his first morning on Urras 4 THE westering sun shining in on his face woke Shevek 5 SHEVEK ended his career as a tourist with relief. 6 WHEN Shevek was sent home after a decade in hospital TOC 4/8/02 5:13 PM Page 2 7 SHEVEK found a letter in a pocket of the new fleece-lined coat 8 THEY were out on the athletic fields of Abbenay s North Park 9 SHEVEK was awakened by the bells in the chapel tower pealing the Prime Harmony 10RAIL lines in Southwest ran for the most part on embankments 11 RODARRED, the old capital of Avan Province, was a pointed city 12 I want to introduce a project, said Bedap, from the Syndicate of Initiative 13 BEFORE they broke orbit, the view ports were filled with the cloudy turquoise A Study Guide to The Dispossessed by Paul Brians About the Author Other Books by Ursula K. Le Guin Credits About the Publisher Front Cover Image Copyright text 3/18/02 1:36 PM Page 1 THERE was a wall.
    [Show full text]
  • Ursula Le Guin, One of the Most Significant Science Fiction Writers of the Past Two Decades, Charms the Reader with Some Glimpses of Greatness
    fie:///C|/Documents and Settings/hasi•i/Dokumenty/Mar•anovi ptá•koviny/knihy/Ursula Le Guin/LeGuin, Ursula K - Buffalo Gals.txt PRAISE FOR URSULA K. LE GUIN AND BUFFALO GALS AND OTHER ANIMAL PRESENCES "Ursula Le Guin, one of the most significant science fiction writers of the past two decades, charms the reader with some glimpses of greatness . this disarmingly informal volume of short fiction ... is like a visit with one of America's most brilliant writers." —Santa Barbara News-Press "Refreshing . these stories are a strong tonic for many modern spiritual ills." —Santa Cruz Sentinel "A delightful collection . designed to shatter your world view." —Riverside Press Enterprise "How wonderful to be in the hands of an accomplished storyteller like Ursula K. Le Guin, whose work shares in that imaginative transformation of the world sometimes called magical realism, science fiction, or fantasy." —Los Angeles Times Book Review "Ursula Le Guin . transcends genre and delivers a delightful collection of works. The effect is a disturbing and delicious disorientation that makes us resee ourselves and our relationship to the world. What she does with craft and good humor will both entertain and educate." —Santa Barbara URSULA K. LE GUIN is an outstanding American writer whose works include science fiction, fantasy, young adult fiction, children's books, essays and poems. She has received numerous awards including the Nebula, Hugo, Kafka, and National Book Awards. Among her best known novels are The Left Hand of Darkness, The Dispossessed, Earthsea (a Trilogy), and Always Coming Home. NAL BOOKS ARE AVAILABLE AT QUANTITY DISCOUNTS WHEN USED TO PROMOTE PRODUCTS OR SERVICES.
    [Show full text]
  • Masaryk University Faculty of Arts
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Hana Koutná Feminism in Short Stories of Ursula Le Guin Bachelor‘s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph.D. 2014 I declare that I have worked on this thesis independently, using only the primaly and secondary sources listed in the bibliography. …………………………………………….. Author‘s signature ACKNOWLEDGEMENT I would like to thank doctor Stephen Paul Hardy for supervision and assistance that enables me to finish this thesis. I also want to thank my family for support and encouragement during the writting. Table of Contents INTRODUCTION CHAPTER I: DAUGHTERS OF EARTH: LE GUIN AS A SCIENCE FICTION AND FEMINIST WRITER 1. SCIENCE FICTION, FEMINISM AND GENDER 1 1.1. GENDER IN HISTORY OF SPECULATIVE FICTION 1 1.2. REPRESENTATION IN MODERN SPECULATIVE FICTION 6 1.3. CHALLENGING THE STEREOTYPE 8 2. LE GUIN AS A WRITER 12 2.1. THE CULTURAL BACKGROUND 12 2.2. LE GUIN‘S INFLUENCE 14 2.3.LE GUIN AND FEMINISM 17 CHAPTER II: FEMINISM IN LE GUIN'S SHORT STORIES 1. INTRACOM 21 1.1. ON PREGNANCY AND ALIENS 23 2. THE WIFE'S STORY 26 2.1. THE MATTER OF PROTAGONIST 27 2.2. IMAGES OF ABUSE AND EMPOWERMENT 31 3. THE COMING OF AGE IN KARHIDE 33 3.1. THE LANGUAGE OF THE GENDER 36 3.2. SEXLUALITY, RELATIONSHIPS AND GENDER STEREOTYPES 38 4. THE PORRIDGE ON ISLAC 41 4.1. CORN AND OTHER MINORITIES 43 CONCLUSION 45 WORKS CITED 50 PRIMARY SOURCES 50 SECONDARY SOURCES 50 INTRODUCTION This work deals with the position of Ursula Le Guin‘s work from the view-point of feminist literature analysis with an emphasis on how her approach evolves through her career and how the analysis differs from the point of view of different waves in the feminist movement.
    [Show full text]
  • Learning from Science Fiction
    HARD READING Liverpool Science Fiction Texts and Studies, 53 Liverpool Science Fiction Texts and Studies Editor David Seed, University of Liverpool Editorial Board Mark Bould, University of the West of England Veronica Hollinger, Trent University Rob Latham, University of California Roger Luckhurst, Birkbeck College, University of London Patrick Parrinder, University of Reading Andy Sawyer, University of Liverpool Recent titles in the series 30. Mike Ashley Transformations: The Story of the Science-Fiction Magazine from 1950–1970 31. Joanna Russ The Country You Have Never Seen: Essays and Reviews 32. Robert Philmus Visions and Revisions: (Re)constructing Science Fiction 33. Gene Wolfe (edited and introduced by Peter Wright) Shadows of the New Sun: Wolfe on Writing/Writers on Wolfe 34. Mike Ashley Gateways to Forever: The Story of the Science-Fiction Magazine from 1970–1980 35. Patricia Kerslake Science Fiction and Empire 36. Keith Williams H. G. Wells, Modernity and the Movies 37. Wendy Gay Pearson, Veronica Hollinger and Joan Gordon (eds.) Queer Universes: Sexualities and Science Fiction 38. John Wyndham (eds. David Ketterer and Andy Sawyer) Plan for Chaos 39. Sherryl Vint Animal Alterity: Science Fiction and the Question of the Animal 40. Paul Williams Race, Ethnicity and Nuclear War: Representations of Nuclear Weapons and Post-Apocalyptic Worlds 41. Sara Wasson and Emily Alder, Gothic Science Fiction 1980–2010 42. David Seed (ed.), Future Wars: The Anticipations and the Fears 43. Andrew M. Butler, Solar Flares: Science Fiction in the 1970s 44. Andrew Milner, Locating Science Fiction 45. Joshua Raulerson, Singularities 46. Stanislaw Lem: Selected Letters to Michael Kandel (edited, translated and with an introduction by Peter Swirski) 47.
    [Show full text]