Postfeminist Discourse in Shakespeare's the Tempest And
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What Next Miranda?: Marina Warner's Indigo
Kunapipi Volume 16 Issue 3 Article 13 1994 What Next Miranda?: Marina Warner's Indigo Chantal Zabus Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Zabus, Chantal, What Next Miranda?: Marina Warner's Indigo, Kunapipi, 16(3), 1994. Available at:https://ro.uow.edu.au/kunapipi/vol16/iss3/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] What Next Miranda?: Marina Warner's Indigo Abstract Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century. Such texts serve as pre-texts to others; they underwrite them. Yet, in its nearly four centuries of existence, The Tempest has washed ashore more alluvial debris than any other text: parodies, rewritings and adaptations of all kinds. Incessantly, we keep revisiting the stage of Shakespeare's island and we continue to dredge up new meanings from its sea-bed. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol16/iss3/13 What Next Miranda?: Marina Warner's Indigo 81 CHANTAL ZABUS What Next Miranda?: Marina Warner's Indigo 1 'What next I wonder?' Iris Murdoch, The Sea, the Sea Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century. -
Genesis of a Discourse: the Tempest and the Emergence of Postcoloniality
Genesis of a Discourse: The Tempest and the Emergence of Postcoloniality By Judith Anne Pocock A thesis submitted in conformity with the requirements for the degree of Doctor Philosophy, Graduate Department of English, University of Toronto © Copyright by Judith Pocock 2010 Genesis of a Discourse: The Tempest and the Emergence of Postcoloniality Judith Anne Pocock Degree of Doctor of Philosophy Graduate Department of English University of Toronto 2010 Abstract This dissertation contends that The Tempest by William Shakespeare plays a seminal role in the development of postcolonial literature and criticism because it was created in a moment when the colonial system that was now falling apart was just beginning to come into being. Creative writers and critics from the Third World, particularly Africa, the Caribbean, and Latin America, and the First found that the moment reflected in The Tempest had something very specific to say to a generation coming of age in the postcolonial world of the 1960s, 1970s, and early 1980s. I establish that a significant discourse that begins in the Nineteenth Century and intensifies in the Twentieth depends on The Tempest to explore the nature of colonialism and to develop an understanding of the postcolonial world. I then examine the role theories of adaptation play in understanding why The Tempest assumes such a crucial role and determine that the most useful model of adaptation resembles the method developed by biblical typologists which “sets two successive historical events [or periods] into a reciprocal relation of anticipation and fulfillment” (Brumm 27). I ague that postcolonial writers and critics found in The Tempest evidence of a history of colonial oppression and resistance often obscured by established historical narratives and a venue to explore their relationship to their past, present, and future. -
Rather Than Imposing Thematic Unity Or Predefining a Common Theoretical Ground, the Present Issue Seeks to Demonstrate The
The Colour of Intertextuality: Indigo Pia Brînzeu, West University of Timişoara (Romania) New novels are frequently old ones in disguise, especially when authors linger too much in the shadow of their predecessors. At the same time, the dialogue established between the most various texts implies a challenging process of rejuvenation, which conserves the monuments of the past by subtly and subversively interrogating them. It is not surprising then that postmodern writers have discovered and enjoyed the confrontation inherent in the paradoxical nature of intertextuality. On the one hand, they have explored its positive implications, the fact that it links all literary productions in a common network, annihilating the limits of the individual creations and including them within a larger transpersonal text; on the other hand, authors have been challenged to contradict the idea that, since everything has already been written, they can never be original and, accordingly, are always liable for plagiarism. Marina Warner‟s novel Indigo (1992) and Peter Greenaway‟s film Prospero‟s Books (1991) are recent illustrations of a famous intertextual series, starting with Shakespeare‟s The Tempest and containing an impressive list of fictional and nonfictional works.1 In both Warner‟s novel and Greenaway‟s film, colour and water symbolism favour a holistic interpretation of intertextuality. Instead of emphasizing the process of fragmentation, the boundary crossings between texts, and the contamination of texts by other texts, these works highlight the complementary process of intertextual reorganization, attempted with the help of new units offered to the reader. 1 The list contains among other titles Ngūgī wa Thiong‟o‟s A Grain of Wheat (1960), Gonzalo Lamming‟s The Pleasure of Exile (1958) and Water with Berries (1972), Aimé Césaire‟s A Tempest (1969; tr. -
Why and How and Why Not and What Is This, About Starting Another Novel
WHY AND HOW AND WHY NOT AND WHAT IS THIS, ABOUT STARTING ANOTHER NOVEL... Marian Engel WHA.T BEGAN AS AN IDEA many years ago, and must be written because it has not been forgotten, has begun to be a pain. The paper is in the typewriter, all the thinking — in the bath, at the jigsaw puzzles, walking along the street, in restaurants while pretending to read the TLS — has gone as far as it can. The characters have characters. The events are in place. The writing has to begin. I have again to become an omnipotent two-year-old, capable of anything, especially flying. Not, of course, all the time. Just here and now, so I can begin. I'm lucky I have an ideal first line. Old Superego doesn't like this : a first line isn't a book, you schmo. Old Super- ego doesn't like anything. Do I have to battle him to the ground before I can continue? And is he a him? He's probably a rotten old woman with iron-grey hair, like mine. I wouldn't have noticed that my hair was grey if old Superego hadn't said, "You think you're still a tiny blonde, you're a fat middle-aged woman with an iron-grey bob, the kind they won't wait on in the store, you can't write." It always begins this way, but every time the voice is more vicious, it has more past to chew up and spit at me. You won't make any money (so, does Kroetsch?), you're not as good as Alice (I'm just as good for me, said she . -
Water Symbolism in the Fiction of Margaret Laurence
Lakehead University Knowledge Commons,http://knowledgecommons.lakeheadu.ca Electronic Theses and Dissertations Retrospective theses 1985 Water symbolism in the fiction of Margaret Laurence Kahara, Tellervo http://knowledgecommons.lakeheadu.ca/handle/2453/993 Downloaded from Lakehead University, KnowledgeCommons Water Symbolism in the Fiction of Margaret Laurence A Thesis presented to the Department of English Lakehead University In partial fulfillment of the requirements for the degree of Master of Arts by May 1985 ProQuest Number: 10611295 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Pro ProQuest 10611295 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 Table of Contents Page Acknowledgments iii Abstract iv Introduction Chapter I Functions of Water Symbolism: Depicting the Four Major Periods in Man's Life Chapter II Functions of Water Symbolism: Emphasizing the Survival and Regenerative Forces in Man's Life Chapter III Functions of Water Symbolism: Assisting in Characterization 99 Conclusion 135 Bibliography 152 Acknowledgments I am deeply grateful to Lakehead University for the Graduate Scholarship which encouraged my study of Canadian Literature. My heartfelt thanks go to Dr. -
Banned/Challenged Books
BANNED/CHALLENGED BOOKS This is a list (adult and children’s books combined) of just some of the most frequently challenged or banned books in Canada. View the full list at freedomtoread.ca All titles on this list are in the collections at WPL. Atwood, Margaret Handmaid’s Tale Banned/Challenged Books Banned/Challenged Babbitt, Natalie Ouch! A Tale from Grimm Banks, Lynne R. Indian in the Cupboard Beiser, Tim Miss Mousie’s Blind Date Bell, Ted Warlord Brown, Ian (ed.) What I Meant to Say : the private lives of men Burgess, Anthony A Clockwork Orange Callaghan, Morley Such is My Beloved Chbosky, Stephen The Perks of Being a Wallflower Dickey, James Deliverance Doyle, Brian Boy O’Boy Eaton, Maxwell Two Dumb Ducks Eminem The Way I Am Findley, Timothy The Wars Fitch, Sheree Sleeping Dragons All Around Flynn, Sarah (ed.) Girls’ Life Head to Toe Guide to You Gaiman, Neil American Gods Guterson, David Snow Falling on Cedars Katz, Karen My First Ramadan King, Stephen Different Seasons Laurence, Margaret The Diviners AND A Jest of God Lee, Dennis Lizzy’s Lion Lee, Harper To Kill a Mockingbird Lowry, Lois The Giver Mansbach, Adam Go the F**k to Sleep Munro, Alice Lives of Girls and Women Newman, Leslea Donovan’s Big Day Oates, Joyce Carol Foxfire: confessions of a girl gang O’Brien, Dereck Suffer Little Children Paterson, Katherine Bridge to Terabithia Patterson, Richard North Silent Witness Proulx, Annie Close Range : Wyoming stories Pullman, Philip His Dark Materials series Richler, Mordecai The Apprenticeship of Duddy Kravitz Rohmann, Eric Bone Dog Rowling, J. -
University of Saskatchewan Department of English Ph.D
University of Saskatchewan Department of English Ph.D. Field Examination Ph.D. candidates take this examination to establish that they have sufficient understanding to do advanced research and teaching in a specific field. Field examinations are conducted twice yearly: in October and May. At least four months before examination, students must inform the Graduate Chair in writing of their intention to sit the examination. Ph.D. students are to take this examination in May of the second year of the program or October of the third. The examination will be set and marked by three faculty specialists in the area that has been chosen by the candidate. The following lists comprise the areas in which the Department of English has set readings for Ph.D. candidates: American, Commonwealth/Postcolonial, English- Canadian, Literary Theory, Literature by Women, Medieval, Modern British, Nineteenth- Century British, Renaissance, and Restoration/Eighteenth Century. Each candidate is either to select one of the areas listed here or to propose an examination in an area for which a list is not already set. The set lists themselves are not exhaustive; each is to be taken as two-thirds of the reading to be undertaken for the examination, the final third to be drafted by the candidate in consultation with the supervisor. At least three months before examination, this list will be submitted to the candidate’s Examining Committee for approval. A candidate may choose to be examined in an area for which there is no list. Should this option be chosen, the candidate (in consultation with the supervisor) will propose an area to the Graduate Committee at least six months before the examination is to be taken. -
Margaret Laurence's ''Album'' Songs Divining for Missing Links and Deeper Meanings
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Summer 1999 Margaret Laurence's ''Album'' Songs Divining For Missing Links And Deeper Meanings Wes Mantooth George Washington University Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Mantooth, Wes, "Margaret Laurence's ''Album'' Songs Divining For Missing Links And Deeper Meanings" (1999). Great Plains Quarterly. 1589. https://digitalcommons.unl.edu/greatplainsquarterly/1589 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Canadian novelist Margaret Laurence at her home in Lakefield, Ontario, ca. 1985. Photograph by Doug Boult, Village of Wellington, Ontario, KOK 3LO, Canada. MARGARET LAURENCE'S ''ALBUM'' SONGS DIVINING FOR MISSING LINKS AND DEEPER MEANINGS WES MANTOOTH [The Diviners] still needs a lot of work, general cutting of corny bits and putting things into reasonable shape and so on .... BUT-oh John. Wow. Zonk. Kapow. Etcetera. Goddamn novel is in present typescript 527 pp, and I have written 4 songs for it, and-what I really want is to convince publishers that there should be: this novel, with maps, portraits, songs, music for songs, records of songs being sung, and all that. I may have gone berserk, John but I DO NOT THINK SO. I feel great. Jack McClelland [Laurence's publisher], when I tell him, will probably feel lousy, but let us not think of that for the moment.! While Margaret Laurence's artistic legacy writing as a creative outlet. -
2.Seetha-Balakrishna
www.TLHjournal.com Literary Herald ISSN: 2454-3365 An International Refereed/Peer-reviewed English e-Journal Impact Factor: 3.019(IIJIF) Search for Self in Margaret Laurence’s ‘The Diviners’ Dr.Seetha Balakrishnan Language Instructor Jazan University, Jizan Kingdom of Saudi Arabia Abstract: A superficial survey of the twentieth century Canadian Literature shows that there has been an upsurge of feminism in it during the last thirty years. In the sixties and seventies the rise and success achieved by women writers such as Margaret Laurence, Margaret Atwood and Alice Munro is something remarkable. Margaret Laurence (1926-1987) is a novelist of feminine sensibility even though the place „Manawaka‟ acquires a symbolic status for her and becomes a way of living representing the essential attitude towards life. Margaret Laurence‟s last novel „The Diviners’ deals with the struggles of a middle-aged woman, Morag Gunn to become a writer. She has to wage a battle with herself and her husband. Margaret Laurence is concerned with morality and the transmission of culture beyond the scope of her parents in her personal quest for identity. Thus the novel occupies mostly the interior landscape of the protagonist in her struggle to come to terms with herself. Keywords: Canadian Literature, Feminine sensibility, „The Diviners’, Quest for identity The early growth of Canadian literature can be traced to the oral voices of the original people- the Indian tribes spread far and wide in the temperate regions. Their oral tradition as well as their songs and stories were passed on from one generation to the other. Till the thirties, the Canadian novel did not adopt any modern technique even though traces could be found in the works of the writers who started writing at the beginning of the twentieth century. -
Manitowoc Kennel Club Friday, April 2, 2021
Manitowoc Kennel Club Friday, April 2, 2021 Group Results Sporting Spaniels (English Cocker) 27 BB/G1 GCHP CH K'mander Dawnglow Arnage. SR89298901 Retrievers (Chesapeake Bay) 25 BB/G2 GCHG CH Sandbar's Hardcore Hank MH. SR81693507 Setters (English) 26 BB/G3 GCH CH Ciara N' Honeygait Belle Of The Ball. SS07012602 Retrievers (Golden) 37 BB/G4 GCHG CH Futura Lime Me Entertain You CGC. SR86361206 Hound Whippets 18 1/W/BB/BW/G1 Woods Runner One And Only. HP56111307 Beagles (15 Inch) 11 BB/G2 GCHB CH Everwind's Living The Dream. HP55226602 Rhodesian Ridgebacks 32 BB/G3 GCHS CH Hilltop's Enchanting Circe of Dykumos. HP57068004 Afghan Hounds 7 BB/G4 GCHG CH Taji Better Man Mazshalna CGC. HP45099607 Working Great Danes 26 BB/G1 GCHG CH Landmark-Divine Acres Kiss Myself I'm So Pretty. WS56877803 Samoyeds 34 BB/G2 GCHG CH Sammantic Speed Of Life. WS59323801 Bernese Mountain Dogs 33 BB/G3 GCH CH Bernergardens Look To The Stars BN RI. WS62005402 Doberman Pinschers 46 BB/G4 GCHB CH Kandu's Glamour Puss V Mytoys. WS61064602 Terrier Australian Terriers 15 BB/G1 GCHS CH Temora Steal My Heart CA TKN. RN29651902 Border Terriers 12 BB/G2 GCHS CH Meadowlake High Times. RN31451901 American Staffordshire Terriers 19 BB/G3 CH Corralitos Tracking The Storm. RN33989402 Glen of Imaal Terriers 23 BB/G4 GCH CH Abberann Midnight Rider Of Glendalough. RN31978502 Toy Affenpinschers 7 BB/G1/BIS GCHS CH Point Dexter V. Tani Kazari. TS40341801 Papillons 17 BB/G2 GCHG CH Wingssong This Could Be Love. TS32017001 Maltese 7 BB/G3 GCHS CH Martin's Time Bomb Puff. -
On the Postmodernist Parody and Discourse Deconstruction in Marina Warner’S Indigo
Vol. 3 No. 4 Language and Semiotic Studies Winter 2017 Remapping, Subversion, and Witnessing: On the Postmodernist Parody and Discourse Deconstruction in Marina Warner’s Indigo Li Wang Nanjing University, China Abstract Among the many postmodern revisions of The Tempest, Warner’s Indigo remains second to none. It rewrites and parodies The Tempest with its postmodern subversion and construction, aiming to bombard European logocentric hegemony under the context of the Western grand narrative and the suppression of colored women with its Christian patriarchal system. Based on the Shakespearean canon, Indigo pivots on the marginalized and neglected figures in the original play and gives them a spotlight on the stage by empowering them with voices so as to reverse, subvert, and reconstruct Western History, challenging the Western hegemonic discourses of its patriarchal and colonial systems. Its success lies not only in the scrutiny of the past history under the perspective of postcolonial and postfeminist theories, but also in its author’s identity as a white British woman and descendant of early settlers in the Caribbean, which leaves her with a peculiar stance to form a dialogue with Shakespeare and scrutinize history. Through depicting the anxiety of personal identity within the family, Indigo showcases the diversity and hybridity of the postcolonial legacy in the Caribbean. It bears witness to the cruelty of colonization and carries on its legacy through nonlinear narratives spanning more than three centuries, through which we can get a glimpse of Warner’s ambition in healing the scars of past colonization and critically disclosing the darkness of it. This paper aims to better our understanding of the essence of this postmodern novel through the lenses of parody and deconstruction. -
Teaching Margaret Laurence's the Diviners As a Postcolonial Text
Teaching Margaret Laurence's The Diviners as a Postcolonial Text Gillian Siddall Resume: Cet article propose une lecture du roman Tlze Diviners de Margaret Laurence qui priviliegie les Bldments qui font de ce dcit un exemple ideal pour aborder en classe les questions fondamentales du postcolonialisme: ladefinition de I'identitecanadienne dans un milieu multiculturel, lad6nonciation des partis pris de l'histoire traditionnelle, la volonte de reviser l'histoire du Canada et I'exploration des liens entre le ferninisme, la conscience des classes sociales et I'ideologie postcolonialiste. Summary: This paper offers a reading of Margaret Laurence's Tlze Diviners that highlights its potential as a basis for classroom discussions of issues central to postcolonial theory: the definition of Canadian identity in a multicultural classroom; the biases of traditional Canadian history; the movement towards rethinking and rewriting Canadian history; and the links between feminism, class, and postcolonialism. Tlze Diviners illustrates the extent to which Canadian history has been fictionalized but has become regarded as truth. The novel re-imagines Canadian history and uses multiple perspectives--and consequently multiple narratives-to create a space for those who have previously been denied creative/politicalpower, namely theMBtis, the workingclasses, and women. In his essay "Frye Among (Postcolonial) Schoolchildren: The Educated Imagi- nation" (also in this issue), John Willinsky calls for the highschools of Canada to imagine "a world that has moved well beyond the age of empire" (1); that is, Willinsky believes Canadian schools need to acknowledge the historical impact of imperialism on our curricula, and to accommodate the growing multicultural population of Canada.