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Gender Studies GENDER STUDIES Vol. 10 No. 1/2011 1 2 GENDER STUDIES Vol. 10 No. 1/2011 3 Gender Studies Revista de Studii de Gen a Centrului Interdisciplinar de Studii de Gen al Universităţii de Vest din Timişoara ISSN 1583-980X Website: http://www.litere.uvt.ro/publicatii/GS/index.htm E-mail: [email protected] CNCS (The National Council for Scientific Research) code: 258 CNCS classification 2010: B+ (maintained for 2011) As of January 2009 Gender Studies is indexed in the MLA International Bibliography; all our back issues are indexed in the Central and Eastern European Online Library (C.E.E.O.L.) at: www.ceeol.com. 4 GENDER STUDIES Editor: Reghina Dascăl Language consultant: Stuart Elford ADVISORY BOARD: Haleh Afshar - University of York Pia Brînzeu - University of the West, Timişoara Otilia Hedeşan - University of the West, Timişoara Margaret R. Higonnet – University of Connecticut Vesela Katsarova – University of Sofia Hildegard Klein - University of Málaga Krystyna Kujawinska-Courtney - University of Łódź Isabel Marcus - State University of New York, Buffalo Hortensia Pîrlog - University of the West, Timişoara Nóra Séllei - University of Debrecen EDITORIAL ADDRESS All correspondence should be addressed to: Reghina Dascăl, Director of the Interdisciplinary Centre for Gender Studies, English Department, University of the West Timişoara Blvd. V. Pârvan, no. 4, 300223 Timişoara Phone/fax (+ 40) 256 452 224; e-mail: [email protected] 5 CONTENTS Through the Lens of Gender. Sites of Gendered Representation and Discourse VESELA KATSAROVA Illumine the Mind within: Eva Figes’ Waking and V. Woolf’s the Waves / MILAN MILJKOVIĆ Irony, Carnivalization and Gender Identities in Fay Weldon’s Novel Spa Decameron / ANEMONA ALB What’s in a Rank? Foregrounding Secondary Characters in Chick Lit / Gendered Diasporic Identities COLOMBA LA RAGIONE From ‘Limbo’ to ‘Contrapuntal Awareness.’ The Namesake between India and America / IZABELLA PENIER The Formation of Female Migratory Subjects in Edwidge Danticat’s Krick? Krack! / The Gender of Language NADEŽDA SILAŠKI Slave to Love – A Contrastive Analysis TATJANA ĐUROVIĆ of LUST Metaphors in English and Serbian BILJANA RADIĆ-BOJANIĆ Gendered Political Discourse – How 6 NADEŽDA SILAŠKI Women Find Their Way in the Penalty Area of the Political Battlefield / Media and Beauty Myths NADEŽDA SILAŠKI Dealing with the Mortal Enemy – the WAR Scenario in the Conceptualisation of Some Beauty Issues in Women’s Magazines / Gender, Culture, Society ANDREEA PELE Travelling Companions. Women under Communism / REGHINA DASCĂL Viragos and Pariahs: India’s Women / RAMONA BRAN Love and Courage and Our Generation: Two Stories of Insubordination / REMINA SIMA Demarcating the Boundaries / The Conundrum of Gender ROXANA D. A Fancy Exterior: Appearances CRUCEANU of Charm and Style in the Protagonist of Byron’s Don Juan ELISABETA ZELINKA ‘I Mapped the Knitting-Ball’. Woolf versus Cunningham: Femininity and Androgyny in Literary Cartography / HILDEGARD KLEIN Mark Ravenhill’s Plays – Woman’s Nourishing Role in a Barren Homosexual World / 7 Women Writers Subvert the Canon VLADISLAVA GORDIĆ PETKOVIĆ Female Appropriation of the Plot NATAŠA KARANFILOVIĆ in Contemporary Literature / Woman Must Write Woman. ANDREEA MINGIUC Jeanette Winterson and Echoes of French Feminism / ANA SENTOV Female Characters amidst Political and Cultural Clashes in Khaled Hosseini’s A Thousand Splendid Suns / About the Authors / Through the Lens of Gender. 8 Sites of Gendered Representation and Discourse 9 ILLUMINE THE MIND WITHIN: EVA FIGES’ WAKING AND VIRGINIA WOOLF’S THE WAVES VESELA KATSAROVA St. Kliment Ohridski University of Sofia Abstract: Though most contemporary British women writers follow Woolf’s recommendation “to look within”, Figes seems to stand closest to the great modernist. In her novel Waking she re-creates Woolf’s The Waves in postmodern terms. The paper dwells on some similarities between the two works concerning structure, the idea of universality, the blending of the conscious and unconscious, the significance of “moments of being”, the effects of light, rhythm, verbal poetry, etc. However, unlike Woolf, Figes depicts the life of the body explicitly and presents the subject as fluid and centreless rather than as stable. Thus Figes extends modernism. Key words: modernism, postmodernism, bodily language, fluid subject. Critics are usually unanimous that in no other literature is there such a long line of women novelists as in English literature. The remarkable contribution of such outstanding women writers as Jane Austen, Charlotte and Emily Bronte, George Eliot and Virginia Woolf has been widely acknowledged. However, the number of talented women writers in contemporary British fiction is also truly impressive. A critic writing about a kind of renaissance of English literature nowadays points out that the most intriguing contemporary prose is being created by women novelists (Hosmer 1993: ix). His statement is convincingly supported by the facts concerning the participation of British women writers in the literary process today: the Booker Prize in 2006 was won by a woman – Kiran Desai; the Booker Prize 10 in 2007 was again taken by a woman – Ann Enright; the Nobel Prize for Literature in 2008 was awarded to a British woman novelist, Doris Lessing; the Booker Prize in 2009 was also received by a woman, Hilary Mantel. Critics often point out the thematic diversity, fluid perspective and rejection of convention generally apparent in women’s writing in the 1980s and 1990s. Thus the novelist Ian McEwan argues: “Women novelists seem best placed now to use the novel seriously to open out relatively unexplored areas of individual and social experience” (Stevenson 2004: 461). In his significant study of contemporary British literature The Last of England? Randall Stevenson includes a separate chapter on women novelists’ important role in contemporary fiction. He says: Diverse, fluid vision, skepticism of convention and inventiveness in style and form necessarily remained strong priorities for women writers […] The disposition towards a postmodernist idiom – towards experiment and innovation generally – made women writers among the most progressive in the period. (Stevenson 2004: 474) As these views show, the position and the role of contemporary women novelists in ‘the House of Fiction” have already been endorsed. Stevenson contends further (ibid: 468) that most of these writers followed Virginia Woolf’s recommendation to “look within” and “examine the mind” (“Modern Fiction” 1919) and renewed the modernist focus on the values of private experience. It is quite likely that for them the “room of one’s own” was again more readily available than any other place in a still male- dominated society. Eva Figes (b.1932) appears to have the most obvious affinities with Virginia Woolf. Her feminist study Patriarchal Attitudes: Women in Society 11 (1971), which articulated the spirit of the women’s liberation movement in the late 1960s, was almost as ground-breaking as Woolf’s A Room of One’s Own (1929) had once been. The study traces the history and root causes of women’s oppression all the way through Biblical stories and art to modern education. As Figes argues, prejudices against half the human race can be found everywhere – in Rousseau, Darwin, Marx, Freud, etc. She uses recent research to support her argument than nurture is more important than nature. Undoubtedly Figes shares and even develops many of the ideas of her renowned predecessor. And yet Woolf’s direct influence on the contemporary writer is explicitly displayed in the latter’s innovative novel Waking (1981). Figes herself claims that she re-read Woolf’s highly experimental work The Waves (1932) and “consciously used [it] as a model” (Kenyon 1988: 135). The most apparent similarity resides in the structure of the two novels – their various parts directly correspond to separate stages in human life. Thus The Waves presents the interior monologues of six characters – three men and three women – which outline a journey from morning until night, from childhood into old age. The soliloquies are framed by interludes, i.e. pictures of the outside physical world, which invariably begin with the sun, the source of all life. In the interludes the seasons advance too, from early spring to late autumn and winter. Accordingly, in Waking Figes depicts seven mornings in a woman’s life and all the parts similarly begin with the sun in different seasons. However, the perceptions of the outside world and inner consciousness are not separate but closely interwoven. As for the number of chapters, Figes says in an interview: “I needed the odd number, rising to a climax. It’s not based on Shakespeare’s seven ages, but on woman’s life” (Kenyon: 134). The climax of the novel comes in the fourth part, which presents the ecstasy of sensual intimacy. In a similar way, Woolf must have 12 deliberately chosen an odd number because the parts in her novel are nine and the fifth one in the middle is also an undoubted climax, standing for maturity: “The sun had risen to its full height… [it] burnt uncompromising, undeniable” (The Waves: 148). What is more important than the purely structural similarity is that both novelists poetically imagine the passing of time, the experience of ageing, the whole cycle of the seasons as well as life – the journey from the joys of childhood through the tension of puberty, the ecstasy of youth, the heaviness of middle age to the decrepitude of old age. By showing the changing perceptions of mind in a changing body they present the universality of experience in the particular. The idea of universality is considerably heightened in Figes’ novel by the fact that the heroine is unnamed. The novelist aptly comments on it: “My idea is a universal experience which is why she has no name. A name is merely a social phenomenon, not needed when lying half-awake” (Kenyon: 131). Eva Figes has frequently stated that as stylists she admires Proust and Virginia Woolf most. Like Woolf, she questions the purpose of the novel - contrary to realist views, she does not want to know what happens next but what feeling occurs next.
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