『Web英語青年』Webeigoseinen (The Rising Generation)
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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. -
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. -
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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). -
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. -
Genetics and Contemporary British Fiction
IMPERIAL COLLEGE LONDON HUMANITIES DEPARTMENT Imagining Humans in the Age of DNA: Genetics and Contemporary British Fiction ANDRÉIA AZEVEDO SOARES Submitted in part candidature for the degree of Doctor of Philosophy and Diploma of Imperial College London 2013 This research work was supported by a grant from 2 Declaration of Originality I, Andréia Azevedo Soares, hereby certify that this thesis was written by me, except where otherwise acknowledged, and it is the record of a research project conducted by me within the Department of Humanities of Imperial College London. 3 Abstract This thesis examines to what extent modern genetics has influenced novelists to adopt a more deterministic view of human beings. It has been claimed that molecular biology, behavioural genetics and evolutionary psychology have challenged traditional ideas about humankind. My hypothesis is that if gene-centred disciplines changed the way we see ourselves, then this would have implications for the literary novel, a genre that depends greatly on representations of humans. In analysing how genetics was incorporated in contemporary British fiction, I try to uncover the ways in which the human characters deal with – or are constrained or empowered by – scientific products or concepts. In addition, I seek to understand what novelists know and think about human genetics, and whether they believe it influenced their stories. Attention is also paid to novelists’ relationship with scientists’ cognitive authority. Specifically, I am interested in whether experts and scientific knowledge were positioned hierarchically above lay audiences and other forms of knowledge. To answer those questions, extended semi-structured interviews and textual analysis were chosen as main research methods. -
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". -
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 -
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. -
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. -
Margaret Drabble's Female "Bildungsromane": Theory, Genre, and Gender New York: Peter Lang, 1995
admirable criticism—engaged, assured, elegant, enormously suggestive, always lucid, and often brilliant. Ian Wojcik-Andrews Margaret Drabble's Female "Bildungsromane": Theory, Genre, and Gender New York: Peter Lang, 1995. Pp. viii + 224. $49.95 Reviewed by Jane Campbell This book, Volume 6 of Peter Lang's series Writing About Women: Feminist Literary Studies, has a promising subtitle and an engaging project, that of applying Marxist-feminist analysis to Drabble's novels. In his first four chapters, Ian Wojcik-Andrews discusses, in general terms, female appropriation of the Bildungsroman and Künstlerroman; "family matters" (marriage) in Drabble's first novel, A Summer Bird-Cage (1963); housework in her second, The Garrick Year (1964); and "narratives of community" (Sandra Zagarell's term) in The Needle's Eye (1972). Chapter Five, "The Bildungsroman: Violent Conventions, Female Relations," returns to these three novels and sets them beside examples of male- centered Bildungsroman. In a subsection entitled "Mothers and Daughters," there is a brief discussion of Drabble's Jerusalem the Golden (1967); two additional subsections are labeled "Childhood and Children" and "Notes Toward a Pre- Oedipal Theory of Genre." Chapter Six, "The Bildungsroman as Künstlerroman: Autobiography, Memory, Identity," begins with the marginalization of the female by Wordsworth, Mill (surprisingly), and Wells, moves to Drabble's representation of women writers in her first novel, and concludes with a summary of Drabble's own journey as a writer; here, The Middle Ground (1980) is introduced into the discussion, with the assumption that its heroine, Kate, can be identified with its author. A brief chapter, "Toward a Marxist-feminist Theory of the Bildungsroman," concludes the book. -
Dame Margaret Drabble CBE
Dame Margaret Drabble CBE Dame Margaret Drabble was born in Sheffield in 1939 and was educated at Newnham College, Cambridge. She is the author of eighteen novels including A Summer Bird-Cage, The Millstone, The Peppered Moth, The Red Queen, The Sea Lady and the highly acclaimed The Pure Gold Baby. She has also written biographies, screenplays and was the editor of the Oxford Companion to English Literature. She was appointed CBE in 1980, and made DBE in the 2008 Honours list. She was also awarded the 2011 Golden PEN Award for a Lifetime’s Distinguished Service to Literature. Agents James Gill Assistant [email protected] Amber Garvey [email protected] 020 3214 0864 Publications Fiction Publication Notes Details THE PURE Anna is a child of special, unknowable qualities. She is a happy child, always GOLD BABY willing to smile at the world around her. But she also presents profound 2013 challenges. For her mother Jess, still in her early twenties, living alone in North CANONGATE London and hoping to embark on an adventurous career, her arrival will prove life-transforming. Over the course of decades, in ways large and small, Anna will affect the lives and loves of those around her. While Anna herself will remain largely unaltered by the passing years, she will live through a period of dramatic change, her journey illuminating our shifting attitudes towards motherhood, responsibility and the way we care for one another. Both personal and political, The Pure Gold Baby is a remarkable portrait of a family, a friendship, and a neighbourhood.It is a novel of great beauty, wisdom and stealthy power by one of our country's foremost and acclaimed writers. -
An Interview with Dame Margaret Drabble Nick Turner
An Interview with Dame Margaret Drabble Nick Turner Conducted at Dame Margaret’s home in London, on May 5th 2010. Dame Margaret Drabble is one of Britain’s leading novelists and critics. She has published seventeen novels, two acclaimed literary biographies (on Arnold Bennett and Angus Wilson), and was the editor of the Oxford Companion to English Literature, for its 1985 and 2000 editions. Drabble first came to prominence in the 1960s, along with other writers such as Nell Dunn, Lynne Reid Banks and Penelope Mortimer, all of whom were giving fresh and invigorating new portraits of women in modern Britain. Her early novels, in a highly readable way, documented the conflicts between traditional feminine roles and academic and career achievement faced by the author’s generation. Her fiction gave agency to female characters, aided by use of first-person narration, in a way that both continued nineteenth-century traditions and paralleled the incipient women’s movement. Drabble’s fiction of the 1970s became wider in scope, looking at society at large; The Ice Age (1977), in particular, is a contemporary condition of England novel. The idea of investigating the way we live now continued in Drabble’s trilogy The Radiant Way (1987), A Natural Curiosity (1989) and The Gates of Ivory (1991); in the latter, the action widened to take on an international perspective. The trilogy is united by its focus on three women, and how their lives are shaped by history present and past; this idea unites much of Drabble’s work. Margaret Drabble’s novels of the 1990s and beyond have ranged from a quasi-Gothic investigation of the state of the nation (The Witch of Exmoor, (1996)), an investigation of family history and DNA (The Peppered Moth, (2001)), to a novel that imagines the voice of an oriental woman of the past alongside that of a contemporary female academic (The Red Queen, (2004)).