scholarly journals From the diasporic to the transnation: Catherine Temma Davidson’s The Priest Fainted

Ars Aeterna ◽  
2016 ◽  
Vol 8 (2) ◽  
pp. 1-12
Author(s):  
Jaroslav Kušnír
Keyword(s):  
Cultural Identity ◽  
Cultural Background ◽  
Female Character ◽  
Hybrid Identity ◽  
Female Protagonists ◽  
Three Generations ◽  
Patriarchal Society ◽  
Diasporic Identity ◽  
Conservative Values ◽  
Symbolic Formation

Abstract This paper analyses the depiction of the main female protagonists of Catherine Temma Davidson’s novel The Priest Fainted (1998) in the context of the symbolic formation of the hybrid identity of the main female character and narrator which is close to Bill Ascroft’s concept of the transnation. The author of this paper analyses Davidson’s depiction of three generations of female protagonists with a Greek cultural background and the way they symbolically represent the transition from a traditional diasporic identity (the narrator’s grandmother), through multicultural and transnational identity (her mother) up to the identity close to the concept of the transnation as defined by Bill Aschroft (the narrator herself). At the same time, the formation of such a cultural identity is understood as a symbolic formation of female independence and the rejection of a patriarchal society, religious bigotry and conservative values as represented, in the narrator’s and her mother’s view, by contemporary Greece.

scholarly journals IDENTITAS DIASPORIS TIGA GENERASI PEREMPUAN CINA DALAM ONLY A GIRL KARYA LIAN GOUW (Diasporic Identity of Three Generations of Chinese Females in Only A Girl Written by Lian Gouw)

ATAVISME ◽  
2019 ◽  
Vol 22 (1) ◽  
pp. 15-31
Author(s):  
Ratna Asmarani
Keyword(s):  
Literary Analysis ◽  
Close Reading ◽  
Female Characters ◽  
Great Role ◽  
Two Cultures ◽  
Three Generations ◽  
Library Research ◽  
Diasporic Identity ◽  
The Social ◽  
Family House

Identity is crucial in a person’s life. Diasporic identity is much more complicated because it involves at least two cultures. The focus of this paper is to analyze the diasporic identity of three generations of diasporic Chinese females as represented in Lian Gouw’s novel entitled Only a Girl. The data and supporting concepts are compiled using library research and close reading. The qualitative analysis is used to support the contextual literary analysis combining the intrinsic aspect focusing on the female characters and the extrinsic aspects concerning diaspora and identity. The results shows that each Chinese female character has tried to construct her own diasporic identity. However, the social, cultural, political, educational, and economic contexts play a great role in the struggles to construct the diasporic identity. It can be concluded that the younger the generation, the braver their effort to construct their diasporic identity and the braver their decision to take a distance with the big family house eventhough they have to face stronger and more complicated conflicts to realize and actualize their personal construction of diasporic identity.

scholarly journals The virtual return of "fourth" and "fifth" generation migrants

2006 ◽  
pp. 77-88
Author(s):  
Stjepan Gredelj
Keyword(s):  
Cultural Identity ◽  
Everyday Life ◽  
Cultural Background ◽  
Capital Investments ◽  
Know How ◽  
Fifth Generation ◽  
Mother Country ◽  
Insight Into

The main aims of the project are twofold: the first one is to get insight into scope, structure, everyday life, opinions and plans of our people who live abroad as the fourth and fifth generations of emigrants, specially those who left the country during 90s. The second is checking and recording their preparedness for "return" to mother-country through complex set of activities and arrangements: return (repatriation), capital investments, know-how and skills investments, preservation and strengthening cultural identity of our people abroad and development their links with the ethnic/cultural background and inheritance.

Naruse, Mikio (1905–1969)

2018 ◽  
Author(s):  
Joel Neville Anderson
Keyword(s):  
Interpersonal Relationships ◽  
Urban Poverty ◽  
Urban Life ◽  
Female Characters ◽  
Film Genre ◽  
Female Protagonists ◽  
Japanese Film ◽  
Patriarchal Society ◽  
Mise En Scene ◽  
Outside Money

Naruse Mikio was a popular and critically renowned Japanese film director who was active from the early 1930s to the mid-1960s. He completed eighty-nine films, of which sixty-seven survive. From a poor family and raised by his sisters, he began work as a prop assistant at Shochiku studios at the age of fifteen, where he would direct his first film ten years later. Beginning with slapstick comedies, Naruse’s interest in urban poverty and strong, if ill-fated female characters drew him to the josei-eiga (woman’s film) genre. By the mid-1930s he had moved to PCL (Photo-Chemical Laboratories, later incorporated into Toho Studios), where he would work for the following three decades, undertaking additional projects at Shintoho and Daiei. While his prewar silent pictures display early experimentation with voice-over, flashbacks, and montage sequences, his work in sound and later widescreen and color is characterized by exacting mise-en-scène, and quick unrelenting cuts following performers’ gestures and expressions. Naruse’s modernist economy of style moves at the pace of urban life, thrusting his female protagonists (often Takamine Hideko, who starred in seventeen of the director’s best-known films) into the financialization of interpersonal relationships, whereby yearning for love outside money and family is dulled by having to survive the daily hardships of patriarchal society and monetary debt.

Kuomintang Soldiers and Their Descendants in Northern Thailand: An Ethnographic Study

2008 ◽  
Vol 4 (2) ◽  
pp. 238-257 ◽  
Author(s):  
Ying Duan
Keyword(s):  
Cultural Identity ◽  
Cultural Values ◽  
Ethnographic Study ◽  
Chinese Education ◽  
Northern Thailand ◽  
Chinese Tradition ◽  
Three Generations ◽  
Chinese Cultural Values ◽  
Thai Culture

AbstractThis research explores the community and the life of the Yunnanese Chinese comprising KMT soldiers and their descendants in northern Thailand. By describing three generations of these villagers, the article shows how the original Kuomintang soldiers and their descendants have adapted to life in northern Thailand, and become a category of Chinese there. Despite the influence of Thai culture especially on the young, certain aspects of Chinese tradition have remained important for their cultural identity, while Chinese education reinforces the socialization of Chinese cultural values.

scholarly journals Inside Out: A Diasporic Narrative

2016 ◽  
Vol 22 (1) ◽  
Author(s):  
Tania Lewis
Keyword(s):  
New Zealand ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Knowledge Production ◽  
American Studies ◽  
Diasporic Identity ◽  
History Of ◽  
The University ◽  
Inside Out ◽  
Structural Marxism

In the late 1980s and early 1990s, Stuart Hall’s writing began to take a biographical turn. For readers such as myself, then a mature undergraduate pursuing an American Studies degree in New Zealand, this was somewhat of a revelation. The surprise was not so much Hall’s shift from the somewhat dry prose of structural Marxism to the rather more vital style of a postcolonially inflected poststructuralism, but the fact of Hall’s Caribbean background when I, along with no doubt many other geographically distant readers, had assumed him to be exworking class, British and white. Some seven years later, while wrestling with a PhD on the history of cultural studies at the University of Melbourne, I found myself writing an essay for Arena using the question of Hall’s diasporic identity to explore ‘the relations between knowledge production and cultural identity/location.

scholarly journals “Neatly Severing The Body From The Head:” Female Abjection In Margaret Atwood’S The Edible Woman

Linguaculture ◽  
2012 ◽  
Vol 2012 (1) ◽  
Author(s):  
Ulla Kriebernegg
Keyword(s):  
Eating Disorders ◽  
Margaret Atwood ◽  
The Body ◽  
Female Protagonists ◽  
Patriarchal Society ◽  
Identity Crises ◽  
Female Bodies ◽  
Central Characters

AbstractIn Margaret Atwood’s fiction and poetry, wounded female bodies are a frequently used metaphor for the central characters’ severe identity crises. Atwood’s female protagonists or lyric personae fight marginalization and victimization and often struggle to position themselves in patriarchal society. In order to maintain the illusion of a stable identity, the characters often disavow parts of themselves and surrender to a subversive memory that plays all sorts of tricks on them. However, these “abject” aspects (J. Kristeva, Powers of Horror) cannot be repressed and keep returning, threatening the women’s only seemingly unified selves: In Surfacing, for example, the protagonist suffers from emotional numbness after an abortion. In The Edible Woman, the protagonist’s crisis results in severe eating disorders and in Cat’s Eye and The Robber Bride the central characters’ conflicts are externalized and projected onto haunting ghost-like trickster figures.In this paper, I will look at various representations of “wounded bodies and wounded minds” in samples of Margaret Atwood’s The Edible Woman, focusing on the intersection of memory and identity and analyzing the strategies for healing that Margaret Atwood offers.

scholarly journals Symbolic representation of women on literary landscape: Textual analysis of the play 'Black is My Robe'

2021 ◽  
Vol 5 (1) ◽  
pp. 139-153
Author(s):  
Mahboob Alam ◽  
Muhammad Usman Askari
Keyword(s):  
Textual Analysis ◽  
Symbolic Representation ◽  
Female Character ◽  
Material Object ◽  
The Unconscious ◽  
Representation Of Women ◽  
Patriarchal Society ◽  
Dominant Society

The article aims to explore the symbolic representation of women in Pakistani society and investigates the unconscious nature of patriarchy in which the image of women is painted as a material object. This study is grounded on the textual analysis of Shahid Nadeem’s play “Black is My Robe.” The story revolves around the exchange of a female character named Sundri with an Ox. Shahid Nadeem has employed symbols to unveil the image of a repressed woman in patriarchal society. He has exposed the constructed myths about the submissive status of woman in male-dominant society through his plays in Ajoka theatre. He highlighted certain traditional hierarchies which signify their influence in gender discrepancy and sex stratification in which women is considered just as a property. To highlight these discrepancies, this study is carried out under Sigmund Freud’s theory of subconscious by using the literary technique of symbolism. The study has highlighted man’s desire for prescribing the negation of any gender through symbolization and devoid of anticipating any unpleasant representation. This study concludes with the suggestion to emancipate and empower women and to demolish ridiculous ideals of patriarchy by moral verdicts.

scholarly journals Linguocultureme as a Marker of Identity (Based on English Translation of the Novel Zuleikha by G. Yakhina)

2021 ◽  
Vol 19 (1) ◽  
pp. 127-141
Author(s):  
Olga A. Nesterova ◽  
Elena N. Sokolova
Keyword(s):  
Cultural Identity ◽  
Interior Design ◽  
English Translation ◽  
English Language ◽  
Cultural Background ◽  
Original Text ◽  
The Novel ◽  
Main Character ◽  
Cultural Community ◽  
Cultural Elements

The article reveals the decoding mechanisms of linguoculturemes occurring in the translation of the novel “Zuleikha opens her eyes” by G. Yakhina into the English language. In the original text of the novel linguoculturemes express ethnical and socio-cultural identity of the main character Zuleikha. Working on the translation of the novel Lisa Hayden, the translator, uses different types of adaptive transcoding for interlanguage and intercultural communication. The translation is characterized by double transcoding that is based on three languages: Tatar, Russian and English. Tatar words and expressions with explicit national cultural elements form a cultural background in the novel and often have no equivalents or definitions in the English language. The comparative analysis of the original text and its translations highlight a number of different groups of linguoculturemes, such as terms for members of ethno-cultural community and types of address, names of mythical and religious characters, names of objects, elements of interior design of a peasant’s home, pieces of furniture, and clothes. Linguoculturemes also help to recreate the historical atmosphere in Russia in the 1920-1930s, as well as the relationships in a traditional patriarchal family, conventional values of a local ethno-cultural community and socio-political realia depicted in the novel. A complex hierarchy of contextual image levels of the novel in the process of translation of the novel. The outer level of the story (the plot) is being transformed and many story lines are translated into English without any significant semantic change. Universal human problems represented via archetypes are well received by the English-language readers regardless of their language and socio-cultural background. The inner levels of the story expressing specific social relationships and interactions, ethnocultural, religious, and ethnopsychological stands with the help of linguoculturemes appear to be “encoded” for readers with different language backgrounds, but open in their complete semantic value to the bearers of the given social, religious and ethnical cultures. The authors’ message is that the English translation of the text does not lack in national cultural identity or ethnocultural values, it is just that these values become secondary and, as a result, harm the intimacy of the unique world perception of the main character.

scholarly journals Politics, Violence, and Victimization in Margaret Atwood’s Selected Novels

2015 ◽  
Vol 50 ◽  
pp. 86-90
Author(s):  
Elaheh Soofastaei ◽  
Sayyed Ali Mirenayat
Keyword(s):  
Direct Relationship ◽  
Bodily Harm ◽  
Literary Field ◽  
Female Protagonists ◽  
Patriarchal Society ◽  
Feminist Writing ◽  
The Relationship

Canadian novels have witnessed a movement from description to more different analytical and interpretative directions. Margaret Atwood's oeuvres are belonged to the postmodern literary field of feminist writing. Her fictions show a severe alertness of the relationship between chains and slavery, i.e. between women's requirement for relationships with others and her requirements for freedom and autonomy. In this paper, The Handmaid's Tale, Bodily Harm, Surfacing, and The Edible Woman will be surveyed in a direct relationship between politics, violence and victimization of female protagonists. An examination on Margaret Atwood's novels demonstrates that she is pioneer in the dimension of time by being a revolter against the patriarchal society.

scholarly journals The Construction of Chinese Muslim Identities in Surabaya

2020 ◽  
Vol 28 (1) ◽  
pp. 65-86
Author(s):  
Bastian Yunariono ◽  
Retno Andriati
Keyword(s):  
Cultural Identity ◽  
Political System ◽  
Qualitative Method ◽  
Native People ◽  
New Order ◽  
Hybrid Identity ◽  
Chinese Identity ◽  
Ethnographic Approach ◽  
Chinese Muslims ◽  
Muslim Identities

This study aims to uncover how Chinese Muslims in Surabaya developed their identity in Post-Reformation. During the New Order regime, they could not show their identity as a part of Indonesian diversity. Chinese identity has merged with the “native” people. Along with the downfall of the authoritarian political system and the development of multiculturalism and pluralism, Chinese Muslims in Surabaya could express their cultural identity. This study uses a qualitative method with an ethnographic approach. The results of the study reveal that the Chinese Muslims in Surabaya developed their cultural identity through Cheng Hoo Mosque, Chinese Muslim Organization, and Imlek Celebration. The cultural identity created a hybrid identity which is a combination of Chinese, Java, and Islamic cultures.

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