Ideological Representation of Women's Oppression in Margaret Atwood's The Handmaid's Tale

2021 ◽  
Vol 3 (138) ◽  
pp. 15-22
Author(s):  
Huda Aziz Muhi Al-shammari ◽  
Nidaa Hussain Fahmi Al-Khazraji
Keyword(s):  
Research Paper ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
Female Characters ◽  
Self Presentation ◽  
Male And Female ◽  
Global Issue ◽  
The World ◽  
Abuse Of Women

The abuse of women is an issue that persists throughout the ages till the present time because people are still living in a world of a dominated idea which is known as man is the self and woman is the other. So the objective of this research paper is to argue this global issue using Van Dijk's Ideological Square (1998) as a framework so as to examine the ideologies that underline the use of language in The Handmaid’s Tale. It is hypothesized that the ideology of oppression is exposed in the novel throughout using the ideological strategies of positive- self presentation and negative-other presentation. Ultimately, it concludes that the novelist employs both, male and female, characters to consistently ridicule and offer negative coverage about women and to increasingly align and offer favorable comments about men to present the world of patriarchy from a different perspective.

scholarly journals Герменевтические подступы к русской литературе

2018 ◽  
pp. 245-257
Author(s):  
Roman Szubin
Keyword(s):  
Russian Literature ◽  
The Self ◽  
The Other ◽  
The Novel ◽  
The World ◽  
New Space ◽  
Methodological Studies

The article is devoted to the search for a new space in the methodological studies on Russian literature. The author takes as its basis the method of hermeneutics  of words by Vardan Hayrapetyan. Especially the basic categories such as the world man (homo mundi), the Other and its variants: the self (rus. самость), otherness (rus. дру­гость), the alien (rus. чужесть) and two triads, which postulate two types of intellectual situations. In this regard, the author identifies the concept of the hybrid man of the hero of Russian literature in which a small person is a representative of an impersonal collective personality of the world man, home, family, ideas, etc. The author demonstrates the type of a hybrid man on the example of the protagonist of the novel by Vasily Shukshin Stepan Razin.

Male-Female Characters’ Tenor of Discourse in Akachi Ezeigbo’s The Last of the Strong Ones

2015 ◽  
Vol 8 (3) ◽  
pp. 167
Author(s):  
Innocent Sourou Koutchade ◽  
Severin Mehouenou
Keyword(s):  
Social Role ◽  
The Other ◽  
The Novel ◽  
Female Characters ◽  
Male And Female ◽  
The Social ◽  
Class 1 ◽  
Role Relationships ◽  
The One

<p class="1"><span lang="X-NONE">This article attempts to explore male-female characters’ tenor of discourse in the novel entitled: <em>The Last of the Strong Ones</em> by Akachi Ezeigbo. According to Halliday’s (1978), the tenor of the discourse is the social role relationships played by interactants. It is associated with the grammar of interpersonal meanings which is, in turn, realized through the mood patterns of the grammar. The paper, through the analysis of mood system, modality and vocatives, reveals how male and female characters establish relationships between each other. The tenor of their discourse unveils how women are oppressed by patriarchy on the one hand, as well as how they fight against the system, on the other. From these linguistic choices, the work concludes that there exists an atmosphere of tension, distance, aggression and dominance between some characters of the novel. </span></p>

scholarly journals The Last Man and ‘The First Woman’: Unmanly Images of Unhuman Nature in Mary Shelley’s Ecocriticism

Perichoresis ◽  
2020 ◽  
Vol 18 (2) ◽  
pp. 3-15
Author(s):  
Éva Antal
Keyword(s):  
Mary Shelley ◽  
The Other ◽  
Natural Order ◽  
The Novel ◽  
Female Characters ◽  
The Sublime ◽  
The World ◽  
Last Man ◽  
The One ◽  
The Last Man

AbstractMary Shelley in her writings relies on the romanticised notions of nature: in addition to its beauties, the sublime quality is highlighted in its overwhelming greatness. In her ecological fiction, The Last Man (1826), the dystopian view of man results in the presentation of the declining civilization and the catastrophic destruction of infested mankind. In the novel, all of the characters are associated with forces of culture and history. On the one hand, Mary Shelley, focussing on different human bonds, warns against the sickening discord and dissonance, the lack of harmony in the world, while, on the other hand, she calls for the respect of nature and natural order. The prophetic caring female characters ‘foresee’ the events but cannot help the beloved men to control their building and destroying powers. Mary Shelley expresses her unmanly view of nature and the author’s utopian hope seems to lie in ‘unhuman’ nature. While the epidemic, having been unleashed by the pests of patriarchal society and being accelerated by global warming, sweeps away humanity, Mother Nature flourishes and gains back her original ‘dwelling place’.

scholarly journals THE AUTHORITY OF OTHER IN THE NARRATION OF SLAVERY TO: « SALAH BOJAH »

2021 ◽  
Vol 3 (1) ◽  
pp. 311-320
Author(s):  
Asma Aldjia BOUCHAIB ◽  
Keyword(s):  
The Self ◽  
The Other ◽  
Literary Genre ◽  
The Novel ◽  
The West ◽  
New Novel ◽  
The World ◽  
The Relationship ◽  
System Today ◽  
Hostile Attitude

The world has pictured in his vision, a very important,much discussed and researched topic under the names and concepts of the relationship between "the self" and "The other” or “the image of the other” which is one of the topics taken from the overall vision of the world ; since the topic of "the other" has become part of the global cultural system today, it is not possible to conceive of the self without conceiving the "other" in light of the relations established by globalization. Perhaps the most important literary genre that dealt with this problem is the novel, as it dominated the literary scene within the so-called new novel, so I saw the work on it, so my choice fell on the Moroccan novel, specifically the novel of "El Nekhas" by Salah El-Din Bouajah, as a Moroccan novelist with a modernist vision, and the aim of this study is to uncover the mystery that follow sit through a number of questions, which we formulate as follows: What is meant by the other? Can a Maghreb novelist ignore the other / the West in the exhibition of his speech and his identity? Why does his position on this other become tragic? Why does this other west take a hostile attitude towards the Arab ego? What is the vision or image that the Moroccan narration of this other and his authority presented to us? We have relied in our research on the psychological approach because it is concerned with studying the human being internally, mixed with description mechanisms in narrating the actions of "the I" and "the other".

scholarly journals Diving in Sin and Resurfacing with the Discovery of the Self in Defoe’s Robinson Crusoe

2020 ◽  
Vol 10 (3) ◽  
pp. 203
Author(s):  
Khalid Sultan Thabet Abdu
Keyword(s):  
The Self ◽  
Original Sin ◽  
The Other ◽  
The Novel ◽  
Robinson Crusoe ◽  
Other Hand ◽  
The World ◽  
Self Discovery ◽  
Western Hegemony

This paper attempts to study the novel of Robinson Crusoe from the perspective of Eurocentric discourse of travel. The paper sheds light on Western hegemony of travel from the metropolis to the peripheries for the sake of discovering and colonizing the &ldquo;Other&rdquo; parts of the world in one hand; on the other hand, these journeys enable the protagonist to grow physically, psychologically, spiritually and mentally. The paper also traces the physical journey that coincides with the inner journey which results in the self-discovery of the protagonist of himself as sequences of gradual growth from childhood to maturity; this trait makes the novel as bildungsroman. The protagonist commits a sin of disobedience at the beginning of his life and he has to endure all difficulties of life because of that deadly sin and with the passage of time he discovers his mistakes and repents from his wickedness and comes back to God who redeems him from his original sin. Therefore, he discovers himself after reaching the stage of wisdom, maturity and repentance. He has also been redeemed and awarded the fruitfulness of his endurance by reaching his father&rsquo;s house again and reunited with his family.

scholarly journals Transcultural Poetics: Dissolving Borders in the Poetry of Li-Young Lee

2017 ◽  
Vol 6 (2) ◽  
pp. 71
Author(s):  
Hend Hamed Ezzeldin
Keyword(s):  
Research Paper ◽  
The Self ◽  
The Other ◽  
Human Relations ◽  
Time And Space ◽  
The World ◽  
Entire Universe

:In a world characterized by a loss of direction, an absence of hope, and a disbelief in spirituality, a world that disrespects differences, obliterates human relations, and undermines emotions, man tends to lose faith in humanity. Amidst this debris of human fragmentation and disconnectedness, Li-Young Lee ventures to reach the whole world by transcending time and space, appealing to the metaphysical, and excluding the cultural. This research paper aims to highlight Li-Young Lee’s endeavors at creating tight bonds between himself and the rest of the world by unifying the dichotomies of the self and the other, interlacing a web of mutuality to embrace the entire universe. Lee calls into question the separation between beginning and end, birth and death, past and future, man and woman, and body and mind attempting to create a universal dialogue reflecting transcultural hybridity. To attain his goal, Lee depends on his memories to write poetry that is deeply personal but is universal in its appeal. Borders dissolve and language opens up to become the go-between the self and the other, giving meaning to what is invisible and evanescent.

Identifying Ethics: Dysfunction as Representation of Societal Relationship in Ian McEwans’s Sweet Tooth

Think India ◽  
2019 ◽  
Vol 22 (2) ◽  
pp. 1-6
Author(s):  
A. Yacob ◽  
S. Veeramani
Keyword(s):  
Code Of Conduct ◽  
The Self ◽  
The Other ◽  
Ethical Code ◽  
The Novel ◽  
Field Of Study ◽  
Research Article ◽  
Ian Mcewan

In the novel, Sweet Tooth, McEwan has employed an ethical code of conduct called, Dysfunction of Relationship. The analysis shows that he tries to convey something extraordinary to the readers. If it is not even the reader to understand such a typical thing, He himself represents a new ethical code of conduct. The character of the novel, Serena is almost a person who is tuned to such a distinct one. It is clear that the character of this type is purely representational. Understanding reality based on situation and ethics has been a new field of study in terms of Post- Theory. Intervening to such aspect of Interpretation, this research article establishes a new study in the writings of Ian McEwan. In the novel, Dysfunction is not on the ‘Self’ but it is on the ‘Other’. The author tries to integrate the function of the Character Serena, instead of fragmenting the self. Hence, Fragmentation makes sense only in the dysfunction of relationship.

La transposition profane de l’Exode dans Moïse fiction de Gilles Rozier

2013 ◽  
pp. 174-183
Author(s):  
Piotr Sadkowski
Keyword(s):  
Present Article ◽  
Old Testament ◽  
The Other ◽  
Jewish Tradition ◽  
Human Being ◽  
The Novel ◽  
Jewish Origin ◽  
French Writer ◽  
The World ◽  
Jewish Writers

Throughout the centuries French and Francophone writers were relatively rarely inspired by the figure of Moses and the story of Exodus. However, since the second half of 20th c. the interest of the writers in this Old Testament story has been on the rise: by rewriting it they examine the question of identity dilemmas of contemporary men. One of the examples of this trend is Moïse Fiction, the 2001 novel by the French writer of Jewish origin, Gilles Rozier, analysed in the present article. The hypertextual techniques, which result in the proximisation of the figure of Moses to the reality of the contemporary reader, constitute literary profanation, but at the same time help place Rozier’s text in the Jewish tradition, in the spirit of talmudism understood as an exchange of views, commentaries, versions and additions related to the Torah. It is how the novel, a new “midrash”, avoids the simple antinomy of the concepts of the sacred and the profane. Rozier’s Moses, conscious of his complex identity, is simultaneously a Jew and an Egyptian, and faces, like many contemporary Jewish writers, language dilemmas, which constitute one of the major motifs analysed in the present article. Another key question is the ethics of the prophetism of the novelistic Moses, who seems to speak for contemporary people, doomed to in the world perceived as chaos unsupervised by an absolute being. Rozier’s agnostic Moses is a prophet not of God (who does not appear in the novel), but of humanism understood as the confrontation of a human being with the absurdity of his or her own finiteness, which produces compassion for the other, with whom the fate of a mortal is shared.

Keeping Company with Sondheim’s Women

2014 ◽  
Author(s):  
Stacy Wolf
Keyword(s):  
Musical Theater ◽  
Married Couples ◽  
Feminist Perspective ◽  
The Self ◽  
The Other ◽  
Female Characters ◽  
Other Hand ◽  
The One

This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about a bachelor’s encounters with five married couples and three girlfriends, Sondheim’s female characters occupy a striking range of types within one show. From the bitter, acerbic, thrice-married Joanne to the reluctant bride-to-be Amy, and from the self-described “dumb” “stewardess” April to the free-spirited Marta,Company’s eight women are distillations of femininity, precisely sketched in the short, singular scenes in which they appear.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

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