scholarly journals CONTEMPORARY BORDERS: INTERCULTURAL RELATIONS AND FEMALE AGENCY IN RODDY DOYLE’S SHORT STORY THE PRAM

2018 ◽  
Author(s):  
Eloísa Dall’Bello
Keyword(s):  
Short Story ◽  
Intercultural Relations ◽  
Female Agency

Yevgeny Zamyatin’s “Hypertext” About the Female Warrior. Article I

2021 ◽  
pp. 18-38
Author(s):  
Veronika B. Zuseva-Ozkan ◽  
Keyword(s):  
Short Story ◽  
Male Character ◽  
Female Agency ◽  
Silver Age ◽  
Woman Warrior ◽  
Horse Riding ◽  
Marina Tsvetaeva ◽  
Rural World ◽  
Physical Abilities ◽  
The Woman Warrior

This article deals with Yevgeny Zamyatin’s “hypertext” about the female warrior, i.e. with the totality of her manifestations in the works of the writer and the semantic continuum that they form. This type of character is defined as a heroine with outstanding physical abilities (such as strength, horse-riding and shooting skills, etc. - and also great beauty), a strong, proud personality, persistence, ability to fight back, determination to gain the upper hand, to win at all costs - especially in the game of power and armed conflict with the male character that is in love with the heroine and/or is loved by her. The author identifies Zamyatin’s works in which the woman warrior appears, analyzes the plot functions and the characteristic motif complex associated with this image. The author demonstrates that the female warrior represents a very frequent type of heroine in Zamyatin’s works: the image appears at the beginning of his career as a writer, in the short story “Kryazhi” (1915), and accompanies him until the end, manifesting itself in the screenplays written in the 1930s. The author reveals that a specific variant of the plot featuring the female warrior is implemented in Zamyatin’s works: the heroine is shown as equal in strength with the male character, and the test of power happens, in particular in the form of a literal duel. Whatever its outcome is and whoever wins, the storyline usually finishes with the death of one or both characters - either during the combat or as its remote consequence. While the type of the plot is usually the same, the female character itself shows a wide variety: there are Valkyrie-like heroines (Ildegonda in the play Atilla), polenitsas from Russian bylina songs (such as Nastasya Mikulishna in the screenplay “Dobrynya” or Marya in “Kryazhi”), Mongolian women warriors (Borte, Ulek), and even contemporary heroines of this type (Zinaida in the screenplay “The God of Dance”). Usually such characters are attributed in Zamyatin to the legendary epic past or rooted in “folk archaics”; they belong to the rural world, to the Russian village. The constant topoi and the evolution of the female warrior in Zamyatin’s artistic works are revealed; in particular, such motifs as love-hate, test of strength (in the form of a duel or a competition), mutual intendedness of two “strong ones” and their tragic non-encounter are considered. The author notes that the supervalue of the female warriors in Zamyatin’s works is love, while for some other writers of the Silver Age, for instance, for Marina Tsvetaeva or Lyubov Stolitsa, such values were female agency, independence, control over one’s life, freedom, or even spiritual salvation. The play Atilla and its heroine Ildegonda are analyzed in this article in particular detail; the sources of this image are revealed.

scholarly journals “Not Orphée.” “No, Never Him.”: Reclaiming Female Agency From Ovid’s “Orpheus and Eurydice” in Alice Munro’s “the Chidlren Stay” and Céline Sciamma’s Portrait of a Lady on Fire

2021 ◽  
Author(s):  
Charlene Chow
Keyword(s):  
Violence Against Women ◽  
Short Story ◽  
Film Studies ◽  
Female Agency ◽  
Orpheus And Eurydice ◽  
Anne Carson ◽  
Portrait Of A Lady ◽  
Cultural Forms

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.

scholarly journals Gender Relations and Female Agency in Claire Keegan’s Antarctica

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Marisol Morales-Ladrón
Keyword(s):  
Short Story ◽  
Catholic Church ◽  
Gender Relations ◽  
Gender And Sexuality ◽  
Female Agency ◽  
Social Constructs ◽  
The Family ◽  
Rural World ◽  
Distribution Of Power ◽  
Harsh Criticism

Abstract Claire Keegan is one of the most prominent voices within the contemporary Irish short story panorama. Internationally acclaimed, her prose has been praised for its frank and bitter portrayal of a rural world, whose outdated values, no matter how anchored in the past they might be, still prevail in a modern milieu. Keegan’s unsympathetic views on society, mainly on the Catholic Church and the family, are the main targets of her harsh criticism. Issues like gender and sexuality, two social constructs with which to validate an uneven distribution of power, constitute the pillars of most of her plots. Bearing these aspects in mind, my proposal focuses on the analysis of Keegan’s first collection of short stories, Antarctica 1999, in light of gender relations and female agency, in an attempt to find patterns of – often thwarted – female emancipation in the context of the rapid changes of a society that is still adjusting to a globalised world. This article will also engage in the discussion of her second collection, Walk the Blue Fields 2007, and her long short story Foster 2010.

scholarly journals Transgresiones domésticas y agencia femenina en “Las dependencias” (1999) de Lucrecia Martel=Domestic Transgressions and Female Agency in Lucrecia Martel’s Las dependencias (1999)

2021 ◽  
pp. 102
Author(s):  
Sofía Ruiz Alfaro
Keyword(s):  
Latin American ◽  
Short Story ◽  
Power Dynamics ◽  
Female Agency ◽  
Domestic Worker ◽  
Class Differences ◽  
American Cinema ◽  
Latin American Cinema ◽  
Silvina Ocampo ◽  
Cine Latinoamericano

<p align="left"><strong>Resumen</strong></p><p>Este trabajo estudia la representación fílmica de la empleada doméstica en <em>Las dependencias</em> (Lucrecia Martel, 1999), telefilm dedicado a la escritora argentina Silvina Ocampo. Este documental es pionero dentro del cine latinoamericano contemporáneo por el lugar central que la doméstica ocupa como sujeto femenino complejo e idiosincrático, un protagonismo inexistente en el cine del siglo pasado. A través del análisis de los testimonios de las empleadas, de los espacios y objetos domésticos y de la intertextualidad con el cuento de Ocampo <em>Las vestiduras peligrosas</em>, exploro la representación de las diferencias de clase, la dinámica de poder en la relación afectiva entre criada-señora y las diferentes estrategias de resistencia que hacen de la empleada un sujeto con voz y agencia propia.</p><p align="left"><strong>Abstract</strong></p><p>This article studies the filmic representation of the female domestic worker in <em>Las dependencias</em> (Lucrecia Martel, 1999), a film about the Argentine writer Silvina Ocampo. This is a pioneer documentary in contemporary Latin American cinema based on the centrality given to the housekeeper as a complex and idiosyncratic character, a portrayal not found in 20<sup>th</sup> century Latin American cinema. Through the analysis of the female workers’ testimonies, domestic places and objects, and the intertextuality with Ocampo’s short story <em>Las vestiduras peligrosas</em>, we explore the representation of class differences, the power dynamics and the affective dimensions found in the servant-mistress relationship, and the strategies of resistance that make the domestic worker a subject with a voice and agency of her own.</p>

scholarly journals Education and Female Agency in the Garden: Doris Lessing’s “Flavors of Exile”

2021 ◽  
Vol 63 ◽  
pp. 57-75
Author(s):  
Carmen García Navarro
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Female Subject ◽  
Historical Context ◽  
Female Agency ◽  
Learning Space ◽  
Reference Framework ◽  
Non Fiction ◽  
Primary Reference

Doris Lessing’s recent centenary brought opportunities to look at her works with fresh eyes. This is also the case with Lessing’s interest in education (Cairnie 2008; Sperlinger 2017), especially that of children in their transition to youth. This paper argues that this was an interest with which Lessing consistently concerned herself in both her fiction and non-fiction writings. Using the corpus of her African short stories as a primary reference framework, this paper studies “Flavours of Exile” (1957), a short story in which a family’s vegetable garden becomes a learning space for informal experimentation. The story is used by Lessing as a platform to raise her concerns about the education of the female subject in the historical context of decolonisation.

scholarly journals “Not Orphée.” “No, Never Him.”: Reclaiming Female Agency From Ovid’s “Orpheus and Eurydice” in Alice Munro’s “the Chidlren Stay” and Céline Sciamma’s Portrait of a Lady on Fire

2021 ◽  
Author(s):  
Charlene Chow
Keyword(s):  
Violence Against Women ◽  
Short Story ◽  
Film Studies ◽  
Female Agency ◽  
Orpheus And Eurydice ◽  
Anne Carson ◽  
Portrait Of A Lady ◽  
Cultural Forms

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.

The Relationship of Interrogative Suggestibility to Memory and Attention

2006 ◽  
Vol 20 (2) ◽  
pp. 79-93 ◽  
Author(s):  
R.C. Howard ◽  
A. Chaiwutikornwanich
Keyword(s):  
Individual Differences ◽  
Short Story ◽  
Oddball Paradigm ◽  
Memory Processes ◽  
Memory And Attention ◽  
Irrelevant Distractors ◽  
Alternative Hypotheses ◽  
Visual Oddball Paradigm ◽  
Interrogative Suggestibility ◽  
Task Irrelevant

This study combined an individual differences approach to interrogative suggestibility (IS) with ERP recordings to examine two alternative hypotheses regarding the source of individual differences in IS: (1) differences in attention to task-relevant vis-à-vis task-irrelevant stimuli, and (2) differences in one or more memory processes, indexed by ERP old/new effects. Sixty-five female participants underwent an ERP recording during the 50 min interval between immediate and delayed recall of a short story. ERPs elicited by pictures that either related to the story (“old”), or did not relate to the story (“new”), were recorded using a three-stimulus visual oddball paradigm. ERP old/new effects were examined at selected scalp regions of interest at three post-stimulus intervals: early (250-350 ms), middle (350-700 ms), and late (700-1100 ms). In addition, attention-related ERP components (N1, P2, N2, and P3) evoked by story-relevant pictures, story-irrelevant pictures, and irrelevant distractors were measured from midline electrodes. Late (700-1100 ms) frontal ERP old/new differences reflected individual differences in IS, while early (250-350 ms) and middle latency (350-700 ms) ERP old/new differences distinguished good from poor performers in memory and oddball tasks, respectively. Differences in IS were not reflected in ERP indices of attention. Results supported an account of IS as reflecting individual differences in postretrieval memory processes.

Mutual intercultural relations among immigrant and autochthonous youth in Italy. Testing the integration, multiculturalism, and contact hypotheses

2020 ◽  
pp. 45-79 ◽  
Author(s):  
Cristiano Inguglia ◽  
Pasquale Musso ◽  
Paolo Albiero ◽  
Rosalinda Cassibba ◽  
Nicolò Maria Iannello ◽  
...  
Keyword(s):  
Intercultural Relations

Borrowing As A Tool To Fill The Ideological Thoughts: The Role Of Code-Mixing In An American Brat By Bapsi Sidhwa And The Escape By Qaisra Shiraz

2020 ◽  
Vol 3 (II) ◽  
Keyword(s):  
Short Story ◽  
English Language ◽  
English Literature ◽  
Native People ◽  
British Imperialism ◽  
Native Languages ◽  
Post Colonial ◽  
Bapsi Sidhwa ◽  
Code Mixing ◽  
Language And Literature

This research article highlights the temperament, inference, scope, and motives of code-mixing in Pakistani English works. One novel from Pakistani English novels namely, An American Brat by Bapsi Sidhwa, and one short story namely, The Escape by Qaisra Shehraz are being selected as an illustration of this reading. In this novel and short story, the writers have already dealt with the characteristics of postcolonialism. English language and literature pierced into the privileged civilizations of the sub-continent, after the end of British Imperialism. Pakistani writers in English are the best interpreter of the post-colonial communal language. In this study, I have hit upon code-mixing in English works written by Pakistani authors to a bigger echelon. These works are paragons of arts and the unbelievable mixture of rhetorical and fictitious study. In these works, the writers have not abased the confined diversities. They have tinted the value of Pakistani English in order to achieve the chatty desires of native people. These borrowings from the native languages are used to fill the lexical fissures of ideological thoughts. The reason of these borrowings is not to represent the English as a substandard assortment. Through the utilization of native words, we conclude that the significance of native languages has been tinted to question mark the dialect as well. The words of daily use also have an area of research for English people without having any substitute in English. That’s why in English literature innovative practices and ideas of code-mixing have been employed.

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