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Journal articles on the topic 'Margaret Atwood'

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Published: 4 June 2021

Last updated: 10 March 2023

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1

Gadpaille, Michelle, and Jason Blake. "Introduction: Atwood at 80." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (June 21, 2020): 9–11. http://dx.doi.org/10.4312/elope.17.1.9-11.

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When Margaret Atwood celebrated her 80th birthday in November 2019, there was a feeling that the occasion called for a burst of applause – figuratively speaking. Around Europe, many Canadian scholars and Canadian Studies Associations responded with a range of activities. Slovenia contributed handsomely: first, with an event at the Univerzitetna knjižnica Maribor – Fourscore and More: Margaret Atwood at Eighty – and second, with this special issue dedicated to Atwood’s recent work.

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2

Yuan, Xia, and Yiran Wei. "Power politics in Margaret Atwood’s Lady Oracle." Chinese Semiotic Studies 18, no. 2 (May 1, 2022): 285–96. http://dx.doi.org/10.1515/css-2022-2062.

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Abstract The issue of power politics is a crucial topic in Margaret Atwood’s works. According to Atwood, power is pervasive and diffused throughout all social relations. This essay examines how power becomes a part of human life, and how different levels of power interact in Atwood’s third novel Lady Oracle (1976). I investigate Atwood’s treatment of family upbringing in reinforcing gender roles. I show how Atwood explores the protagonist’s odd behavior in relation to her family environment. I also consider Atwood’s representation of the cultural control of women with prescribed images or roles for them. The small details that form the everyday life of the protagonist are highly gendered and part of a larger picture of a patriarchal society. Based on Foucault’s notion of disciplinary society, I analyze how Atwood examines self-watching as internalized power. The protagonist and girls of her age best represent an internalization of patriarchal values of femininity. Just like the inmates of the Panopticon, they practice discipline through self-surveillance.

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3

Louët, Sabine. "Profile: Margaret Atwood." Nature Biotechnology 23, no. 2 (February 2005): 163. http://dx.doi.org/10.1038/nbt0205-163.

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4

Mohar, Tjaša, and Tomaž Onič. "Margaret Atwood’s Poetry in Slovene Translation." ELOPE: English Language Overseas Perspectives and Enquiries 18, no. 1 (June 21, 2021): 125–37. http://dx.doi.org/10.4312/elope.18.1.125-137.

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Margaret Atwood is undoubtedly the most popular Canadian author in Slovenia, with eight novels translated into Slovene. Although this prolific author also writes short fiction, poetry, children’s books, and non-fiction, these remain unknown to Slovene readers, at least in their own language. Atwood has published as many poetry collections as novels, but her poetry is inaccessible in Slovene, with the exception of some thirty poems that were translated and published in literary magazines between 1999 and 2009. The article provides an overview of Atwood’s poetry volumes and the main features of her poetry, as well as a detailed overview of Atwood’s poems that have appeared in Slovene translation, with the names of translators, titles of poetry collections, dates of publication, and names of literary magazines. This is the first such overview of Slovene translations of Atwood’s poetry. Additionally, the article offers an insight into some stylistic aspects of Atwood’s poetry that have proven to be particularly challenging for translation.

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5

Freire, Espido. "Margaret Atwood: la sirena de géneros." Arbor 185, A1 (June 29, 2009): 89–96. http://dx.doi.org/10.3989/arbor.2009.ia1.793.

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6

Palumbo, Alice. "Margaret Atwood's Fairy-Tale Sexual Politics. Sharon Rose WilsonMargaret Atwood: Writing and Subjectivity. Colin Nicholson , Margaret Atwood." Signs: Journal of Women in Culture and Society 21, no. 3 (April 1996): 767–69. http://dx.doi.org/10.1086/495112.

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7

Vidya, Dr Y. "Personality Psychology in Margaret Atwood’s Short Story Under Glass." SMART MOVES JOURNAL IJELLH 7, no. 2 (February 10, 2019): 10. http://dx.doi.org/10.24113/ijellh.v7i2.6950.

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Margaret Atwood is one of the most important and influential writers alive today. Margaret Atwood’s literature, both in the form of poetry and prose, is significant to an understanding of ‘female experiences’ more broadly speaking, though, Atwood attempts to explore questions of identity. She thus attempts to achieve the creation of a space and time in which readers can think critically about the world and their place in it. This self-reflexive form of analysis is significant in a modern and post-colonial world in which issues of gender have become increasingly critical, as it allows readers both a way of imagining and a way of criticizing ourselves and our own culture and that of others we perceive around us. Her stories are acute depictions of men and women, and are therefore interested in human curiosity but also in control and power. Atwood focus lies also in the effects and dynamics of unequal power relations.

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8

Hengen, Shannon, and Joyce Meier. "Interview with Margaret Atwood." Iowa Journal of Literary Studies 7, no. 1 (1986): 1–12. http://dx.doi.org/10.17077/0743-2747.1173.

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9

Widdicombe, Toby. "Margaret Atwood. Second ed." Utopian Studies 18, no. 2 (January 1, 2007): 284–88. http://dx.doi.org/10.2307/20719873.

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Widdicombe, Toby. "Margaret Atwood. Second ed." Utopian Studies 18, no. 2 (January 1, 2007): 284–88. http://dx.doi.org/10.5325/utopianstudies.18.2.0284.

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11

Ridout, Alice. "Temporality and Margaret Atwood." University of Toronto Quarterly 69, no. 4 (September 2000): 849–70. http://dx.doi.org/10.3138/utq.69.4.849.

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12

Elliott, Robin. "Margaret Atwood and Music." University of Toronto Quarterly 75, no. 3 (July 2006): 821–32. http://dx.doi.org/10.3138/utq.75.3.821.

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13

Boero, Federica. "L’Odissea e Margaret Atwood." Myrtia 35 (November 12, 2020): 451–58. http://dx.doi.org/10.6018/myrtia.455501.

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14

Cook, E. "Interview with Margaret Atwood." Literary Imagination 1, no. 1 (January 1, 1999): 156–69. http://dx.doi.org/10.1093/litimag/1.1.156.

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15

Onič, Tomaž, Michelle Gadpaille, Jason Blake, and Tjaša Mohar. "Margaret Atwood, World-Famous but Yet to Be Discovered by Many Slovene Readers." Acta Neophilologica 53, no. 1-2 (November 26, 2020): 33–47. http://dx.doi.org/10.4312/an.53.1-2.33-47.

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Margaret Atwood is the only Canadian author whose 80th birthday in 2019 was celebrated by the global academic community. This is not surprising, as she is the most famous Canadian writer, popular also outside literary circles. On this occasion, Slovene Canadianists organized a literary event at the Maribor University Library, which presented an outline of Atwood’s oeuvre and a selection of translated poems and excerpts of prose texts; some of these were translated especially for the event. Of Atwood’s rich and varied oeuvre, only eight novels, a few short fiction pieces and some thirty poems have been translated into Slovene. This article thus aims at presenting those aspects of Atwood’s work which are less know to Slovene readers. It is no secret that Atwood is often labelled a feminist writer, mostly on account of The Handmaid’s Tale and the TV series based on the novel. However, many Slovene readers may not know that she also writes poetry, short fiction, non-fiction and children’s literature, that she is a committed environmentalist, and that she discussed the problem of “Debt and the Shadow Side of Wealth” in a prestigious lecture series. There are not many authors who master as many genres as Atwood and who are so well-received by readers and critics alike. The latter is true of Atwood also in Slovenia, and we can only hope that Slovene publishers will make more of Atwood’s work available to Slovene readers. All the more so since Atwood has no plans to end her career: just before her 80th birthday she was on a tour in Europe promoting her latest novel, The Testaments, and she would have continued touring in 2020 were it not for the COVID pandemic.

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16

Mustafa, Wael. "Paradise in Hell: Mapping Out Ustopian Cartographies in Margaret Atwood’s MaddAddam Trilogy." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061571.

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The paper examines Margaret Atwood’s MaddAddam trilogy from the fertile lens of cartographical studies of space. Initially, it explores the relationship between cartography and Atwood’s literary oeuvre. Then, it draws upon Foucault’s theory of heterotopia to consider its relevance to Atwood’s Ustopia. It seeks to fill in the gap in the critical studies written on Atwood’s ustopian trilogy. The paper explores how Atwood has diegetically constructed ustopian cartographies in which dystopian spaces are permeated with heterotopic locations of utopian resistance. It attempts to elucidate that the diachronic analysis must be complemented by a synchronic analysis of space. It develops the hypothesis that the ustopian cartographies of the spaces occupied by the characters in Atwood’s MaddAddam trilogy have resolved the tension between utopia and dystopia. By theorizing the cartographies of her ustopia, Atwood establishes herself as a literary cartographer.

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17

Jennings, Hope. "Anthropocene Feminism, Companion Species, and the MaddAddam Trilogy." Contemporary Women's Writing 13, no. 1 (March 2019): 16–33. http://dx.doi.org/10.1093/cww/vpz001.

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Abstract This article claims that Margaret Atwood’s MaddAddam trilogy (2003–2013) offers insights into an emerging “anthropocene feminism” that disrupts the universalized “human” asserted by the Anthropocene. Likewise, Atwood decolonizes Anthropocene discourses by critiquing their reliance on human exceptionalism. By contrasting male characters who adopt humanist–imperialist perspectives with the character of Toby, whose evolving relations with nonhumans are aligned with a feminist new materialist vision, Atwood develops a compelling politics of the posthuman. The trilogy’s privileging of hybrid ontologies reveals the mutually entangled relations that exist between companion species. Arguing for a posthuman ethics, Atwood challenges the Anthropocene’s apocalyptic determinisms and suggests that only such an ethics makes possible a world that continues rather than ends.

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18

AI-Harshan, Hazmah Ali. "The Postmodern Multi-Layered Narrative of Existential Feminist Subjectivity: The Case of Margaret Atwood’s Alias Grace." International Journal of Literature Studies 1, no. 1 (October 19, 2021): 43–50. http://dx.doi.org/10.32996/ijts.2021.1.1.6.

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Postmodern fiction demonstrates a suspicion about the narrative status of history. Arguably, its project is to reveal the illusion of truth in history because of history's reliance on texts. There is no doubt that historical events occur, but their transmutation into “fact” and their transmission to posterity are limited by their narrativization and textualization. In the Afterword to her novel, Alias Grace (1996) – a fictionalized narrative centering on a real-life person embroiled in a double murder in 1843 – Margaret Atwood reveals her interest in this problem with “history”. She tells the reader, “I have of course fictionalized historical events … as did many commentators on this case who claimed to be writing history”. The purpose of this paper is thus to consider Margaret Atwood’s novel, Alias Grace as a postmodern fiction that seeks to reveal the illusion of truth in history through her use of innovatory narrative techniques. Mikhail Bakhtin’s notion of the “double-voiced” is used to examine the permitted, surface-level utterances – and the necessarily conflicting actual narratives – of the two narrators in Atwood’s novel. However, the term is also applied in the broader feminist/theoretical context of the silencing of the female subject more generally. Atwood establishes a fragmented, multiplicity narrative. This arises from the reported and somewhat self-aware observations of the eponymous Grace and a doctor named Simon Jordan. Seemingly, the author’s own authority does not exist. Atwood thus exploits the slippery nature of language that does not have some kind of “truth” imposed upon it. The historical “truth” about Grace Marks is never revealed, not because Atwood is “leaving it to the reader's imagination” but because Atwood plays with the problem of personality as a social construction. Almost invisible as “author”, Atwood nevertheless reveals just how language can be manipulated and made to conform to a certain version of ‘truth’ and ‘reality’. However, in Alias Grace, Atwood also recuperates the voice of a supposedly murderous woman by revising the myth of woman’s silence and subjugation. Because her speaking voices are required to practice “double-voicing” to be heard, through presenting the reader with both voices, Atwood recuperates the moments of existential liberation to be heard from emergent voices.

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19

Howells, Coral Ann. "Atwood’s Reinventions: So Many Atwoods." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (May 26, 2020): 15–28. http://dx.doi.org/10.4312/elope.17.1.15-28.

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In The Malahat Review (1977), Canadian critic Robert Fulford described Margaret Atwood as “endlessly Protean,” predicting “There are many more Atwoods to come.” Now at eighty, over forty years later, Atwood is an international literary celebrity with more than fifty books to her credit and translated into more than forty languages. This essay focuses on the later Atwood and her apparent reinvention since 2000, where we have seen a marked shift away from realistic fiction towards popular fiction genres, especially dystopias and graphic novels. Atwood has also become increasingly engaged with digital technology as creative writer and cultural critic. As this reading of her post-2000 fiction through her extensive back catalogue across five decades will show, these developments represent a new synthesis of her perennial social, ethical and environmental concerns, refigured through new narrative possibilities as she reaches out to an ever-widening readership, astutely recognising “the need for literary culture to keep up with the times.”

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20

Lucotti, Claudia. "Una semblanza de Margaret Atwood." Anuario de Letras Modernas 17 (October 30, 2013): 259–67. http://dx.doi.org/10.22201/ffyl.01860526p.2012.17.614.

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21

Baranwal, Dr Ratnesh. "Margaret Atwood: A Sound Ecologist." SMART MOVES JOURNAL IJELLH 8, no. 9 (September 28, 2020): 74–83. http://dx.doi.org/10.24113/ijellh.v8i9.10766.

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This paper is an attempt to explore the ecological issues in Margaret Atwood’s novels. She happens to raise her voices against the demolition of the forests, advocating very strongly to pay attention to ecological principles for the preservation of the environment for the future generation. She tends to express her deep sense of anxiety over the ecological issues as depicted in The Handmaid’s Tale (1985) and again in the stories and fables of Wilderness Tips (1991) and Good Bones (1992). Her novel – Surfacing (1972) begins and ends with the forest starting like a detective story. Her most significant search-operation begins when she happens to dive into the lake, looking for the Indian rock paintings recorded in her father’s drawings in chapter 17 of the novel. Environment or wilderness strongly figures out in her fabric of Canadian identity. It has multiple functions : as a marker of geological location, as a spatial metaphor and as a popular cultural myth of Canada. Geographically, it is defined as ‘wild uncultivated land’. She rediscovers the White English – Canadian construction of identity, charting a distinctive New World positioning in relation to history, geography and culture suggestive of continuity between immigration narratives and a contemporary awareness of psychic location. Environment holds a very significant place in her portrayal of Canadian identity. She personally holds a bitter experience of Colonialism and its outcome on Canada and Canadians in the post-colonial era. Her fiction comprises of several post-colonial themes such as survival, hybridization, isolation, hegemony, displacement, loss of identity, banishment, multiculturalism, homelessness, colonization of the mind and of the natural world. Thus this paper seeks to analyze the different shades of ecology and ecocriticism exploring the organic unity between the man and the environment. This theory has gained a great importance since last few years. The ecological balance between the human and environment is shattered. People have deviated from their moral duties towards nature. Thus as a sound observer of ecology, she finds out the misuse and colonization of the natural world.

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22

Dodson, Danita J. "An Interview with Margaret Atwood." Critique: Studies in Contemporary Fiction 38, no. 2 (January 1997): 96–104. http://dx.doi.org/10.1080/00111619.1997.10543168.

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23

Morey, Ann-Janine. "Margaret Atwood and Toni Morrison." Journal of the American Academy of Religion LX, no. 3 (1992): 493–514. http://dx.doi.org/10.1093/jaarel/lx.3.493.

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24

Williams, Dana. "Alias Grace by Margaret Atwood." Western American Literature 32, no. 2 (1997): 175. http://dx.doi.org/10.1353/wal.1997.0086.

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25

Péneau, Emilie. "“Don't ever ask for the true story”: versions of reality and life stories in Atwood’s short fiction." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2010 (January 1, 2010): 140–43. http://dx.doi.org/10.33178/boolean.2010.32.

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My research focuses on Margaret Atwood’s short fiction and intends to explore how Atwood uses this particular genre in order to challenge ideological discourses. It highlights the use of this genre in order to convey or subvert ideas and considers its place in literature. It then explores the function of storytelling in Atwood’s short stories. Finally, it examines the representation of gender, Canadian identity and global issues in these stories. Storytelling has a key role in my thesis, as Atwood draws attention to the subjectivity of any narrative in order to emphasise the ideological aspect of these narratives. Therefore, this article considers the politics of storytelling in Atwood’s short stories and uses two stories to illustrate how Atwood’s writing is self-reflexive: “Giving Birth” and “Significant Moments in the Life of my Mother”. Much of Atwood’s work is concerned with the fact that any writing, even those claiming to truth such ...

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26

Aćamović, Bojana. "Replenishing the Odyssey: Margaret Atwood’s and John Barth’s Postmodern Epics." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (May 26, 2020): 41–55. http://dx.doi.org/10.4312/elope.17.1.41-55.

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The paper focuses on Margaret Atwood’s novel The Penelopiad and John Barth’s short stories “Menelaiad” and “Anonymiad,” comparing the approaches of the two authors in their postmodernist retellings of Homer’s Odyssey. Both Atwood and Barth base their narratives on minor episodes from this epic, with its less prominent or unnamed characters assuming the roles of the narrators. Using different postmodernist techniques, the authors experiment with the form and content of the narration, combine different genres, and demythologize the situations and characters. In their re-evaluations and reinterpretations of the Odyssey, they create works which epitomize Barth’s notion of postmodernist fiction as a literature of replenishment. The comparative analysis presented in this paper aims to highlight the ways in which Atwood and Barth challenge the old and add new perspectives on Homer’s epic, at the same time confirming its relevance in the postmodern context.

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27

LaGuardia, Adelaine, and Guilherme Copati. "De mulheres, fantasmas e morte: dilemas no gótico pós- moderno de margaret atwood." Pontos de Interrogação — Revista de Crítica Cultural 2, no. 1 (September 27, 2015): 11. http://dx.doi.org/10.30620/p.i..v2i1.1530.

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ResumoO gótico na pós-modernidade se impõe como instrumento de tradução simbólica de dilemas relacionados à inserção cultural da mulher e às formas de expressão dessa problemática. Um estudo de Alias Grace, de Margaret Atwood, um exemplar do gênero na contemporaneidade, revela que o emprego parodístico das convenções narrativas do gótico transfigura literariamente questões ligadas à identidade e à sexualidade femininas, no âmbito maior da experiência identitária pós-moderna.Palavras-chaveGótico. Autoria feminina. Pós-modernidade. Identidade. Margaret Atwood

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28

Kajanto, Anneli. "Ajasta jälkeen biotekniikkayhteiskunnan." Aikuiskasvatus 24, no. 1 (February 15, 2004): 67. http://dx.doi.org/10.33336/aik.93538.

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29

Alaei, Sarieh, and Zahra Barfi. "Margaret Atwood in the Second and Third Waves of Feminism on the Basis of Julia Kristeva’s Theories." International Letters of Social and Humanistic Sciences 40 (September 2014): 13–21. http://dx.doi.org/10.18052/www.scipress.com/ilshs.40.13.

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Although Margaret Atwood started writing in the second phase of feminism, some of her works show the features of the second and the third wave of feminism. It’s clear in Atwood’s Cat’s Eye. Elaine, protagonist of the novel, and other female characters indicate these features. Some of Atwood’s works imply Kristeva’s theories. Unlike the second wave of feminism, Julia Kristeva as a postmodern feminist rejects the distinction between sex and gender believing that these two terms respectively represent biology and culture which cannot be separated from each other. This idea can be examined in Margaret Atwood’s novel, Cat’s Eye, as a feature of the third wave of feminism. The authors of this article seek to analyze Atwood’s famous novel, Cat’s Eye, in the second and third waves of feminism based on Julia Kristeva’s theories.

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30

Pina Arrabal, Álvaro. "Gender and Victimization in Margaret Atwood's Surfacing." Grove - Working Papers on English Studies 26 (October 23, 2019): 89–102. http://dx.doi.org/10.17561/grove.v26.a5.

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Margaret Atwood’s Surfacing (1972), a contemporary classic nowadays, has raised the interest of all kinds of critics. Some of the most remarkable elements in the novel concern feminism, a movement with which the Canadian author has been highly committed. This paper deals with two specific aspects in Atwood’s work in relation to the aforementioned critical approach: gender and victimization. A thorough reading of the novel is thus done in order to detect and subsequently dissect the main instances of both aspects. Special attention is paid to female characters (Anna and the unnamed protagonist), hypersexualized and victimized in the patriarchal microcosms rendered in the story. Keywords: Atwood, feminism, gender, victimization, hypersexualization, patriarchy

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31

Gibert, Teresa. "Margaret Atwood’s Visions and Revisions of "The Wizard of Oz"." Journal of English Studies 17 (December 18, 2019): 175. http://dx.doi.org/10.18172/jes.3578.

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L. Frank Baum’s The Wonderful Wizard of Oz (1900) and Victor Fleming’s film The Wizard of Oz (1939) play an important intertextual role in Margaret Atwood’s critical and fictional writings. Atwood has often been inspired by both versions of this modern fairy tale and has drawn attention to the main issues it raises (e.g. the transformative power of words, gendered power relationships, the connection between illusion and reality, the perception of the artist as a magician, and different notions of home). She has creatively explored and exploited themes, settings, visual motifs, allegorical content and characters (Dorothy, her three companions, the Wizard and the witches, especially Glinda the Good and the Wicked Witch of the West), subversively adapting her literary borrowings with a parodic twist and satirical intent. Parts of Life Before Man (1979) may be interpreted as a rewrite of a story defined by Atwood as “the great American witchcraft classic”.

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32

Fernández Agüero, Isabel. "Translating Margaret Atwood: Oryx and Crake-Órix y Rascón." Indivisa, Boletín de Estudios e Investigación, no. 8 (November 30, 2007): 13. http://dx.doi.org/10.37382/indivisa.vi8.343.

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33

Nilsen, Helge Normann. "Four Feminist Novels by Margaret Atwood." American Studies in Scandinavia 26, no. 2 (September 1, 1994): 126–39. http://dx.doi.org/10.22439/asca.v26i2.1458.

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34

Strehle, Susan, Margaret Atwood, and Sharon Rose Wilson. "Margaret Atwood: Bringing Back the Treasure." Contemporary Literature 44, no. 4 (2003): 737. http://dx.doi.org/10.2307/3250593.

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35

Cannon, Helen. "Margaret Atwood by Barbara Hill Rigney." Western American Literature 24, no. 4 (1990): 371–72. http://dx.doi.org/10.1353/wal.1990.0019.

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36

Irvine, Lorna. "Murder and Mayhem: Margaret Atwood Deconstructs." Contemporary Literature 29, no. 2 (1988): 265. http://dx.doi.org/10.2307/1208440.

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37

Corporaal, Marguérite. "The Cambridge Companion to Margaret Atwood." English Studies 88, no. 4 (August 2007): 490–92. http://dx.doi.org/10.1080/00138380701443138.

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38

Keck, Michaela. "Paradise Retold: Revisionist Mythmaking in Margaret Atwood’s MaddAddam Trilogy // El paraíso contado de nuevo: La revisión del mito en la Trilogía MaddAddam de Margaret Atwood." Ecozon@: European Journal of Literature, Culture and Environment 9, no. 2 (October 24, 2018): 23–40. http://dx.doi.org/10.37536/ecozona.2018.9.2.2291.

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This paper focuses on the subversive potential of myths by exploring Margaret Atwood’s feminist revision of creation, more specifically the myth of paradise. According to Adrienne Rich’s definition, the “re-vision” of myths signifies the critical adaptation, appropriation, and invasion of traditional texts. As such, myths have not only legitimized exploitative power relationships, but they have also served as a powerful means to participate in and subvert hegemonic discourses. By drawing on the theories of Aby Warburg, Ernst Cassirer, and Hans Blumenberg, for whom myths constitute cultural-artistic mediations that involve the polarities of affect and intellect, terror and logos, Atwood’s revision of paradise in the MaddAddam trilogy may be approached in itself as – to use a term by Hans Blumenberg – a “work of logos.” I argue that Atwood revises paradise by duplicating the ancient human dreams of paradise into Crake’s techno pagan and Adam One’s eco-millennialist “gardens of delights,” both of which are refracted through evolutionary science and ecology.Characterized by human destructiveness, these posthuman paradises feature multiple Eves alongside the dominant male figures. Among Atwood’s Eves, there is the brazen Oryx as exploited racial “Other” of white society in the pathos formula of the Asian “digital virgin prostitute.” Atwood employs a self-reflexivity regarding myths that is characteristic of postmodern pastiche and thus highlights storytelling as the distinguishing characteristic of humankind, while her use of an evolutionary grotesque aesthetics erodes clear-cut distinctions between humans, animals, and post-humans. The myth of paradise, the trilogy suggests, is also always a myth of extinction. Resumen Este artículo se centra en el potencial subversivo de los mitos al explorar la revisión feminista de la creación de Margaret Atwood, más específicamente, el mito del paraíso. Según la definición de Adrienne Rich, la "re-visión" de los mitos significa la adaptación crítica, la apropiación y la invasión de los textos tradicionales. Como tal, los mitos no solo han legitimado las relaciones con poder de explotación, sino que también han servido como un poderoso medio para participar en los discursos hegemónicos y subvertirlos. Al basarse en las teorías de Aby Warburg, Ernst Cassirer y Hans Blumenberg, para quienes los mitos constituyen mediaciones artístico-culturales que involucran las polaridades del afecto y el intelecto, el terror y el logos, la revisión del paraíso de Atwood en la triología MaddAddam se puede abordar en sí misma como (por usar un término de Hans Blumenberg) una "obra de logos". Argumento que Atwood revisa el paraíso al duplicar los antiguos sueños humanos del paraíso en el tecno pagano de Crake y en los "jardines de las delicias" ecomilenialistas de Adam One, ambos refractados a través de la ciencia y la ecología evolutivas. Caracterizados por la destructividad humana, estos paraísos posthumanos presentan múltiples Evas junto a las figuras masculinas dominantes. Entre las Evas de Atwood está el descarado Oryx como el «Otro» racial explotado de la sociedad blanca en la pathos formula de la asiática «prostituta virgen digital». Atwood realiza una autorreflexión sobre los mitos característicos del pastiche posmoderno y destaca la narración de cuentos como la característica distintiva de la humanidad, mientras que su uso de una estética evolutiva grotesca erosiona distinciones muy claras entre humanos, animales y poshumanos. El mito del paraíso, sugiere la trilogía, es siempre un mito de la extinción.

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Labudova, Katarina. "Testimonies in The Testaments by Margaret Atwood: Images of Food in Gilead." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (May 28, 2020): 97–110. http://dx.doi.org/10.4312/elope.17.1.97-110.

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In The Testaments, Margaret Atwood takes readers deeper into her dystopian world of Gilead, also through the imagery of food and eating. The oppressive patriarchal regime enforces its power through dietary restrictions, reducing women into edibles. The Testaments (2019), moreover, creates the impression of a highly individual and authentic narratorial perspective. Thus, Atwood’s characters’ daily lives in a nightmarish theocracy are illustrated with images of dystopian food that reflect the limitations, constant control, and abuse of human rights in the Republic of Gilead. This article explores how Atwood employs the literary form of testimony to create fragments of individual lives in a dystopia brought closer to us through food metaphors and metaphors of cooking, or rendered shocking through metaphors of cannibalism. Since food (and lack of food) has emotional as well as political significance, it pervades the testimonial literature of oppressive regimes.

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Maudher Dakheel, Rana, and Amjed Lateef Jabbar. "The Narrator's Search for her Identity in Margaret Atwood's Surfacing." Al-Adab Journal 1, no. 127 (December 5, 2018): 1–12. http://dx.doi.org/10.31973/aj.v1i127.196.

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Margaret Eleanor Atwood is born on November 18, 1939, Ottawa, Ontario, Canada. She received her undergraduate degree from Victoria College at the University of Toronto and her master's degree from Radcliffe College. Atwood is a Canadian writer best known for her novels, which include: The Edible Woman (1969), Surfacing (1972), Lady Oracle (1976), Life Before Man (1979), Bodily Harm (1981), The Handmaid's Tale (1985), Cat's Eye (1988), The Robber Bride (1993), Alias Grace (1996) and The Blind Assassin (1998). Atwood is a famous writer, and her novels are best sold all over the world. She has been labelled as a Canadian nationalist, feminist, and even a gothic writer. She is well known internationally in the USA, Europe, and Australia. This research aims at showing throughout Surfacing, the way Atwood portraits the narrator as a woman searching for her own identity.

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G.C., Saroj. "Reclamation of the Narrative for the Silenced Voice in Margaret Atwood’s The Penelopiad." Literary Studies 34, no. 01 (September 2, 2021): 177–91. http://dx.doi.org/10.3126/litstud.v34i01.39538.

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This article analyzes Margaret Atwood’s The Penelopiad, a rewriting of Homeric epic, The Odyssey. Atwood rewrites the story — the saga of gallantry and triumphalism of Odysseus, with narrative shift that brings postmodern irony and parody, self-reflexivity and metafiction, and intertextuality and paratextuality into play. The article tries explore if Atwood’s shifting of narrative orientation of the Homeric epic yields any different and substantial reception and interpretation of the epic in the recent context.Moreover, I demonstrate how Atwood’s reconstruction and subsequently the empowerment of the minor characters unfolds the incompatibilities and discrepancies the official version of Homer’s epic, and brings the marginal voice to the front by granting a variety of narrative access.I argue, giving subject positions to silent agents and using various genres of expression, for instance, history and myth, Atwood, through the deployment of an autodiegetic narrative, brings together gender, genre and language in such a way that results in a decisive shift in conceptualizing the narrative structure for the marginal voice and agency female characters. The article concludes that why rereading of classical and canonical text is crucial to bring the marginals’ claim to a subject position, and produce a different language and literature that allows space for expression subjectivity of characters on the margins

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Sentov, Ana. ""So obvious and so unthinkable": Eco-dystopia in Margaret Atwood's MaddAddam trilogy." Civitas 11, no. 2 (2021): 140–72. http://dx.doi.org/10.5937/civitas2102140s.

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Themes of Nature and humanity's abuse of it have long featured in Margaret Atwood's works: poetry, fiction and non-fiction. The author is an environmental activist herself, taking an active interest in current environmental and climate change issues. From one of her earliest novels Surfacing (1972) to her seminal work The Handmaid's Tale (1985) to the more recent MaddAddam trilogy (comprising the novels Oryx and Crake (2003), The Year of the Flood (2009) and MaddAddam (2013)), Atwood has commented on and criticized humanity's treatment of nature as something to be dominated and beaten into submission. In the context of the current cultural and environmental crisis the world is experiencing, this paper will analyze Atwood's MaddAddam trilogy through the lens of ecocriticism and examine how closely her vision of eco-dystopia reflects the current state of affairs in the world.

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لطيف جبار, امجد, and رنا مظهر دخيل. "The Narrator's Search for Her Own Identity in Margaret Atwood's Surfacing." Al-Adab Journal 1, no. 124 (September 15, 2018): 49–58. http://dx.doi.org/10.31973/aj.v1i124.113.

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Margaret Eleanor Atwood is born on November 18, 1939, Ottawa, Ontario, Canada. She received her undergraduate degree from Victoria College at the University of Toronto and her master's degree from Radcliffe College. Atwood is a Canadian writer best known for her novels, which include: The Edible Woman (1969), Surfacing (1972), Lady Oracle (1976), Life Before Man (1979), Bodily Harm (1981), The Handmaid's Tale (1985), Cat's Eye (1988), The Robber Bride (1993), Alias Grace (1996) and The Blind Assassin (1998). Atwood is a famous writer, and her novels are best sold all over the world. She has been labelled as a Canadian nationalist, feminist, and even a gothic writer. She is well known internationally in the USA, Europe, and Australia. This research aims at showing throughout Surfacing, the way Atwood portraits the narrator as a woman searching for her own identity.

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Brandão, Izabel, and Ildney Cavalcanti. "MARGARET ATWOOD: SF, ÉTICA, GÊNERO E ECOLOGIA." Interdisciplinar - Revista de Estudos em Língua e Literatura 32 (January 5, 2020): 27. http://dx.doi.org/10.47250/intrell.v32i1.12864.

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Este trabalho analisa o primeiro romance da trilogia distópica MaddAddam (MaddAddão), composta por Oryx and Crake (2003, Oryx e Crake, 2004), The Year of the Flood (2009, O ano do dilúvio, 2018) e MaddAddam (2013, MaddAddão, 2019), da autora canadense Margaret Atwood, tendo por base justaposições de questões éticas, de gênero e ecológicas. Nosso olhar recai sobre a figuração de personagens femininas centrais, especialmente Oryx, observando as formas como a sf de Atwood pode alinhar-se às teorias contemporâneas acerca do corpo das mulheres; do poder (Foucault, 1994) e da mascarada (Russo, 1986; Grosz, 1990; Butler, 1990). Ao examinar o funcionamento do princípio distópico da redução do mundo (Jameson, 2005) na narrativa em tela, enfatizamos a política de gênero subjacente à representação das personagens femininas, ao tempo em que lidamos com as seguintes questões: como compreender a problematização da autora acerca das trajetórias das mulheres no contexto da ideologia patriarcal como ainda presente no futuro apresentado no romance? Até que ponto os corpos das mulheres reencenam uma identificação potencial com o opressor? Quais as metáforas literárias em jogo na construção das interações dentro do universo humano e mais-quehumano (Alaimo, 2010)? Considerando os tropos de gênero e ecológicos, quão ético é o mundo criado por Atwood? Visto como sf, no sentido de que combina fato científico, ficção científica, fabulação especulativa, e feminismo especulativo (Haraway, 2016), a obra da autora canadense elabora reflexões provocadoras acerca do futuro da humanidade (?). PALAVRAS-CHAVE: SF de mulheres. Ética. Gênero. Margaret Atwood. Ecocrítica Feminista.

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S, Shalini. "A Restrospection in The Novel Cat’s Eye by Margaret Atwood [1988]." SMART MOVES JOURNAL IJELLH 7, no. 10 (October 31, 2019): 5. http://dx.doi.org/10.24113/ijellh.v7i10.9978.

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"Does feminist mean large unpleasant person who’ll shout at you or someone who believes women are human beings, to me it is the latter, so I sign up."- Margaret AtwoodCat’s Eye by Margaret Atwood deals with and resists feminist doctrine. Feminist here means, exemption for women from the women. That is, this novel focuses on adversities paradox in female relationships. Atwood has also discussed the differentiation of boys and girls at a very young age. Elaine, the protaganist of the play, is the self- introspectional character of the author itself. When two daughters are born to Elaine, she finds it uneasy to raise them up.

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Seudin, Moreen Gorgees, and Saman Abdulqadir Hussein Dizayi. "Women, Nature, and Culture: Patriarchy and Phalloecntrism in Margaret Atwood's Oryx and Crake and The Year of the Flood." Twejer 4, no. 1 (May 2021): 1209–54. http://dx.doi.org/10.31918/twejer.2141.28.

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This paper tackles patriarchy and phallocentrism's concepts by shedding light on women, culture, and nature. Margaret Atwood's novels Oryx and Crake and The Year of the Flood are examined in terms of the concepts mentioned above. Atwood's novels and literary works can be examined in light of the concepts of patriarchy and phallocentrism based on environmental ethics. Through the study of these two novels, this paper attempts to elicit the signs regarding the cultural-ecological discourses and women's conditions as they are trapped in a male-centered society. Besides, it stresses nature's conditions whereby natural objects are undermined and are in the same miserable conditions as women. Then, applying these two concepts in the novels, Oryx and Crake and The Year of the Flood are thoroughly explored along with the male/female and culture/nature dualisms question. Keywords: Ecofeminism, Margaret Atwood, Patriarchy, Phallocentrism

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López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.

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In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.

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Lima, Luiz Fernando Martins de. ""This is a Photograph of Me", de Margaret Atwood." Cadernos de Literatura em Tradução, no. 13 (October 8, 2020): 85–88. http://dx.doi.org/10.11606/issn.2359-5388.i13p85-88.

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Andrews, B. A. St, and Rosemary Sullivan. "The Red Shoes: Margaret Atwood Starting Out." World Literature Today 73, no. 3 (1999): 538. http://dx.doi.org/10.2307/40154952.

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McWilliams, E. "Engendering Genre: The Works of Margaret Atwood." Contemporary Women's Writing 5, no. 2 (March 21, 2011): 162–64. http://dx.doi.org/10.1093/cww/vpq019.

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