Academic literature on the topic 'Margaret Eleanor Atwood'

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.

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.

The article is devoted to the analysis of M. Atwood’s novel “Hag-Seed”, which transfers the situation and issues of Shakespeare's "The Tempest" to the modern environment. The author literalizes the metaphorical meanings invested by the great bard, at the same time attaching her own metaphors to create a two-level text. An attempt is made to investigate the specifics of the author's use of the prison topos as a literary path to draw public attention to the existing problems of the penitentiary system, and to promulgate the role of theater in preparing convicted criminals to return to society and their successful integration. Atwood uses different types of imprisonment and restraint in her work, which correlates with Foucault's research in the field of control and supervision, as well as his heterotopology. Also, the emphasis on the psychological state of the hero makes it possible to consider the problem through the prism of D. Moran's theory of carceral space.

This thesis examines three works: Margaret Atwood's The Robber Bride and Alias Grace, and Angela Carter's Nights at the Circus. All three novels feature female characters that contain elements or myth fragments of mermaids and sirens. The thesis asserts that the images of the mermaid and siren have undergone a gradual process of change, from literal mythical figures, to metaphorical images, and then to figures or myth fragments that reference the original mythical figures. The persistence of these female half-human images points to an underlying rationale that is independent of historical and cultural factors. Using feminist psychoanalytic theoretical frameworks, the thesis identifies the existence of the siren/mermaid myth fragments that are used as a means to construct the category of the 'bad' woman. It then identifies the function that these references serve in the narrative and in the broader context of both Victorian and contemporary societies. The thesis postulates the origin of the mermaid and siren myths as stemming from the ambivalent relationship that the male infant forms with the mother as he develops an identity as an individual. Finally, the thesis discusses the manner in which Atwood and Carter build on this foundation to deconstruct the binary oppositions that disadvantage women and to expand the category of female.

In this study of several novels each by Barbara Pym, Fay Weldon, and Margaret Atwood, I focus on two areas: the ways in which female protagonists break out of their victimization by individuals, by institutions, and by cultural tradition, and the ways in which each author uses a structural pattern in her novels to propel her characters to solve their dilemmas to the best of their abilities and according to each woman's personality and strengths.

Resumo: Na Odisseia, de Homero, Penélope se destaca como personagem de grande influência no enredo, ao mesmo tempo catalisadora da crise em Ítaca e protetora do lar do marido. Caracterizada repetidamente como prudente e dúbia, a personagem deu vazão a diferentes leituras e interpretações críticas e literárias ao longo do tempo. Em A odisseia de Penélope, romance publicado por Margaret Atwood em 2005, Penélope e as escravas mortas por Telêmaco ressurgem como narradoras com ponto de vista próprio, donas da história, retomando o enredo clássico por meio de vozes femininas e marginais. Em uma disputa metaficcional, as narradoras sobrepõem experiências e opiniões, buscando ter a última palavra. A partir da análise e da comparação dessas duas obras, o presente trabalho busca traçar paralelos que indiquem semelhanças e diferenças na caracterização da personagem Penélope nesses textos, examinando seus papéis e como o processo de paródia e reescrita a transformou do épico clássico à produção pós-moderna.

Thesis (MA)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: This thesis uses an analysis of Fay Weldon's Puffball and Margaret Atwood's The Handmaid's Tale to explore the construction of identity, particularly female identity. It takes into consideration the influence of both biology and culture on identity and explores how, within the context of the patriarchal societies depicted by the novels, female identity is closely linked to reproductive function. It examines how the construction of female identity based on reproductive function further objectifies the female body in society, and how it can aid patriarchal domination and oppression of women. The analysis of the novels draws on both essentialist and social constructionist feminist approaches to oppression and female identity. The essentialist approach views female biological difference (reproductive function) as responsible for the way in which women are oppressed. The social constructionist view argues that female oppression stems from the social construction of female identity around concepts of motherhood and femininity. The thesis takes both approaches into account as it seeks to explain how patriarchy oppresses women through the construction of female identity. The thesis also explores how control over the female body and identity can be exercised through reproductive technology. An examination of the role reproductive technology plays in contributing to patriarchal dominance, suggests that new technologies may compel women to conform to stereotypes of femininity based on pregnancy and motherhood. The thesis considers the impact infertility and the choice not to have children have on female identity and takes into account the options available to these women. The main focus, with regard to infertility and choice, is on the relationship between women who have children and those who do not. This thesis refutes the notion that there is solidarity between women based on shared childbearing experience, and focuses on the conflict that occurs between fertile and childless women. It finds that the conflict that occurs is a result of the socialisation of women into viewing motherhood as an essential aspect of 'normal' femininity. The thesis also considers what causes the desire to have children and finds that, as in the case of the conflict between women, it is as a result of socialisation and an innate/instinctual biological drive. The thesis investigates options available to women in order for them to avoid constructing their identities solely around their reproductive function. It considers the alternatives women are presented with when constructing their identity and how these may contribute to or liberate them from patriarchal oppression. If they choose to identify themselves using patriarchal norms, then they are contributing to their objectification; but if they choose to construct their identity on their own terms, and offer some resistance to patriarchal constructions, they will be more liberated than women who conform to stereotypes. Evidence of such resistance can be seen in both novels in the narrative structure the respective authors have chosen: just as the main characters subvert traditional stereotypes through the construction of their own identity, embracing female experience on their own terms, so do both authors subvert traditional narratives.
AFRIKAANSE OPSOMMING: Hierdie tesis is gegrond op die analisering van die novelle Puffball deur Fay Weldon en The Handmaid's Tale deur Margaret Atwood ter ondersoek van die konstruksie van identiteit, naamlik die vroulike identiteit. Die analise neem beide die biologiese en kulturele invloed van identiteit in ag, veral binne die konteks van die patriargale samelewing wat in novelles voorkom.Die wisselwerking tussen vroulike identiteit en die funksie van reproduksie word aangeraak. Die tesis ondersoek die wyse waarop die konstruksie van die vroulike identiteit gebasseer op die reproduksie funksie, verder die vroulike liggaam binne samelewingskonteks tipeer en hoe dit indirek patriargale dominansie ondersteun sowel as die onderdrukking van die vrou. Die analise van die novelles steun sterk op beide die essensialistiese en sosiale konstruksialistiese feministiese benaderings ten opsigte van onderdrukking en vroulike identiteit. Die essensialistiese benadering blameer die vroulike biologiese verskil, met verwysing na die reproduksie funksie, vir die wyse waarop die vrou onderdruk word. In kontras hiermee, argumenteer die sosiale konstruksialistiese seining dat vroulike onderdrukking voortspruit uit die sosiale konstruksie van vroulike identiteit binne die konsep van moederskap en vroulikheid. Die tesis neem beide standpunte in ag daar dit hom ten doel stelom te verduidelik waarom patriargie die vrou onderdruk deur die konstruksie van die vroulike identiteit. Die tesis fokus ook op die wyse waarop kontrole oor die vroulike liggaam en identiteit uitgeoefen kan word deur die reproduktiewe tegnologie. 'n Ondersoek na die rol wat reproduktiewe tegnologie speel ter ondersteuning van patriargale dominansie, argumenteer dat nuwe tegnologieë "Toue kan verplig tot die konformering van stereotipes van vroulikheid gebasseer op swangerskap en moederskap. Die analise neem ook die impak wat onvrugbaarheid op die vroulike identiteit het, in ag , sowel as die besluit om nie kinders te hê nie. Verder neem dit ook die verskeie opsies wat beskikbaar is vir die vrou wat daarteen besluit om kinders te hê, in ag, sover dit die konstruksie van identiteit raak. Die hooffokus met betrekking tot onvrugbaarheid en keuse, is gebasseer op die verhouding tussen vroue wat wel kinders het en diegene wat kinderloos is. Die tesis weerlê die idee dat daar solidariteit is tussen vroue gebasseer op gedeelde ervarings en gemeenskaplike doelwitte en begeertes en fokus op die konflik wat ontstaan tussen kinderlose en vrugbare vroue. Die ondersoek ondervind dat die konflik wat onstaan, 'n produk is van die sosialisering van vroue met die idee van moederskap as 'n essensiële aspek van "normale" vroulikheid. Die tesis ondersoek ook die oorsake van die begeerte om kinders te hê en ondervind dat, soos ook die geval met konflik, dit die produk is van sosialisering en instinktiefbiologies gedrewe is. Die tesis ondersoek die opsies beskikbaar vir die vrou ten einde haar te verhoed om die konstruksie van haar identiteit te grond alleenlik op die reproduktiewe funksie. Die analise neem die alternatiewe waarmee die vrou gekonfronteer word tydens die konstruksieproses, in aanmerking, en bevraagteken die wyse waarop hierdie alternatiewe kan bydra tot , of die bevryding van, die patriargale onderdrukking. Indien die vrou verkies om haarself te identifiseer deur patriargale norme te gebruik sal sy bydra tot haar objektivering binne die tradisionele patriargale konteks; maar indien sy kies om haar eie identiteit te konstruktueer volgens haar eie norme en terselfdertyd patriargale konstruksie teenstaan, sal sy meer geëmansipeerd wees as haar eweknie wat tot die stereotipe gekonformeer het. Deel van die weerstand wat voorkom in beide novelles, kan opgemerk word in die naratiewe struktuur gekies deur die skrywer. Paralelle word aangetref tussen enersyds, die wyse waarop die hoofkarakters hulself aan die tradisionele stereotipes ondermyn deur die konstruksie van hul eie identiteit, terselfdertyd deur die koestering van vroulike ervarings, en andersyds die wyse waarop beide skrywers hulself aan tradisionele naratiewe onderwerp.

This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.

The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace.
English Studies
M.A. (English)