Relevant bibliographies by topics / - Robber bride

Academic literature on the topic '- Robber bride'

Author: Grafiati
Published: 10 December 2022
Last updated: 31 January 2023

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Journal articles on the topic "- Robber bride"

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Ju, Jaeha. "Rewriting Female Gothic: Margaret Atwood’s The Robber Bride." Society for International Cultural Institute 13, no. 2 (December 30, 2020): 173–96. http://dx.doi.org/10.34223/jic.2020.13.2.173.

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Gardner, Eleanore. "Navigating the Antiheroine’s Internalised Misogyny: Transformative Female Friendship in Cat’s Eye and The Robber Bride." IAFOR Journal of Literature & Librarianship 11, no. 1 (October 28, 2022): 69–83. http://dx.doi.org/10.22492/ijl.11.1.05.

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This paper focuses on Margaret Atwood’s novels, Cat’s Eye and The Robber Bride, as well as her short story “I Dream of Zenia with the Bright Red Teeth” in order to examine her complex construction of the elusive antiheroine, a figure who ultimately challenges the archetypal femme fatale, despite initially masquerading as the femme, villain, and antagonist of the text. The conclusions of Cat’s Eye and The Robber Bride situate forgiveness as significantly important in the Gothic antiheroine’s redemption and suggest that there is power in ambiguity, for both Cordelia and Zenia remain unknowable in their motives and perceptions. Yet while the protagonists’ reconciliation with the dark Gothic double results in the relinquishment of internalised misogyny and subsequent realignment with the self, the very notion of forgiveness implies a (somewhat misplaced) wrongdoing. I argue that by framing Cordelia’s and Zenia’s acts as needing an explanation or absolution, their behaviour becomes unnatural, abject, and deviant, as opposed to being overtly read as consequences of a patriarchal system. The transgressions of Cordelia and Zenia in Cat’s Eye and The Robber Bride thus border the line between villainy and antiheroism in ambiguous ways, reinforcing the Gothic antiheroine’s liminal existence between denunciation and adherence to patriarchal norms.
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kuribayashi, T. "Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake." Contemporary Women's Writing 7, no. 2 (September 17, 2012): 226–28. http://dx.doi.org/10.1093/cww/vps014.

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Potts, Donna L. ""The Old Maps Are Dissolving": Intertextuality and Identity in Atwood's The Robber Bride." Tulsa Studies in Women's Literature 18, no. 2 (1999): 281. http://dx.doi.org/10.2307/464450.

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Tolan, Fiona. "Situating Canada: The Shifting Perspective of the Postcolonial Other in Margaret Atwood'sThe Robber Bride." American Review of Canadian Studies 35, no. 3 (October 2005): 453–70. http://dx.doi.org/10.1080/02722010509481379.

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Humann, Heather Duerre. "Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake (review)." Studies in the Novel 43, no. 4 (2011): 508–10. http://dx.doi.org/10.1353/sdn.2011.0052.

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Tolan, Fiona. "Sucking the Blood Out of Second Wave Feminism: Postfeminist Vampirism in Margaret Atwood's The Robber Bride." Gothic Studies 9, no. 2 (November 2007): 45–57. http://dx.doi.org/10.7227/gs.9.2.6.

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López Ramírez, Manuela. "“Completion of a Circle”: Female Process of Self-Realization and Individuation in Margaret Atwood’s The Robber Bride and “I Dream of Zenia with the Bright Red Teeth”." ES Review. Spanish Journal of English Studies, no. 43 (November 23, 2022): 183–205. http://dx.doi.org/10.24197/ersjes.43.2022.183-205.

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In The Robber Bride and its sequel, “I Dream of Zenia with the Bright Red Teeth,” Margaret Atwood underscores the complex feminine identity through the femme fatale, who is depicted using mythic Gothic figures, such as the vampire. Atwood contradicts socially-sanctioned roles for women. She shapes newer and more complete social and personal female identities, questioning how inadequately the patriarchal system represents their multiplicity. The author describes how the protagonists challenge the patriarchal definition of the feminine Self on their Jungian journey towards individuation, for which the fatal woman, as the Shadow Self, acts as a catalyst.
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Wyatt, Jean. "I Want to Be You: Envy, the Lacanian Double, and Feminist Community in Margaret Atwood's The Robber Bride." Tulsa Studies in Women's Literature 17, no. 1 (1998): 37. http://dx.doi.org/10.2307/464324.

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McCarthy, Ellen. "“As Canadian as possible under the circumstances": how girls grow up canadian in Margaret Awood’s The Robber Bride." Revue LISA / LISA e-journal, Vol. III - n°2 (June 1, 2005): 160–71. http://dx.doi.org/10.4000/lisa.2656.

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Dissertations / Theses on the topic "- Robber bride"

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Jones, Jessica L. "The masquerade and bisexuality in Margaret Atwood's The robber bride /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/jonesj/jessicajones.pdf.

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Kuhnert, Matthias. "The latest area of play, postmodern hats for Margaret Atwood's The robber bride." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0004/MQ45371.pdf.

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Kulperger, Shelley. "The femme fatale : theorising female power and subjectivity in Margaret Atwood's Alias grace and the robber bride /." Title page, contents and conclusion only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09ark963.pdf.

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Adamo, Laura. "The imaginary girlfriend, a study of Margaret Atwood's The handmaid's tale, Cat's eye, The robber bride, and Alias grace." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0014/MQ31277.pdf.

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Johnson, Marie. "Gender is war : a battle over the female self in Margaret Atwood's The robber bride, the edible woman and the handmaid's tale /." Title page and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arj678.pdf.

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Woodley, Roger John. "Robert Mylne (1733-1811) : the bridge between architecture and engineering." Thesis, Courtauld Institute of Art (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299168.

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Chin-hua, Li. "Reconstructing New Selves by Subverting Conventions in The Robber Bride." 2007. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0005-0102200710430500.

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Li, Chin-hua, and 李金樺. "Reconstructing New Selves by Subverting Conventions in The Robber Bride." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/59631293110050383134.

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碩士
國立中興大學
外國語文學系所
95
The Robber Bride is a novel focused on women’s relationships, which Margaret Atwood appropriates from the Grimm’s fairy tale, “The Robber Bridegroom.” In this novel, Atwood combines fairy tale with war history. She not only challenges the conventions of the two genres but also subverts the connotations of gender discourse in both of them. Atwood makes use of the villainess, Zenia, to foreground the relationship between the victim and the victimizer and to further revise the myth, “women are innocent and vulnerable.” In my thesis, I will discuss that World War II has great impacts on these characters in the novel. In this novel, each of the protagonists is a victim because they suffer different kinds of traumas from the effect of World War II. They not only suffer from the pain of their body and mind but also their parents cannot take good care of them in their childhood. Therefore, if they are frustrated, they can’t get rid of the traumas deriving from their childhood and overcome them when they grow up. In this novel, the frustration, which I refer to, is Zenia’s robbing of their husbands. Hence, I will apply Hegel’s “master-slave” dialectics to analyze the relationship between Atwood’s victims and victimizers. Later, I will quote Jacques Lacan’s theory to elaborate on how Zenia plays a role of “the mirror reflection.” Thus, as a double agent, Zenia serves two functions: one is like a mirror reflecting the three protagonists or imitating what they desire to be; the other is as a war agent to break the three women down and to help them re-establish their identities and re-find their true selves through her “baptism.”
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Hsiao, Pi-li, and 蕭碧莉. "Feminist Geography in Margaret Atwood's Toronto Novels: Cat's Eye, The Robber Bride, The Blind Assassin." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2cev47.

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博士
國立彰化師範大學
英語學系
104
This dissertation is a feminist geographical analysis of Canadian writer Margaret Atwood’s three Toronto novels: Cat’s Eye, The Robber Bride, and The Blind Assassin. Generally, feminist geography is a discipline that focuses on feminist deconstruction of the monolithic, masculinist worldview about space, place, gender, and power. The study aims to develop a model to describe how Atwood’s female characters confront geographical limitations and inequitable spatial distributions by establishing an alternative aesthetics of life. Based on basic tenets of feminist geography, the premises of this dissertation are: (a) that the female development is a process where women’s bodies are regulated by disciplinary gaze and inscribed with gender and cultural standards, (b) that home, nation, and workplaces are constructed by a set of values which associates masculinity with the public sphere and femininity with the private sphere, and (c) that feminist geographical thinking contributes to destabilizing patriarchal spatial relations, subvert the misrepresented maps, and remap alternative geography for the feminine Other. The dissertation consists of five chapters. Chapter one provides a literature review and basic theoretical backgrounds. Chapters two through four focus on three subject matters respectively. Chapter two analyzes the interrelationship between space, place, and the female development. Chapter three argues that gender matters in terms of home, nation, and workplaces. Chapter four puts forth a model to remap feminist geography by alternative views and self-creation. Chapter five summarizes the findings and evaluates Atwood’s achievements in terms of feminist geography.
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Tu, Shu-shu. "Reinventing Female Subjectivity: the Impulse of Postmodern and Feminist Writing in Margaret Atwood's The Robber Bride." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0002-1207200508521000.

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Books on the topic "- Robber bride"

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Copyright Paperback Collection (Library of Congress), ed. Robber Bride. Toronto: Harlequin Books, 1999.

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Atwood, Margaret Eleanor. The robber bride. New York: Nan A. Talese/Doubleday, 1993.

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Atwood, Margaret Eleanor. The robber bride. London: Virago, 2002.

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Atwood, Margaret Eleanor. The robber bride. New York: Anchor Books/Doubleday, 1998.

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Atwood, Margaret Eleanor. The robber bride. London: Bloomsbury, 1993.

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Atwood, Margaret Eleanor. The robber bride. Toronto: McClelland & Stewart, 1998.

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Atwood, Margaret Eleanor. The robber bride. Toronto Ont: McClelland & Stewart, 1993.

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Atwood, Margaret Eleanor. The Robber bride. London: QPD, 1993.

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Atwood, Margaret Eleanor. The robber bride. Toronto: Seal Books, 1999.

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Atwood, Margaret Eleanor. The robber bride. London: Virago, 1994.

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Book chapters on the topic "- Robber bride"

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Howells, Coral Ann. "The Robber Bride." In Margaret Atwood, 124–39. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-19041-3_9.

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Howells, Coral Ann. "Atwoodian Gothic: From Lady Oracle to The Robber Bride." In Margaret Atwood, 62–85. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24265-8_4.

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Wisker, Gina. "Feminist Gothic: Cat’s Eye (1988), The Robber Bride (1993)." In Margaret Atwood: An Introduction to Critical Views of Her Fiction, 99–116. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35795-2_7.

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Ackert, Lloyd. "The Master of Brie-Compte-Robert and His “Direct Method:” Translating the Cycle of Life into Ecology." In Sergei Vinogradskii and the Cycle of Life, 107–24. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-5198-9_7.

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"The Robber Bride." In The Political in Margaret Atwood’s Fiction, 109–20. Routledge, 2016. http://dx.doi.org/10.4324/9781315554471-9.

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"THE ROBBER BRIDE: THE OTHER WOMAN IN POST-COLONIAL DISCOURSE." In Margaret Atwood, 199–221. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401204545_010.

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"Canadian Afterlives: The Power and Pleasure of Storytelling in The Robber Bride and Alias Grace." In Margaret Atwood and the Female Bildungsroman, 107–26. Routledge, 2017. http://dx.doi.org/10.4324/9781315249735-16.

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"The New Bridge Form (1901-1904)." In Robert Maillart's Bridges, 31–42. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctv131bv4r.9.

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"Una voz clamando en el desierto de Nevada: Sweet Promised Land, de Robert Laxalt, como ur-texto de la literatura vasconorteamericana." In Bridge/Zubia, 67–86. Vervuert Verlagsgesellschaft, 2019. http://dx.doi.org/10.31819/9783964568564-003.

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"ROBERT MAILLART AND NEW FORMS IN REINFORCED CONCRETE." In The Tower and the Bridge, 147–70. Princeton University Press, 2022. http://dx.doi.org/10.2307/j.ctv23r3gk2.14.

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Conference papers on the topic "- Robber bride"

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Morse-Fortier, Leonard J. "Professor Robert H. Scanlan and the Tacoma Narrows Bridge." In Structures Congress 2005. Reston, VA: American Society of Civil Engineers, 2005. http://dx.doi.org/10.1061/40753(171)234.

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Reports on the topic "- Robber bride"

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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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