Abstract While Monica Ali’s novel Brick Lane is most often analyzed from the vantage points of postcolonialism as a text dealing primarily with the plight of the Bangladeshi immigrant community in London, it is difficult, if not downright impossible, to overlook the crucial role women and feminine resilience (in the face of not only patriarchy, but also racism, religion and social unrest) play in the novel. In actual fact, the story can much easier be read as the plight of women in their quest for self-determination and identity than as a novel about cultural clashes in the multicultural metropolis. The present essay sets out to prove that feminism is actually at the forefront of Ali’s novel, and that the feminine characters in Brick Lane stand for a post-feminist reflection on the (still) gasping abyss between theoretical gender equality and real-life sexism.
{"title":"“She Isn’t Going to Give Up”: Women’s Resilience in Monica Ali’s Brick Lane – A Feminist Reading","authors":"Ana-Blanca Ciocoi-Pop","doi":"10.2478/ewcp-2019-0002","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0002","url":null,"abstract":"Abstract While Monica Ali’s novel Brick Lane is most often analyzed from the vantage points of postcolonialism as a text dealing primarily with the plight of the Bangladeshi immigrant community in London, it is difficult, if not downright impossible, to overlook the crucial role women and feminine resilience (in the face of not only patriarchy, but also racism, religion and social unrest) play in the novel. In actual fact, the story can much easier be read as the plight of women in their quest for self-determination and identity than as a novel about cultural clashes in the multicultural metropolis. The present essay sets out to prove that feminism is actually at the forefront of Ali’s novel, and that the feminine characters in Brick Lane stand for a post-feminist reflection on the (still) gasping abyss between theoretical gender equality and real-life sexism.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117193072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Since Julia Kristeva’s first use of the term in the late 20th century, intertextuality has given rise to one of the literary theories most frequently applied in the interpretation of texts across different media, from literature to art and film. In what concerns the study of digital games, however, the concept has received little attention, in spite of the fact that the new medium offers a more than fertile ground for its investigation. The aim of the present essay, therefore, is to propose that digital games can be and, indeed, are intertextual in at least two ways. First, we argue, games deliberately refer to other games, which may or may not be a part of the same series. Secondly, they connect with texts from other media and specifically with literary texts. In both cases, the intertextual link can be a sign of tribute, a critical comment, or a means of self-reflection. Ultimately, however, these links are a form of aesthetic play that reveals new similarities between digital games and traditional media for artistic expression.
{"title":"‘The Cake is (Not) a Lie:’ Intertextuality as a Form of Play in Digital Games","authors":"Diana Melnic, V. Melnic","doi":"10.2478/ewcp-2019-0006","DOIUrl":"https://doi.org/10.2478/ewcp-2019-0006","url":null,"abstract":"Abstract Since Julia Kristeva’s first use of the term in the late 20th century, intertextuality has given rise to one of the literary theories most frequently applied in the interpretation of texts across different media, from literature to art and film. In what concerns the study of digital games, however, the concept has received little attention, in spite of the fact that the new medium offers a more than fertile ground for its investigation. The aim of the present essay, therefore, is to propose that digital games can be and, indeed, are intertextual in at least two ways. First, we argue, games deliberately refer to other games, which may or may not be a part of the same series. Secondly, they connect with texts from other media and specifically with literary texts. In both cases, the intertextual link can be a sign of tribute, a critical comment, or a means of self-reflection. Ultimately, however, these links are a form of aesthetic play that reveals new similarities between digital games and traditional media for artistic expression.","PeriodicalId":120501,"journal":{"name":"East-West Cultural Passage","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122002667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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