Abstract Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.
阿加莎·克里斯蒂小说中的性别观被认为是保守的，甚至被批评为反女权主义的。然而，最近，越来越多的女权主义学者(Alison Light, Susan Rowland, Merja Makinen)开始反对这一观点，相反，他们认为克里斯蒂在小说中描绘的各种社会现象，包括性别，比之前认为的更加微妙和模糊。在阿加莎·克里斯蒂的三部侦探小说《桌上的纸牌》(1936)、《山谷》(1946)和《帕丁顿的4.50》(1957)中，本文探讨了家庭生活，尤其是食物、饮食和烹饪在构建对女性气质的模糊描绘中的作用。小说描绘了三组具有不同程度权力和独立性的女性角色:社会中坚，即保守的家庭主妇，古怪的女性和杀人犯。这篇论文的目的是要证明，矛盾的是，即使是通过这些女性角色在家庭环境中的角色和她们对食物的参与，她们也能够克服父权社会强加给她们的限制，并在其中获得一定程度的自主权。
{"title":"The Salt of the Earth or the Murderess? The Problem of Femininity in the Novels of Agatha Christie","authors":"S. Baučeková","doi":"10.2478/pjes-2021-0001","DOIUrl":"https://doi.org/10.2478/pjes-2021-0001","url":null,"abstract":"Abstract Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132861707","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 This paper seeks to analyse the strategies of cognitive estrangement employed by the science fiction writer and literary scholar Kim Stanley Robinson in his New York 2140 (2017). I argue that the novel was written as a call to action to mitigate the effects of climate change, and rather than being merely a description of a particular vision of the future, provides a comment on the current ecological crisis, mechanisms of history, and human agency. Robinson’s unusual position at the intersection of the field of literary production and literature studies allowed him to apply the ideas developed for the analysis of the genre of science fiction in his creative work. The three main thematic areas in the novel are ecology, politics, and history. In each of these, allusions to the present, the past, and literary tradition, characterisation, and narrative structure are used as a means to convey the author’s message and sensitise the reader to issues connected with ecology and social justice, painting a realistic, yet hopeful vision where human civilisation carries on despite the consequences of global warming.
{"title":"Strategies of Cognitive Estrangement in Kim Stanley Robinson’s New York 2140","authors":"M. Klata","doi":"10.2478/pjes-2021-0007","DOIUrl":"https://doi.org/10.2478/pjes-2021-0007","url":null,"abstract":"Abstract This paper seeks to analyse the strategies of cognitive estrangement employed by the science fiction writer and literary scholar Kim Stanley Robinson in his New York 2140 (2017). I argue that the novel was written as a call to action to mitigate the effects of climate change, and rather than being merely a description of a particular vision of the future, provides a comment on the current ecological crisis, mechanisms of history, and human agency. Robinson’s unusual position at the intersection of the field of literary production and literature studies allowed him to apply the ideas developed for the analysis of the genre of science fiction in his creative work. The three main thematic areas in the novel are ecology, politics, and history. In each of these, allusions to the present, the past, and literary tradition, characterisation, and narrative structure are used as a means to convey the author’s message and sensitise the reader to issues connected with ecology and social justice, painting a realistic, yet hopeful vision where human civilisation carries on despite the consequences of global warming.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132684698","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 This paper claims that through a feminist rewriting of the Bible, Michèle Roberts’s novel The Wild Girl (1984) articulates the ambivalences and insecurities that emerged in the British Women’s Liberation movement after its initial period of great energy, hopefulness and enthusiasm of the 1970s. By rewriting the biblical insistence on female rivalry and competition, and revising biblical “gynotypes” and “fragmented women”, the novel not only exposes the patriarchal discourses of the Bible, but also critically revisits the WLM’s utopian visions of unity, and re-imagines the ways in which women can cooperate while preserving their differences. When juxtaposed with more recent women’s rewritings, often driven by (and catering to) market economy and consumer culture, Roberts’s novel is a useful remainder of the still consequential need to “look back in order to move forward” (Plate 406). The novel’s small-scale, grass-roots level sisterhood, never altogether free from tensions, is a quietly optimistic vision of women’s bonds, a “secret gospel” proclaiming the good news about the precarious and changeable relationship among women, and about the need of its incessant reworking.
{"title":"“Passing a looped and knotted string between their hands”. The Bible, the Women’s Liberation Movement and Women’s Bonds in Michèle Roberts’s The Wild Girl","authors":"Ewa Rychter","doi":"10.2478/pjes-2021-0002","DOIUrl":"https://doi.org/10.2478/pjes-2021-0002","url":null,"abstract":"Abstract This paper claims that through a feminist rewriting of the Bible, Michèle Roberts’s novel The Wild Girl (1984) articulates the ambivalences and insecurities that emerged in the British Women’s Liberation movement after its initial period of great energy, hopefulness and enthusiasm of the 1970s. By rewriting the biblical insistence on female rivalry and competition, and revising biblical “gynotypes” and “fragmented women”, the novel not only exposes the patriarchal discourses of the Bible, but also critically revisits the WLM’s utopian visions of unity, and re-imagines the ways in which women can cooperate while preserving their differences. When juxtaposed with more recent women’s rewritings, often driven by (and catering to) market economy and consumer culture, Roberts’s novel is a useful remainder of the still consequential need to “look back in order to move forward” (Plate 406). The novel’s small-scale, grass-roots level sisterhood, never altogether free from tensions, is a quietly optimistic vision of women’s bonds, a “secret gospel” proclaiming the good news about the precarious and changeable relationship among women, and about the need of its incessant reworking.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129700807","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 This paper investigates three different medial instances of the Overlook Hotel, a space originally hailing from Stephen King’s The Shining. Based on close readings of King’s novel, Stanley Kubrick’s adaptation and a level in the action RPG Vampire the Masquerade: Bloodlines by Troika Games, the following text argues that the Overlook is a serial figure founded on the concept of malignant space in possession of a potent, and often overwhelming, story of violence that despite attempts at its repression cannot be silenced, as in the tradition of the Gothic ghost story. This basic formula is then traced through different media – the novel, film, and video game – where it is seen as gradually shifting its focus from the fictional characters to the recipient, which represents the intersection between the particular affordances of the respective media and the figure of a spatially-bound aggressive storyteller.
摘要本文考察了源自斯蒂芬·金小说《闪灵》的眺望酒店的三个不同的医疗实例。根据对King的小说的仔细阅读，Stanley Kubrick的改编，以及Troika Games的动作RPG《Vampire the Masquerade: Bloodlines》中的一个关卡，下面的文本认为，Overlook是一个基于恶性空间概念的连环人物，拥有一个强大的，通常是压倒性的暴力故事，尽管它试图压制它，但却无法沉默，就像哥特式鬼故事的传统一样。这一基本公式随后被追溯至不同的媒体——小说、电影和电子游戏——在这些媒体中，它被视为逐渐将焦点从虚构角色转移到接受者，这代表了各自媒体的特定提示和具有空间局限性的激进故事讲述者形象之间的交集。
{"title":"The Seriality of Stephen King’s Overlook Hotel – a Transmedial Maze","authors":"Jovana Vujanov","doi":"10.2478/pjes-2020-0005","DOIUrl":"https://doi.org/10.2478/pjes-2020-0005","url":null,"abstract":"Abstract This paper investigates three different medial instances of the Overlook Hotel, a space originally hailing from Stephen King’s The Shining. Based on close readings of King’s novel, Stanley Kubrick’s adaptation and a level in the action RPG Vampire the Masquerade: Bloodlines by Troika Games, the following text argues that the Overlook is a serial figure founded on the concept of malignant space in possession of a potent, and often overwhelming, story of violence that despite attempts at its repression cannot be silenced, as in the tradition of the Gothic ghost story. This basic formula is then traced through different media – the novel, film, and video game – where it is seen as gradually shifting its focus from the fictional characters to the recipient, which represents the intersection between the particular affordances of the respective media and the figure of a spatially-bound aggressive storyteller.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133649013","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 By drawing on Jean Baudrillard’s cultural theory this paper aims to show how contemporary popular culture tells the stories of scientifically talented women of the past. In the course of my argument, I refer to books and films set in the past and focus on the women-and-science motif. Firstly, the stories of individual female scientists living long ago are analysed (Mileva Einstein, Joan Clarke), then, the collective female protagonists – wives of scientists living together in “togethervilles” (Los Alamos, Atomic City), and women scientists pictured in speculative fiction – are discussed. The cliches used in these texts – lonely forgotten geniuses, female worthies taken advantage of, ostracised women accused of not being feminine enough and devoted wives who help their men and their countries in World Wars I and II or the Cold War – reflect ideologies that Western culture used to believe in. Conversely, the two original presentations of past female scientists that I found both come from speculative fiction concerned with science and heavily influenced by the ideologies of science: science and pacifism, science and a sense of guilt, and science as a weapon in the quest for democracy and freedom.
{"title":"Strangers in Togetherville – Women, Physics and Popular Culture","authors":"D. Oramus","doi":"10.2478/pjes-2020-0007","DOIUrl":"https://doi.org/10.2478/pjes-2020-0007","url":null,"abstract":"Abstract By drawing on Jean Baudrillard’s cultural theory this paper aims to show how contemporary popular culture tells the stories of scientifically talented women of the past. In the course of my argument, I refer to books and films set in the past and focus on the women-and-science motif. Firstly, the stories of individual female scientists living long ago are analysed (Mileva Einstein, Joan Clarke), then, the collective female protagonists – wives of scientists living together in “togethervilles” (Los Alamos, Atomic City), and women scientists pictured in speculative fiction – are discussed. The cliches used in these texts – lonely forgotten geniuses, female worthies taken advantage of, ostracised women accused of not being feminine enough and devoted wives who help their men and their countries in World Wars I and II or the Cold War – reflect ideologies that Western culture used to believe in. Conversely, the two original presentations of past female scientists that I found both come from speculative fiction concerned with science and heavily influenced by the ideologies of science: science and pacifism, science and a sense of guilt, and science as a weapon in the quest for democracy and freedom.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121329781","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 This paper presents and discusses a computer-assisted study that seeks to investigate the use of discourse markers (“DMs”) in academic writing in English as a Foreign Language (“EFL”) by a group of in-service primary school teachers (“participants”). The aim of the study is to establish whether or not there would be differences in the use of DMs in the corpus of academic writing in EFL in literature and linguistics written by the participants, who concurrently with teaching EFL at a range of primary schools are enrolled in an in-service tertiary course in English. The corpus of the study consists of the participants’ i) reflective essays in English linguistics and children’s literature in English, respectively, and ii) analytic explanatory essays in English linguistics and children’s literature, respectively. The corpus of the participants’ essays was analysed quantitatively in order to identify the frequency of DMs per 1,000 words. The results of the quantitative data analysis indicated that the participants’ use of DMs seemed to be, primarily, determined by i) genre conventions of academic writing in English associated with reflective essays and analytic explanatory essays and ii) the participants’ individual preferences. These findings are further presented and discussed in the paper.
{"title":"The Use of Discourse Markers in Academic Writing by In-Service Primary School Teachers of English","authors":"Oleksandr (Alexander) Kapranov","doi":"10.2478/pjes-2020-0009","DOIUrl":"https://doi.org/10.2478/pjes-2020-0009","url":null,"abstract":"Abstract This paper presents and discusses a computer-assisted study that seeks to investigate the use of discourse markers (“DMs”) in academic writing in English as a Foreign Language (“EFL”) by a group of in-service primary school teachers (“participants”). The aim of the study is to establish whether or not there would be differences in the use of DMs in the corpus of academic writing in EFL in literature and linguistics written by the participants, who concurrently with teaching EFL at a range of primary schools are enrolled in an in-service tertiary course in English. The corpus of the study consists of the participants’ i) reflective essays in English linguistics and children’s literature in English, respectively, and ii) analytic explanatory essays in English linguistics and children’s literature, respectively. The corpus of the participants’ essays was analysed quantitatively in order to identify the frequency of DMs per 1,000 words. The results of the quantitative data analysis indicated that the participants’ use of DMs seemed to be, primarily, determined by i) genre conventions of academic writing in English associated with reflective essays and analytic explanatory essays and ii) the participants’ individual preferences. These findings are further presented and discussed in the paper.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120924800","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 The aim of this paper is to look into how Elizabeth Gaskell reflects trauma in her literary works and what she may have been trying to teach her audience through them. As a social and realist writer, she used narrative as a means to denounce the evils of her time, many of which give rise to social traumas. However, this paper will focus on more personal traumas, particularly the trauma of loss, and also how Gaskell handles these traumatic experiences in her writings. With this purpose in mind, it is important to consider Gaskell’s own experience, how she overcame her own traumatic losses and how she used fiction both to reflect her experience and as a form of therapy. At the end of this paper, we will establish how Gaskell uses traumatic losses as turning points throughout her literary works.
{"title":"The Trauma of Loss as a Turning Point in Elizabeth Gaskell’s Works","authors":"Blanca Puchol Vázquez","doi":"10.2478/pjes-2020-0002","DOIUrl":"https://doi.org/10.2478/pjes-2020-0002","url":null,"abstract":"Abstract The aim of this paper is to look into how Elizabeth Gaskell reflects trauma in her literary works and what she may have been trying to teach her audience through them. As a social and realist writer, she used narrative as a means to denounce the evils of her time, many of which give rise to social traumas. However, this paper will focus on more personal traumas, particularly the trauma of loss, and also how Gaskell handles these traumatic experiences in her writings. With this purpose in mind, it is important to consider Gaskell’s own experience, how she overcame her own traumatic losses and how she used fiction both to reflect her experience and as a form of therapy. At the end of this paper, we will establish how Gaskell uses traumatic losses as turning points throughout her literary works.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125845331","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 This paper seeks to represent rhetorical presence in “Madame de Sevigne”, an essay by Virginia Woolf that reviews Sevigne’s collection of letters. In general, Woolf’s essays that appraise an author and her/his work are organised into several sections that correspond to the traditional rhetorical levels of inventio, dispositio and elocutio. The synergy of arguments and figures that are found at each of these levels are first-order effects which can create rhetorical presence, defined as a strategy that relies on the selection of certain elements and how they are presented to the audience. Presence of this kind involves a second-order effect which transmits the persuasive and expressive value of the essay if several conditions pertaining to the values of the audience and Woolf’s expertise in writing are attained. “Madame de Sevigne” is persuasive in that it tries to increase readers’ admiration towards the letter writer and thus affects the readers in a positive way. This admiration is achieved by means of Woolf’s specific use of language, which amplifies Sevigne’s figure and grants expressive prominence to the text.
{"title":"Representation of Rhetorical Presence in Virginia Woolf’s “Madame de Sévigné”","authors":"Margarita Esther Sánchez Cuervo","doi":"10.2478/pjes-2020-0004","DOIUrl":"https://doi.org/10.2478/pjes-2020-0004","url":null,"abstract":"Abstract This paper seeks to represent rhetorical presence in “Madame de Sevigne”, an essay by Virginia Woolf that reviews Sevigne’s collection of letters. In general, Woolf’s essays that appraise an author and her/his work are organised into several sections that correspond to the traditional rhetorical levels of inventio, dispositio and elocutio. The synergy of arguments and figures that are found at each of these levels are first-order effects which can create rhetorical presence, defined as a strategy that relies on the selection of certain elements and how they are presented to the audience. Presence of this kind involves a second-order effect which transmits the persuasive and expressive value of the essay if several conditions pertaining to the values of the audience and Woolf’s expertise in writing are attained. “Madame de Sevigne” is persuasive in that it tries to increase readers’ admiration towards the letter writer and thus affects the readers in a positive way. This admiration is achieved by means of Woolf’s specific use of language, which amplifies Sevigne’s figure and grants expressive prominence to the text.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131841626","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 The writing of history was seminal to Milton’s conception of himself as a humanist and is a key to our understanding of his literary career. Yet, Milton’s Brief History of Moscovia and The History of Britain occupy a unique position in the way in which they are poised between the humanist notion of history as counsel and history as an assertion of “republican” values. However, situating Milton in a climate of republicanism has othen been problematic and challenging. Like writers of humanist historical narratives, Milton’s primary aim was to guide the English people in their current political crisis by making the past an analogue of the present. I wish to contend that he approaches his intention generically: by a manipulative use of the genres of history and chorography, Milton is able to straddle the earlier notion of history with the later notions of “republicanism” that permeated the political climate of England in the aftermath of the Civil War. In an inversion of Shklovsky’s notion of “form shaping content”, Milton’s reliance on genre as a vehicle for articulating his political and ideological stance, ultimately results in content shaping form.
{"title":"“Confused Anarchy and the late civil broils”: The Politics of Genre in Milton’s Histories","authors":"S. Dasgupta","doi":"10.2478/pjes-2020-0001","DOIUrl":"https://doi.org/10.2478/pjes-2020-0001","url":null,"abstract":"Abstract The writing of history was seminal to Milton’s conception of himself as a humanist and is a key to our understanding of his literary career. Yet, Milton’s Brief History of Moscovia and The History of Britain occupy a unique position in the way in which they are poised between the humanist notion of history as counsel and history as an assertion of “republican” values. However, situating Milton in a climate of republicanism has othen been problematic and challenging. Like writers of humanist historical narratives, Milton’s primary aim was to guide the English people in their current political crisis by making the past an analogue of the present. I wish to contend that he approaches his intention generically: by a manipulative use of the genres of history and chorography, Milton is able to straddle the earlier notion of history with the later notions of “republicanism” that permeated the political climate of England in the aftermath of the Civil War. In an inversion of Shklovsky’s notion of “form shaping content”, Milton’s reliance on genre as a vehicle for articulating his political and ideological stance, ultimately results in content shaping form.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129981540","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 Crescent (2003) is an example of the kind of Arab-American literature that has emerged noticeably in the early years of the 21st century. It signifies a hypothesis that culinary practice is an essential cultural component for diasporic figures to define their identities, especially in a multi-cultural society. These figures embrace such component to strategically define themselves and assert their belonging and affiliation to their original homelands. This paper, as such, examines the extent to which Arab-American characters in the novel, namely Sirine and Han, consider culinary practice as a key tool to understanding their identity, locate themselves in a multi-cultural society, and re-discover their true belonging. The study of this novel shows that culinary practices, as indicated in the narratives, deconstruct Arab-American identity through various dimensions, including memory, nostalgia, hybridity, and essentialism. In addition to employing critical and analytical approaches to the novel, this paper relies on a socio-cultural conceptual framework based on perspectives of prominent critics and theorists such as Homi Bhabha, Brinda Mehta, Dallen Timothy, and Stuart Hall, to name a few.
{"title":"The Power of Recipes: Culinary Practice as a Strategy to Deconstruct Arab-American Identity in Diana Abu-Jaber’s Crescent","authors":"Ishak Berrebbah","doi":"10.2478/pjes-2020-0006","DOIUrl":"https://doi.org/10.2478/pjes-2020-0006","url":null,"abstract":"Abstract Crescent (2003) is an example of the kind of Arab-American literature that has emerged noticeably in the early years of the 21st century. It signifies a hypothesis that culinary practice is an essential cultural component for diasporic figures to define their identities, especially in a multi-cultural society. These figures embrace such component to strategically define themselves and assert their belonging and affiliation to their original homelands. This paper, as such, examines the extent to which Arab-American characters in the novel, namely Sirine and Han, consider culinary practice as a key tool to understanding their identity, locate themselves in a multi-cultural society, and re-discover their true belonging. The study of this novel shows that culinary practices, as indicated in the narratives, deconstruct Arab-American identity through various dimensions, including memory, nostalgia, hybridity, and essentialism. In addition to employing critical and analytical approaches to the novel, this paper relies on a socio-cultural conceptual framework based on perspectives of prominent critics and theorists such as Homi Bhabha, Brinda Mehta, Dallen Timothy, and Stuart Hall, to name a few.","PeriodicalId":402791,"journal":{"name":"Prague Journal of English Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128707057","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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