Pub Date : 2023-08-01DOI: 10.5325/intelitestud.25.3.0378
Sajjad Gheytasi, Mohsen Hanif
abstract:One critical issue facing subaltern cultures is how they react to the process of cultural assimilation. This article aims to analyze the characters in Leslie Marmon Silko’s Ceremony and Louise Erdrich’s Tracks, to see how they interpret and react to the “social norms.” The novels offer counter discourses that try to resist, negate, and put in suspense the nodal points of the dominant culture. When exposed to the hegemonic discourse, the subalterns also construct and re-territorialize the significance of the nodal points. The two novelists use elements from their own cultures in the form of memories, storytelling, songs, etc., to impose their own definitions on the floating signifiers. Contradictions caused by the process create fault lines that will destabilize the dominant discourse’s nodal points and reformulate the hegemonic discourse’s rules. The resisting characters in both novels remember the residual elements in which the dominant discourse is questioned and negated. Strategies of resistance in both novels relatively follow the same path: the residual elements create fault lines deconstructing the nodal points of ideological discourse. This process will make us aware of other possibilities of signification in the field of discursivity, opening up space and time for articulating new elements.
{"title":"A Theory for Cultural Resistance: The Cases of L. M. Silko’s Ceremony and L. Erdrich’s Tracks","authors":"Sajjad Gheytasi, Mohsen Hanif","doi":"10.5325/intelitestud.25.3.0378","DOIUrl":"https://doi.org/10.5325/intelitestud.25.3.0378","url":null,"abstract":"abstract:One critical issue facing subaltern cultures is how they react to the process of cultural assimilation. This article aims to analyze the characters in Leslie Marmon Silko’s Ceremony and Louise Erdrich’s Tracks, to see how they interpret and react to the “social norms.” The novels offer counter discourses that try to resist, negate, and put in suspense the nodal points of the dominant culture. When exposed to the hegemonic discourse, the subalterns also construct and re-territorialize the significance of the nodal points. The two novelists use elements from their own cultures in the form of memories, storytelling, songs, etc., to impose their own definitions on the floating signifiers. Contradictions caused by the process create fault lines that will destabilize the dominant discourse’s nodal points and reformulate the hegemonic discourse’s rules. The resisting characters in both novels remember the residual elements in which the dominant discourse is questioned and negated. Strategies of resistance in both novels relatively follow the same path: the residual elements create fault lines deconstructing the nodal points of ideological discourse. This process will make us aware of other possibilities of signification in the field of discursivity, opening up space and time for articulating new elements.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"36 1","pages":"378 - 402"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78995418","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}
Pub Date : 2023-08-01DOI: 10.5325/intelitestud.25.3.0315
Jacopo Aldrighetti
abstract:Analyzed through the lens of John Berger’s concept of daydream and Bachelard’s reverie, Elizabeth Bishop’s work can offer a poignant argument against a view of nature and civilization as fundamentally separate. However, the analysis of their relationship dynamics has hitherto been limited to a focus on human–nature conflict. This article argues that Bishop’s poetry and prose reveal elements of coexistence and communion between these two spheres. The epiphanies of environmental communion in Bishop’s poems can be explained by employing the daydream or reverie as the interpretative key that brings together human-made and natural environments. The daydream or reverie is deeply rooted into childhood and is intended by Bachelard as a momentary return to a state of being that is not self-aware, which is typical of childhood and is caused by the vision of a wild animal. It is through this perspective that this article considers an unexpected source of the interrelatedness between the human and natural words in Bishop’s work: gasoline.
{"title":"Reverie, Wild Animals, and Gasoline: The Interrelatedness of the Human and Natural Worlds in Elizabeth Bishop","authors":"Jacopo Aldrighetti","doi":"10.5325/intelitestud.25.3.0315","DOIUrl":"https://doi.org/10.5325/intelitestud.25.3.0315","url":null,"abstract":"abstract:Analyzed through the lens of John Berger’s concept of daydream and Bachelard’s reverie, Elizabeth Bishop’s work can offer a poignant argument against a view of nature and civilization as fundamentally separate. However, the analysis of their relationship dynamics has hitherto been limited to a focus on human–nature conflict. This article argues that Bishop’s poetry and prose reveal elements of coexistence and communion between these two spheres. The epiphanies of environmental communion in Bishop’s poems can be explained by employing the daydream or reverie as the interpretative key that brings together human-made and natural environments. The daydream or reverie is deeply rooted into childhood and is intended by Bachelard as a momentary return to a state of being that is not self-aware, which is typical of childhood and is caused by the vision of a wild animal. It is through this perspective that this article considers an unexpected source of the interrelatedness between the human and natural words in Bishop’s work: gasoline.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"8 1","pages":"315 - 337"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85221712","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}
Pub Date : 2023-08-01DOI: 10.5325/intelitestud.25.3.0271
Grace Danquah
abstract:The analysis of African feminism in literary works is now a well-established area in literature. Most of the research on Changes and Faceless focuses on a thematic or stylistic study of the text. An often-underexplored area is how these two authors utilize the element of characterization to (re)inscribe the boundaries of African-centered feminist identities. To fill this gap, this article comparatively analyses the portrayal of “feminist” identity in Aidoo’s Changes (1994) and Darko’s Faceless (2003). The article reaffirms the stance assumed by Nigerian theorists like Nnaemeka, Ogundipe-Leslie, and Akachi that the feminist in Africa is accommodative, compromising, and collaborative. Using negofeminism (No ego feminism) theory as an analytical framework, this article reveals that in Faceless, the female characters who survive and thrive are those who live out the very tenets of the theory. In Changes, Esi is isolated in the end because she chose individualism over communalism. Consequently, this article extends the scholarship on literary representation of African feminism in women-authored novels. This validates the conclusion that African feminism as portrayed by Aidoo and Darko is truly representative of indigenous societies.
{"title":"In the Castle of My Skin: (Re)Inscribing an African “Feminist” Identity in Changes and Faceless","authors":"Grace Danquah","doi":"10.5325/intelitestud.25.3.0271","DOIUrl":"https://doi.org/10.5325/intelitestud.25.3.0271","url":null,"abstract":"abstract:The analysis of African feminism in literary works is now a well-established area in literature. Most of the research on Changes and Faceless focuses on a thematic or stylistic study of the text. An often-underexplored area is how these two authors utilize the element of characterization to (re)inscribe the boundaries of African-centered feminist identities. To fill this gap, this article comparatively analyses the portrayal of “feminist” identity in Aidoo’s Changes (1994) and Darko’s Faceless (2003). The article reaffirms the stance assumed by Nigerian theorists like Nnaemeka, Ogundipe-Leslie, and Akachi that the feminist in Africa is accommodative, compromising, and collaborative. Using negofeminism (No ego feminism) theory as an analytical framework, this article reveals that in Faceless, the female characters who survive and thrive are those who live out the very tenets of the theory. In Changes, Esi is isolated in the end because she chose individualism over communalism. Consequently, this article extends the scholarship on literary representation of African feminism in women-authored novels. This validates the conclusion that African feminism as portrayed by Aidoo and Darko is truly representative of indigenous societies.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"73 1","pages":"271 - 292"},"PeriodicalIF":0.1,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76461658","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0176
Maysoon Kreishan, Wasfi Shoqairat
abstract:This article answers questions about how patriarchy resists all the social and cultural changes during postmodernism and how it reinforces the distorted image of the mother in her relationship with her daughter. The questions’ answers will be critically investigated in relation to two postmodernist stories, Alice Munro’s “Boys and Girls” ([1964] 1968) and Jamaica Kincaid’s “Girl” ([1978] 2003). According to the findings, patriarchal hegemony over the relationship between mother and daughter is not limited to traditional societies; it is universal and can even be traced in postmodernist Western literature. The patriarchal motherhood that puts daughters in a frame to meet society’s expectations, that raises daughters as copies of their mothers, that prepares daughters to marry and be good housewives, and that neglects daughters’ needs and deprives them of a model to identify with are all explored in this article. The role of women, among many others, is to lead, to create changes, to educate, and to prepare generations for a better future. Women should reject considering housekeeping as an area of competition and should pass this on to their daughters. They must realize their own individual identity and evaluate themselves away from their forced traditional role.
{"title":"The Distorted Image of the Mother-Daughter Relationship in Alice Munro’s “Boys and Girls” and Jamaica Kincaid’s “Girl”","authors":"Maysoon Kreishan, Wasfi Shoqairat","doi":"10.5325/intelitestud.25.2.0176","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0176","url":null,"abstract":"abstract:This article answers questions about how patriarchy resists all the social and cultural changes during postmodernism and how it reinforces the distorted image of the mother in her relationship with her daughter. The questions’ answers will be critically investigated in relation to two postmodernist stories, Alice Munro’s “Boys and Girls” ([1964] 1968) and Jamaica Kincaid’s “Girl” ([1978] 2003). According to the findings, patriarchal hegemony over the relationship between mother and daughter is not limited to traditional societies; it is universal and can even be traced in postmodernist Western literature. The patriarchal motherhood that puts daughters in a frame to meet society’s expectations, that raises daughters as copies of their mothers, that prepares daughters to marry and be good housewives, and that neglects daughters’ needs and deprives them of a model to identify with are all explored in this article. The role of women, among many others, is to lead, to create changes, to educate, and to prepare generations for a better future. Women should reject considering housekeeping as an area of competition and should pass this on to their daughters. They must realize their own individual identity and evaluate themselves away from their forced traditional role.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"163 1 1","pages":"176 - 195"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90772305","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0163
Aman T. Zhumsakbayev, Kadisha R. Nurgali, Zhanat A. Aimukhambet
ABSTRACT The dramaturgy of Musirepov and Chekhov is very closely related to music. The writers understood that with the help of music, the problems posed by playwrights acquire philosophical depth, images and situations are voiced, and the composition of a play is built. The study of the musicality of Chekhov and Musirepov’s plays is an urgent problem for both Russian and Kazakh literature. To analyze the musicality of their plays, various methods of scientific knowledge were used. Particular attention is paid to the study of the sound of musical instruments in Chekhov and Kazakh drama. Guitar, piano, flute, and dombra are designed to create a unique atmosphere and enhance psychologism. Thus, musical motives not only have an auxiliary function, but they, along with dialogues, are an integral and equal part of the dramatic structure. The analysis of the role of music in the plays of Chekhov and Musirepov can be used to study the creativity of the authors. This work can be used by teachers and students of higher educational institutions to study the musicality of plays during lectures and practical classes.
{"title":"Musicality of Plays by A. P. Chekhov and G. M. Musirepov","authors":"Aman T. Zhumsakbayev, Kadisha R. Nurgali, Zhanat A. Aimukhambet","doi":"10.5325/intelitestud.25.2.0163","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0163","url":null,"abstract":"ABSTRACT The dramaturgy of Musirepov and Chekhov is very closely related to music. The writers understood that with the help of music, the problems posed by playwrights acquire philosophical depth, images and situations are voiced, and the composition of a play is built. The study of the musicality of Chekhov and Musirepov’s plays is an urgent problem for both Russian and Kazakh literature. To analyze the musicality of their plays, various methods of scientific knowledge were used. Particular attention is paid to the study of the sound of musical instruments in Chekhov and Kazakh drama. Guitar, piano, flute, and dombra are designed to create a unique atmosphere and enhance psychologism. Thus, musical motives not only have an auxiliary function, but they, along with dialogues, are an integral and equal part of the dramatic structure. The analysis of the role of music in the plays of Chekhov and Musirepov can be used to study the creativity of the authors. This work can be used by teachers and students of higher educational institutions to study the musicality of plays during lectures and practical classes.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134904396","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0196
A. Castelli
abstract:As a result of using the “you-narrator,” the text becomes a verbal experience in which, loyal to the postmodern tradition, a book is written within the book, the writer becomes simultaneously narrator and reader, and the reader acts as producer, thus offering multiple possibilities of reading. Furthermore, by imposing a depth of feeling and insight into the human condition, the second-person point of view generates an overall melancholic atmosphere, in terms of tones, content, and analysis.
{"title":"The Strange Case of the You-Narrator: A Melancholic Postmodernity","authors":"A. Castelli","doi":"10.5325/intelitestud.25.2.0196","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0196","url":null,"abstract":"abstract:As a result of using the “you-narrator,” the text becomes a verbal experience in which, loyal to the postmodern tradition, a book is written within the book, the writer becomes simultaneously narrator and reader, and the reader acts as producer, thus offering multiple possibilities of reading. Furthermore, by imposing a depth of feeling and insight into the human condition, the second-person point of view generates an overall melancholic atmosphere, in terms of tones, content, and analysis.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"26 1","pages":"196 - 215"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83291899","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0235
B. Morgan, Naomi Rokotnitz, F. Budelmann, D. Zahavi
abstract:This article examines Hannah Arendt’s contribution to notions of the “We” and tests key Arendtian concepts through relation and juxtaposition with philosophical and literary texts from different periods, thereby complicating discussions of (1) how individuals participate in, shape, and are shaped by various forms of “We”; (2) how, within collective participation, individuals come to care about being themselves; and (3) to what extent literary texts enable and encourage processes of identity construction and (re)configuration. For Arendt, the “place in the world which makes opinions significant and actions effective” (2017, 387–88) is “the result of our common labor, the outcome of the human artifice” (2017, 393)—the shared practices and institutions that Wittgenstein calls “forms of life” (2009, 15). In this article, the authors argue that by exploring and critiquing “forms of life” literature can expand the range of activities we recognize as fostering “participatory sense-making” (De Jaegher and Di Paolo 2007, 465). The three literary provocations presented here—Callimachus’s “Hymn to Apollo,” Thomas Mann’s The Magic Mountain, and Margaret Atwood’s Alias Grace—all interrogate the situated interactions of “I’s” and “We’s” that instantiate the “participatory plurality” of the shared world.
摘要:本文考察了汉娜·阿伦特对“我们”概念的贡献，并通过与不同时期的哲学和文学文本的联系和并列来检验阿伦特的关键概念，从而使以下讨论变得复杂:(1)个体如何参与、塑造和被各种形式的“我们”塑造;(2)在集体参与中，个体如何开始关心做自己;(3)文学文本在多大程度上促进和鼓励身份建构和(重新)配置的过程。对于阿伦特来说，“在世界上使意见有意义和行动有效的地方”(2017,387 - 88)是“我们共同劳动的结果，人类技巧的结果”(2017,393)-维特根斯坦称之为“生活形式”的共享实践和制度(2009,15)。在这篇文章中，作者认为，通过探索和批判“生活形式”，文学可以扩大我们认为可以促进“参与式意义构建”的活动范围(De Jaegher and Di Paolo 2007,465)。这里提出的三种文学挑衅——卡利马库斯的《阿波罗赞美诗》、托马斯·曼的《魔山》和玛格丽特·阿特伍德的《别名格雷斯》——都质疑了“我”和“我们”之间的相互作用，这些相互作用体现了共享世界的“参与性多元化”。
{"title":"I and We: Hannah Arendt, Participatory Plurality, and the Literary Scaffolding of Collective Intentionality","authors":"B. Morgan, Naomi Rokotnitz, F. Budelmann, D. Zahavi","doi":"10.5325/intelitestud.25.2.0235","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0235","url":null,"abstract":"abstract:This article examines Hannah Arendt’s contribution to notions of the “We” and tests key Arendtian concepts through relation and juxtaposition with philosophical and literary texts from different periods, thereby complicating discussions of (1) how individuals participate in, shape, and are shaped by various forms of “We”; (2) how, within collective participation, individuals come to care about being themselves; and (3) to what extent literary texts enable and encourage processes of identity construction and (re)configuration. For Arendt, the “place in the world which makes opinions significant and actions effective” (2017, 387–88) is “the result of our common labor, the outcome of the human artifice” (2017, 393)—the shared practices and institutions that Wittgenstein calls “forms of life” (2009, 15). In this article, the authors argue that by exploring and critiquing “forms of life” literature can expand the range of activities we recognize as fostering “participatory sense-making” (De Jaegher and Di Paolo 2007, 465). The three literary provocations presented here—Callimachus’s “Hymn to Apollo,” Thomas Mann’s The Magic Mountain, and Margaret Atwood’s Alias Grace—all interrogate the situated interactions of “I’s” and “We’s” that instantiate the “participatory plurality” of the shared world.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"22 1","pages":"235 - 264"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90465672","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0265
Dong-Zhi Yang
{"title":"A Review of The Microgenre: A Quick Look at Small Culture","authors":"Dong-Zhi Yang","doi":"10.5325/intelitestud.25.2.0265","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0265","url":null,"abstract":"","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"60 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85863155","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0216
Meeyoung Kang
abstract:Susan Glaspell’s Trifles (1916) is a one-act play in which two women search for the truth about a murder in the absence of the play’s central character, Minnie Wright, who is accused of murdering her husband. The play’s dramatic components hinge on the affective shift of these two women as they break free of the masculinist ideologies that permeate the bleak setting. At the antipode of the masculine rationality, women’s affective intensity creates the connections between and among subjects and their environments. In this process, empathy toward the incarnation of Minnie arises and the reversal of values happens, recapitulating into the noncommunicative men’s rationality and communicative women’s affects. The tension between such opposing traits cast Minnie as a pharmakos, violating cultural gendered assumptions and literary conventions, enacting the emancipatory and participatory aesthetics in opposition to the coercive and transcendent male-centered aesthetics.
{"title":"The Aesthetics of Affect in Susan Glaspell’s Trifles","authors":"Meeyoung Kang","doi":"10.5325/intelitestud.25.2.0216","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0216","url":null,"abstract":"abstract:Susan Glaspell’s Trifles (1916) is a one-act play in which two women search for the truth about a murder in the absence of the play’s central character, Minnie Wright, who is accused of murdering her husband. The play’s dramatic components hinge on the affective shift of these two women as they break free of the masculinist ideologies that permeate the bleak setting. At the antipode of the masculine rationality, women’s affective intensity creates the connections between and among subjects and their environments. In this process, empathy toward the incarnation of Minnie arises and the reversal of values happens, recapitulating into the noncommunicative men’s rationality and communicative women’s affects. The tension between such opposing traits cast Minnie as a pharmakos, violating cultural gendered assumptions and literary conventions, enacting the emancipatory and participatory aesthetics in opposition to the coercive and transcendent male-centered aesthetics.","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"44 1","pages":"216 - 234"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87558132","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}
Pub Date : 2023-06-01DOI: 10.5325/intelitestud.25.2.0149
Yingying Fan, Hardev Kaur, Diana Abu Ujum, Hasyimah Mohd Amin
abstract:This article is aimed at developing a Foucauldian power criticism to examine Angela Carter’s inheritance of classic fairy tales. Carter’s “The Snow Child,” inspired by the Grimms’ “Snow White,” has been considered a feminist rewriting in subverting a classic. By establishing a connection between the classic fairy tale “Snow White” and “The Snow Child,” this article examines the two as intertextual in terms of characters and plots, and echoes in the core of subversion as well. With the application of Michel Foucault’s concepts of discipline and punish, the article reveals patriarchy’s operating mechanism in the classic fairy tale—that is, how patriarchy manipulates and tames women. Through punishing the body and disciplining the mind, Carter’s “The Snow Child” explicitly presents the male’s manipulation of power on the female through body production, destiny control, and overt incest, while in the Grimms’ “Snow White,” a hidden clue exposes the operation of the patriarchal power mechanism over women, but in a more subtle way, revealing that patriarchal power disciplines women through brainwashing the mind and punishing the body. Research findings show that rather than being a tool to maintain patriarchal culture, classic fairy tales actually subvert patriarchy implicitly by exhibiting the patriarchy’s operating mechanism in producing “angels.”
{"title":"From “The Snow Child” to “Snow White”: Angela Carter’s Inheritance from Classic Fairy Tales","authors":"Yingying Fan, Hardev Kaur, Diana Abu Ujum, Hasyimah Mohd Amin","doi":"10.5325/intelitestud.25.2.0149","DOIUrl":"https://doi.org/10.5325/intelitestud.25.2.0149","url":null,"abstract":"abstract:This article is aimed at developing a Foucauldian power criticism to examine Angela Carter’s inheritance of classic fairy tales. Carter’s “The Snow Child,” inspired by the Grimms’ “Snow White,” has been considered a feminist rewriting in subverting a classic. By establishing a connection between the classic fairy tale “Snow White” and “The Snow Child,” this article examines the two as intertextual in terms of characters and plots, and echoes in the core of subversion as well. With the application of Michel Foucault’s concepts of discipline and punish, the article reveals patriarchy’s operating mechanism in the classic fairy tale—that is, how patriarchy manipulates and tames women. Through punishing the body and disciplining the mind, Carter’s “The Snow Child” explicitly presents the male’s manipulation of power on the female through body production, destiny control, and overt incest, while in the Grimms’ “Snow White,” a hidden clue exposes the operation of the patriarchal power mechanism over women, but in a more subtle way, revealing that patriarchal power disciplines women through brainwashing the mind and punishing the body. Research findings show that rather than being a tool to maintain patriarchal culture, classic fairy tales actually subvert patriarchy implicitly by exhibiting the patriarchy’s operating mechanism in producing “angels.”","PeriodicalId":40903,"journal":{"name":"Interdisciplinary Literary Studies","volume":"20 1","pages":"149 - 162"},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91276144","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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