The Cambridge Companion to Margaret Atwood最新文献

Margaret Atwood and Environmentalism 玛格丽特·阿特伍德与环境保护主义

The Cambridge Companion to Margaret Atwood Pub Date : 2021-03-31 DOI: 10.1017/9781108626651.007

J. Bouson

引用次数: 0

Margaret Atwood and History 玛格丽特·阿特伍德与历史

The Cambridge Companion to Margaret Atwood Pub Date : 2019-08-20 DOI: 10.1017/9781108626651.008

G. Wisker

引用次数: 0

Home and Nation in Margaret Atwood’s Later Fiction 玛格丽特·阿特伍德晚期小说中的家与国

The Cambridge Companion to Margaret Atwood Pub Date : 2006-03-30 DOI: 10.1017/CCOL0521839661.008

E. Rao, C. A. Howells

{"title":"Home and Nation in Margaret Atwood’s Later Fiction","authors":"E. Rao, C. A. Howells","doi":"10.1017/CCOL0521839661.008","DOIUrl":"https://doi.org/10.1017/CCOL0521839661.008","url":null,"abstract":"My opening phrase, taken from The Blind Assassin is, in its turn, a wellknown quotation from The Wizard of Oz. In Atwood’s novel, it relates to an episode from the Chase sisters’ adolescence, where it is irreverent, odd, loony Laura who rewrites the sentence she heard many times from Reenie, the family housekeeper, whose language floods over with common sense, folk sayings, and popular wisdom. Laura’s rewriting of “There’s no place like home” – a stupid statement in her opinion – goes like this: “She wrote it out as an equation. No place = home. Therefore, home = no place. Therefore home does not exist.”1 The Blind Assassin destabilizes received notions of home, with their conventional meanings of comfort, security, and custom. The Chase family estate – Avilion – acts as a refuge for the whole family; it functions as a bastion to keep the world outside at bay. In this novel, however, homes are also represented as provisional; they are unstable entities, like the patrimony of the Chase family. The sense of security, stability, and reassurance that Avilion has provided for Iris and Laura crumbles at one point in the narrative. Such a precarious figuration of home parallels the representation of nation and issues of national identity. Contemporary Canada, seen through Iris’s eyes, appears, much to her astonishment, an odd assortment, a multicultural mosaic of ethnicities and languages with an elusive identity, which for people of Iris’s generation and background comes very much as a surprise. Crucial also in this novel is the presence of an outsider, here embodied by Laura.2 Iris’s condition, on the other hand, is one of a beleaguered present and an excruciatingly painful past; her tale is one of place and displacement, constantly shifting between a now and a then. This tale underscores her dislocation and her dream of an elsewhere (both as a young and as an old woman). Over the past ten years Atwood has argued against the importance commonly attributed to national identity for writers in postcolonial contexts,","PeriodicalId":191951,"journal":{"name":"The Cambridge Companion to Margaret Atwood","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117148879","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}

引用次数: 20

Margaret Atwood’s Humor 玛格丽特·阿特伍德的《幽默》

The Cambridge Companion to Margaret Atwood Pub Date : 2006-03-01 DOI: 10.1017/CCOL0521839661.009

Marta Dvořák

{"title":"Margaret Atwood’s Humor","authors":"Marta Dvořák","doi":"10.1017/CCOL0521839661.009","DOIUrl":"https://doi.org/10.1017/CCOL0521839661.009","url":null,"abstract":"One of the greatest storytellers of modern times, Mark Twain, remarked that “there are several kinds of stories, but only one difficult kind - the humorous.” He differentiated the humorous story, which he claimed to be truly American, from the comic story and the witty story, which he classified as respectively English and French. Like Twain, and like certain Canadian writers who preceded or followed him, Margaret Atwood anchors her playful writing in the motifs and mindset of North America. While her novels, stories, and short fictions can be poetic, biting, or even grim, they are almost invariably suffused with the humor that Twain identified as being indissociable with the manner of the telling, as opposed to the comic and the witty story which rely on the matter (Twain, How to Tell a Story , p. 7). Also investigating the mechanisms of humorous writing, Atwood herself has classified it into three commonly acknowledged genres: parody, satire, and “humor” (although her writing thoroughly blurs these artificial boundaries). In the characteristic way of postcolonial writers promoting their distinctive national culture, she has set out to identify British and American humor and distinguish Canadian humor from the two metropolitan forms. Yet the discrete dimension of Canadian humor in her analysis rests not on techniques of production, but on notions of reception, or the complex relations between what she terms the “laugher,” the “audience,” and the “laughee” ( SW , p. 175).","PeriodicalId":191951,"journal":{"name":"The Cambridge Companion to Margaret Atwood","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130599532","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}

引用次数: 9

Margaret Atwood’s Poetry and Poetics 玛格丽特·阿特伍德的《诗歌与诗学》

The Cambridge Companion to Margaret Atwood Pub Date : 2006-03-01 DOI: 10.1017/CCOL0521839661.010

Branko Gorjup

{"title":"Margaret Atwood’s Poetry and Poetics","authors":"Branko Gorjup","doi":"10.1017/CCOL0521839661.010","DOIUrl":"https://doi.org/10.1017/CCOL0521839661.010","url":null,"abstract":"A poetics of metamorphosis In his book The Protean Self , the renowned American psychologist Robert Jay Lifton describes the contemporary individual as possessing an identity that is “fluid and many-sided . . . [and therefore] appropriate to the restlessness and flux of our time.” Like Proteus, the shape-shifting sea-god of Greek mythology, the contemporary individual is understood by Lifton to be engaged in an ongoing process of re-creating the self. While this process “is by no means without confusion and danger,” Lifton believes that “it allows for an opening out of individual life, for a self of many possibilities” ( The Protean Self , p. 5). Margaret Atwood's poetry and poetics make clear that she shares this belief. Most critics have approached Atwood's work in terms of what Sherrill Grace has described as the aesthetics of “violent duality.” They point to a long line of oppositional forces that are laid out in startling contrast throughout Atwood's poetry and her prose. In the discussion of Atwood's poetry that follows here, I suggest that Atwood's poetics of metamorphosis contains this “violent duality” of oppositional forces (civilization and nature, male and female, etc.) but also offers a way of transcending it. I will argue here that Atwood's interest in the transformative power of the imagination, in evidence throughout her poetry, overrides the rigid boundaries of a dualistic universe and allows for the emergence of the protean self described by Lifton.","PeriodicalId":191951,"journal":{"name":"The Cambridge Companion to Margaret Atwood","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114486469","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}

引用次数: 6

Margaret Atwood in Her Canadian Context 玛格丽特·阿特伍德的加拿大背景

The Cambridge Companion to Margaret Atwood Pub Date : 2006-03-01 DOI: 10.1017/CCOL0521839661.002

D. Staines

{"title":"Margaret Atwood in Her Canadian Context","authors":"D. Staines","doi":"10.1017/CCOL0521839661.002","DOIUrl":"https://doi.org/10.1017/CCOL0521839661.002","url":null,"abstract":"For more than forty years, Margaret Atwood has been a published author, well known for the intricacies of her poetry, the power of her fiction, and the illumination of her literary criticism. As her reputation has grown steadily in international circles, she has produced more than forty books that have been translated into more than forty languages. But she has rooted most of her writing in her own country of Canada. She is, above all else, Canadian. The early years Born in the city of Ottawa, Canada's capital, on 18 November 1939, Atwood spent her early years in wintry Ottawa and in northern Quebec, where her father, a biologist, pursued his entomological studies. Moving to Toronto in 1946, her parents continued to take young Atwood and her older brother to the northern wilderness in the summers. “I didn't spend a full year in school until I was 11,” Atwood recalls. “Americans usually find this account of my childhood - woodsy, isolated, nomadic - less surprising than do Canadians: after all, it's what the glossy magazine ads say Canada is supposed to be like.” Atwood’s parents are from Nova Scotia, and her extended family lives there: “The orientation of my entire family was scientific rather than literary . . . So while the society around me, in the fifties, was very bent on having girls collect china, become cheerleaders, and get married, my parents were from a different culture. They just believed that it was incumbent on me to become as educated as possible.”2 Her parents were great readers, and though they did not encourage her to become a writer, “they gave me a more important kind of support; that is, they expected me to make use of my intelligence and abilities, and they did not pressure me into getting married.”","PeriodicalId":191951,"journal":{"name":"The Cambridge Companion to Margaret Atwood","volume":"265 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134292492","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}

引用次数: 22