A Study on the Female Narratives of Yishu’s Novel The First Half of My Life(我的前半生) and the Drama The First Half of My Life(我的前半生)

2018 ◽  
Vol null (56) ◽  
pp. 393-410
Author(s):  
김수진
Keyword(s):  
Female Narratives

scholarly journals Shouting against Silence: André Brink's Voices of Truth

2021 ◽  
Author(s):  
◽  
Shelley May Dixon
Keyword(s):  
South Africa ◽  
South African ◽  
Female Narratives ◽  
Binary Oppositions ◽  
Truth Claims ◽  
African Writer ◽  
A Chain ◽  
Apartheid Regime ◽  
Eventual Loss ◽  
Geographical Locations

<p>This thesis investigates the notion of 'Truth' upheld by the South African writer André Brink and discusses his deconstruction of the processes of truth-making. I argue that Brink understands fixed narratives, or received 'truth', as constructed to the detriment of alternative narratives, resulting in their subjugation and eventual loss. In response to authoritative discourses, Brink advocates an ongoing and evolving series of challenging narratives which refuse the closure of narrative possibilities. He urges a constant process of un-forgetting and remembering, a contestational activity that undermines the truth-claims of any oppressive group. Three central texts have been chosen as exemplary of Brink's directive to contest fixed truth claims. The first of these, Devil's Valley, offers an opportunity to examine the novelistic (and often postmodernist) blurring of distinctions between binary oppositions such as 'fact' and 'fiction', 'past' and 'present', 'real' and 'unreal'. In undermining the ostensibly dichotomous nature of these pairings, Brink challenges the bases upon which prejudicial systems such as the Apartheid regime rely. In doing so, he reveals the constructions behind both prejudice and hegemonic discourses, and ultimately undermines these foundations. Similarly, Imaginings of Sand provides a means by which to further explore Brink's engagement with prejudice, and most specifically, with the patriarchal oppression of women. I suggest that Brink's female narratives, in which multiplicity and endless possibility are foregrounded, again contest the constraints imposed by a dominant discourse, offering alternative versions. My final textual examination focuses on A Chain of Voices, in which both the polyphonic narration and the thematic content exemplify the concerns discussed previously Brink's usage of various imagery related to oppressive relationships, I claim, provides metaphors for the manner in which binary relationships are co-dependent, rather than dichotomous, undercutting the justifications associated with privileging certain narratives over others. Brink's Truth, I argue, involves an ongoing contestational process of narratorial imagining, a revisionary project central to both the prejudicial environment of Apartheid South Africa, in which much of Brink's work was written, and also to the larger context of prejudice in all its forms and geographical locations.</p>

scholarly journals Babble: a poetry collection exploring the cultural identity of modern Wales

2020 ◽  
Author(s):  
◽  
Rhea S. Phillips ◽  
Keyword(s):  
Cultural Identity ◽  
Learning Process ◽  
Creative Process ◽  
First Century ◽  
Modernist Poetry ◽  
Critical Essay ◽  
Female Narratives ◽  
Welsh History ◽  
Hyphenated Identity ◽  
Poetry Collection

Babble is a poetry collection that adapts the Welsh metrical tradition in English. The poetry exhibits characteristics of cynghanedd to explore varying perspectives on a modern Welsh cultural identity. Its main aim is to show how a hyphenated identity might be reconsidered to engage with ‒ and represent ‒ individuals struggling to establish a strong Welsh identification. The poetry collection has been influenced by Welsh history, its landscape and literature. It recreates a learning process that took me on a journey through Wales which strengthened my Welsh identity. The collection explores cultural identity through underrepresented female narratives from Welsh history, literature and mythology. My critical essay analyses why poets believed the craft of cynghanedd to be important to their identity and how they applied its techniques in their poetry. A creative methodology has been implemented in a poetry collection that imitates and responds to literature from the twelfth to the twenty-first century. It was critical to have a flexible creative process when writing cynghanedd in English. My poetry looks at modernist poetry and the craft of cynghanedd to develop a new style of poetry that could engage with a diversity of voices in modern Wales. The main aim of the collection was to engage readers with the craft of cynghanedd. This would prompt them to explore its connection to Wales. The collection considered ways that would provoke readers to question their ideas on identity in modern Wales.

scholarly journals Female Narratives of Loss: Memories of Partition

2018 ◽  
Vol 76 ◽  
pp. 149-161
Author(s):  
Carmen Escobedo de Tapia ◽  
Keyword(s):  
Female Narratives

scholarly journals Shouting against Silence: André Brink's Voices of Truth

2021 ◽  
Author(s):  
◽  
Shelley May Dixon
Keyword(s):  
South Africa ◽  
South African ◽  
Female Narratives ◽  
Binary Oppositions ◽  
Truth Claims ◽  
African Writer ◽  
A Chain ◽  
Apartheid Regime ◽  
Eventual Loss ◽  
Geographical Locations

<p>This thesis investigates the notion of 'Truth' upheld by the South African writer André Brink and discusses his deconstruction of the processes of truth-making. I argue that Brink understands fixed narratives, or received 'truth', as constructed to the detriment of alternative narratives, resulting in their subjugation and eventual loss. In response to authoritative discourses, Brink advocates an ongoing and evolving series of challenging narratives which refuse the closure of narrative possibilities. He urges a constant process of un-forgetting and remembering, a contestational activity that undermines the truth-claims of any oppressive group. Three central texts have been chosen as exemplary of Brink's directive to contest fixed truth claims. The first of these, Devil's Valley, offers an opportunity to examine the novelistic (and often postmodernist) blurring of distinctions between binary oppositions such as 'fact' and 'fiction', 'past' and 'present', 'real' and 'unreal'. In undermining the ostensibly dichotomous nature of these pairings, Brink challenges the bases upon which prejudicial systems such as the Apartheid regime rely. In doing so, he reveals the constructions behind both prejudice and hegemonic discourses, and ultimately undermines these foundations. Similarly, Imaginings of Sand provides a means by which to further explore Brink's engagement with prejudice, and most specifically, with the patriarchal oppression of women. I suggest that Brink's female narratives, in which multiplicity and endless possibility are foregrounded, again contest the constraints imposed by a dominant discourse, offering alternative versions. My final textual examination focuses on A Chain of Voices, in which both the polyphonic narration and the thematic content exemplify the concerns discussed previously Brink's usage of various imagery related to oppressive relationships, I claim, provides metaphors for the manner in which binary relationships are co-dependent, rather than dichotomous, undercutting the justifications associated with privileging certain narratives over others. Brink's Truth, I argue, involves an ongoing contestational process of narratorial imagining, a revisionary project central to both the prejudicial environment of Apartheid South Africa, in which much of Brink's work was written, and also to the larger context of prejudice in all its forms and geographical locations.</p>

Gerla

2021 ◽  
pp. 378-432
Author(s):  
Juliane Fürst
Keyword(s):  
Collective Memory ◽  
Specific Experience ◽  
Second Wave Feminism ◽  
Female Narratives ◽  
History Of ◽  
Women's Emancipation ◽  
Second Wave

This chapter is both a discussion of the specific experience of Soviet hippie women and a reflection of my role as a female and Western interviewer vis-à-vis questions relating to Soviet feminism and emancipation. It begins with a female-centred history of Soviet hippie history and proceeds to discuss female narratives as revealing a different picture of hippiedom than male narratives. The chapter continues with a discussion of the physical and ideological difficulty of ageing for Soviet hippie women, who, more than their male counterparts, were forced to decide for or against a countercultural lifestyle, when children appeared. Their earlier withdrawal and higher connectedness to the mainstream diminished their place in hippie collective memory. It concludes with an evaluation of the absence of second wave feminism in the Soviet hippie scene and the difficulty of translating Western expectations of women’s emancipation into a Soviet context.

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