首页> 外文学位 >Rewriting the Scripts: Marriage, Motherhood, Family, and Trauma in the Novels of Dorothy Allison, Barbara Kingsolver, Toni Morrison, and Sue Monk Kidd.
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Rewriting the Scripts: Marriage, Motherhood, Family, and Trauma in the Novels of Dorothy Allison, Barbara Kingsolver, Toni Morrison, and Sue Monk Kidd.

机译:改写剧本:多萝西·艾里森,芭芭拉·金索尔,托尼·莫里森和苏·蒙克·基德的小说中的婚姻,母亲,家庭和创伤。

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摘要

This researcher examines the changing roles of women within the family as reflected in contemporary American novels by women. The author argues that because the oppressive scripts of the traditional and monolithic family still pervade our culture, contemporary women novelists continue to write about the past, or more particularly, the era surrounding the second wave of feminism and that the selected novelists highlight the cultural narrative patterns of silence, repression, abuse, and traumatic aftermaths in order to underscore the stifling gender dynamics within a traditional family and the violence that often results. Thus, modern-day readers, those living in the purported post-feminist age, will be illuminated to the embedment of these issues in contemporary American society, will be encouraged to challenge these existing oppressions, and will perpetually continue to rewrite the scripts by embracing the shifting, dynamic, and perhaps more importantly, self-defined cultural narratives of women and family.;The first chapter and introduction of this project includes an overview of feminist literary theory, an outline of prescriptive cultural narratives of women in the family, as well as a brief summary of trauma theory and how it relates to literary study. The bulk of the project in the following five chapters uses these outlined theoretical frameworks to closely examine the intersection of gender, family, and trauma within these selected texts: Dorothy Allison's Bastard out of Carolina, Barbara Kingsolver's The Bean Trees, Toni Morrison's Paradise and Love, and Sue Monk Kidd's The Secret Life of Bees. The author concludes that although significant changes have been made to familial scripts, both in fiction as well as in reality, such important strides veil the fact that there is more work to be done and thus imperative that conversations about gender and the past be kept alive and be continuously revisited in order to shape a more equitable future.
机译:这位研究人员考察了女性在家庭中的角色变化,正如当代女性在美国小说中所反映的那样。作者认为,由于传统和整体家庭的压迫性文字仍然弥漫着我们的文化,当代女性小说家继续写过去,或更具体地说,围绕第二波女权主义的时代,而选定的小说家则强调了文化叙事。沉默,压制,虐待和创伤后果的模式,以强调传统家庭中令人窒息的性别动态以及经常导致的暴力。因此,生活在所谓的后女权时代的现代读者,将被启发来将这些问题嵌入当代美国社会中,将被鼓励挑战这些现存的压迫,并将通过拥抱不断地改写剧本。妇女和家庭的变化,动态,甚至更重要的是自我定义的文化叙事。;该项目的第一章和绪论包括对女性主义文学理论的概述,对家庭中妇女的规定性文化叙事的概述。以及创伤理论的简要概述及其与文学研究的关系。在接下来的五章中,该项目的大部分内容使用这些概述的理论框架来仔细检查这些选定文本中的性别,家庭和创伤的交集:多萝西·艾莉森的《卡罗来纳州的混蛋》,芭芭拉·金索尔的《豆树》,托妮·莫里森的《天堂与爱》以及Sue Monk Kidd的《蜜蜂的秘密生活》。作者得出的结论是,尽管无论在小说还是在现实生活中,家庭剧本都发生了重大变化,但如此重要的进步掩盖了以下事实:要做的工作更多,因此必须保持关于性别和过去的对话并不断进行审查,以塑造更公平的未来。

著录项

  • 作者

    Liptak, Michelle A.;

  • 作者单位

    St. John's University (New York).;

  • 授予单位 St. John's University (New York).;
  • 学科 Womens Studies.;Literature American.
  • 学位 D.A.
  • 年度 2010
  • 页码 179 p.
  • 总页数 179
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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