49 research outputs found
Scheherazade\u27s Last Night and Other Plays
No full textJules Verne, before he became the famous novelist we know today from Around the World in 80 Days, learned his profession writing for the stage. Many of those youthful plays have been discovered for the first time, and three are translated into English for the first time in Scheherazade’s Last Night and Other Plays. In An Excursion at Sea, Verne offers a humorous account of a nautical adventure interrupted by pirates. In La Guimard, he relates a love affair between the dancer, and the painter Jacques-Louis David, creating a realistic historical background as well as a deeply-felt romance. And in The Thousand and Second Night, Verne draws upon the world of the Arabian Nights to tell how the Sultan and the story-telling Scheherazade are finally united in marriage. [Amazon.com]
Translated from the French by Peter Schulman, ODU Professor of French and International Studies.https://digitalcommons.odu.edu/worldlanguages_books/1017/thumbnail.jp
The Intersectional Madwoman Outside the Attic: Agency and Identity in Madness
No full textThe novels Wide Sargasso Sea by Jean Rhys and Nervous Conditions by Tsitsi Dangarembga break the silence surrounding Africana women’s intersectional experiences through the representation of madness that viscerally rejects the patriarchal, colonial and even literary burdens in the novels by unapologetically asserting hybridised identities
'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste
No full textThesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images.
Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution.
I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself.
This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.Master
Going global: The role of gatekeepers in the transnational reception of defne suman’s the silence of scheherazade
No full textGoing Global: The Role of Gatekeepers in the Transnational Reception of Defne Suman’s The Silence of ScheherazadeOn August 12, 2021, with hashtags, #historicalfiction, #translatedfiction, #greece, #turkey, #armenia, #levant #empire, #Scheherazade, Defne Suman announced the release of her English-language debut novel, The Silence of Scheherazade on social media. The novel centres on the tale of the burning of Smyrna in 1922, told through Levantine, Greek, Turkish and Armenian inhabitants of the city. Her gatekeepers, Head of Zeus Independent Publishing Company, the book’s translator Betsy Göksel and her literary agent Nermin Mollaoğlu were among the first ones to receive tribute for their hard work and support in the process. In the following months, Maureen Freely hosted the book’s launch in an online event, organized by Powell’s Books in Portland, Oregon. Succeeding interviews, book reading events and podcasts concentrated on the writer’s upbringing, other authors who influenced the style of the author, the translation process, the role of history in the book, as well as the motivation behind its title, which was different from its Turkish version, Emanet Zaman (2016).If World Literature is constituted by \"literary works that circulate beyond their culture of origin, either in translation or in their original language,\" as Damrosch (2003: 4) states, then, other actors who are involved in the work’s interaction with the world audience pave the way for its success in the global market, as William Marling claims in Gatekeepers: The Emergence of World Literature in the 1960s (2016:1). Taking its cue from the convergence of these insights, the paper focuses on the multi-layered gatekeeping process of Suman’s Scheherazade and explores the ways in which people and institutions have become integral components of its global dissemination.Works CitedDamrosch, David (2003) What is World Literature? Princeton and Oxford: Princeton University Press.Marling, William (2016) Gatekeepers: The Emergence of World Literature and the 1960s. New York: Oxford University Press
Weathering Challenges to the Separate Sphere Ideology: The Persistence of Convention in Victorian Novels, 1850-1901
No full textThe separate sphere ideology, dominant but never hegemonic in Victorian Britain, dictated that women’s natural vocation was to be wives and mothers. Between the years 1850 to 1901, the surplus woman problem and a nascent feminist movement challenged the separate sphere ideology. It was also reinforced by imperialist ideologies that held the British family as a sign of Britain’s superiority, and eugenics which placed great importance on heterosexual marriage and reproduction.
How did novelists, especially women novelists, respond to the challenges against the separate sphere ideology? How did they depict unconventional women such as surplus women, women who behaved in transgressive ways, feminist women, lesbians, and women who were in interracial relationships? The conventional narrative stressed the importance of marriage, and unconventional characters either reformed themselves or met tragic fates. This remained consistent throughout the second half of the 19th century. At mid-century, unconventional women were the ones who rejected marriage, had an affair, etc. As women began to gain rights in education, work, and civic rights, the temptations that drew middle class women away from conventional life shifted to wanting to work or becoming feminists. Novels also depicted alien others, such as lesbians and non-white people, as menaces and threats to conventional marriage. Acceptable unconventionalities were limited: it was acceptable for women to be unconventional if they were exceptional or they broke one convention but upheld another, such as motherhood. At the end of the century, New Women novelists and other novelists that sympathetically depicted unconventional women critiqued the separate sphere ideology, but were overwhelmingly pessimistic about the possibility that women could escape convention
Intersectional literary analysis: reading between, behind, and beyond the lines
No full textThis thesis undertakes the creation of a literary paradigm for intersectional analysis, rethinking identity and social theory in literature and developing a framework for productive analysis. It develops the notion of literary intersectionality that considers the ‘in-betweens’ of literary texts. This thesis lays out a framework for intersectional analysis that highlights three major elements for examination in literary texts: close reading, power dynamics, and knowledge production and dissemination. It considers how various manners of storytelling by intersectional authors and communities present spaces ripe with productive potential for social transformation. Engaging in the analysis of contemporary texts by intersectional authors that intersect genres, such as Black American life writing, postcolonial science fiction and Native American ecofiction, this thesis considers how Western methods of analysis, that have historically perpetuated the dehumanisation and socially mandated inferiority of non- white, western, heterosexual, middle-class individuals, can be deconstructed and destabilised to make way for apparatuses of critical thought based in non-Western epistemologies. It seeks to understand the various authors’ use of narrative strategies and adopts the perspective of critical theories as historical contexts and documents that influence the writing of texts that reveal intersectional experiences leading to better understandings of dynamics of power around the world and cultivating a new conception of being and the individual. Finally, this thesis considers the present as historical context to question how, for example, the global pandemic, recent racial violence, challenges to female autonomy, territorial insecurity, and the personal context of the researcher may affect the produced analysis
GENDER CONSTRUCTION AND THE VALUES OF DEEP FEMINISM SCHEHERAZADE GOES WEST FATIMA MERNISSI
No full textAbstract:
By focusing on the story of a late 20th-century Arab woman who wrote about her journey to the west. Fatima Mernissi, in Scheherazade Goes West: Different Cultures, Different Harems (Mernissi, 2001), with her intellectual journey seeks and concludes answers to her questions about the gender code of European-American philosophy and popular culture by deconstructing not only Western male orientalist fantasies about Muslim women but also the “harem of Western women†of hypervisibility and body shaming. She goes a step further by exploring and dismantling patriarchal norms by crossing this apparent “East-West†difference through modes of critique of secular and Islamic feminists. She produces, and distributes texts, to advance the "double criticism" of local and colonial patriarchy into a continuous analysis in her travel notes. This article stipulates that the author analyzes the contents of the literary works studied with the critical discourse analysis approach model by becoming a facilitating framework, and in the end, the methodology comes from ways of knowing based on social construct and cultural values that are the author's study.
Keywords: Fatima Mernissi, Gender, Feminism, Islam, Wester
