Kate Atkinson

espanolLa construccion resultativa ha suscitado el interes de diversos investigadores pertenecientes a diferentes tradiciones, especialmente a las perspectivas formales, funcionales y construccionistas. Nuestra propuesta se ajusta a los principales postulados de las teorias construccionistas de orientacion cognitiva, especialmente a los recogidos en las obras de Goldberg (1995, 2006) y Ruiz de Mendoza y Mairal (2008, 2011). Este es un analisis cualitativo y basado en el uso de algunas realizaciones especificas de la construccion resultativa en que el elemento resultativo es el sintagma preposicional to sleep. Se persiguen tres objetivos principales en este trabajo: (i) la identificacion de los diferentes grupos de predicados (de entre los propuestos por Levin, 1993) que son compatibles con estos ejemplos concretos de la construccion resultativa; (ii) el examen de las restricciones externas (especialmente la metafora de alto nivel) que permiten la fusion lexico-construccional de cada...

The objective of this paper is to examine how the feminist narrative can be successfully introduced in the magic realism mode to denounce the inequality, oppression and violence exercised against women by patriarchy. Women writers have found in this mode a platform to express their experiences and perspectives, challenging the phallocentric and rationalist hegemony and representing the complexity of the female experience. Then, I will argue how award-winning Kate Atkinson uses magic realism in her novel Human Croquet (1997) from a feminist approach. Far from simply substituting the authority of one dominant discourse for another, Atkinson represents marvelous
elements and fairy tales structures to condemn different forms in which women have been abused and forced to endure the consequences of patriarchal dynamics in their own bodies.

This paper is a qualitative text analysis of the Indian film titled 'Thappad' using Teun A. van Dijk's Socio Cognitive Model to expose the narrative of patriarchy within the cinema platform. The paper systematically analyzes the screenplay of the film called "Thappad" and focuses on the issues of gender stereotyping, marriage as an institution, and people's attitudes toward maledominant subjugation. The objectives of this study include exploring all the thematic representations in the movie, analyzing the characters' dialogues, and analyzing the power dynamics between the characters, as well as investigating the extent to which these representations reinforce or subvert conventional cognitive gender roles in the patriarchal culture. Thus, by analyzing the script of the film and showing how the commentaries created by the screenplay discourse structures reflect and resist the dominant discourses concerning gender imbalance in society. According to the study, the findings depict and call into balance the Indian culture's marriage and gender norms, which makes the narrative fight against the patriarchal social structure. Furthermore, the sexual awakening and physical transformation of the female protagonist are represented as the woman turns from a passive victim to an active resister, becoming the key message of the movie for the spectators to comprehend the roots and consequences of Patriarchal culture. Therefore, this research adds to the arguments made in film studies and gender by exploring how cinema can open up spaces for change toward challenging productive structures and ideologies.

DOI: 10.13137/2283-6438/11872 This essay aims at exploring collective and personal remembering, as well as the notion of forgetting as a kind of “rebeginning” (Augé 57) in Kate Atkinson Costa prize-winning Life After Life (2013). In Atkinson’s novel Ursula Todd is born on February 11 1910, dies and is born again and again to undo the traumatic events that caused her previous death(s). The narrator’s retelling of Ursula’s life takes the reader through the two wars, and to different incarnations of Ursula’s life, which finally set things right for her and for her beloved ones. The sense of déjà vu and constant repetitions underline the novel’s main premise: what if? Indeed, it is a historical novel about the consequences of the past upon the present and the future, as well as about the decisions we as individuals make all the time, and how they can affect others. Therefore, it is also a novel about temporality. The prevalence of historicity and memory in contemporary criticism in rece...

The present article investigates the incapacitating bodily experiences of an unconsented African American research subject Lena Johnson in a Lakewood healthcare project by closely reading Megan Giddings' novel Lakewood (2020). By Portraying the impact of various medical experiments that incarnate pernicious effects on Lena's body, the deft fiction reminds the readers how the healthcare institutions in the US have been replete with the stereotypical racial beliefs. Afro-American literature while addressing the irrefutable presence of racial culture in the American society, has further emerged to portray the complex narrative experiences of black women in healthcare institutions. In this context, by drawing the theoretical postulates of Elizabeth Grosz and other theoreticians of varying importance, the article seeks to incorporate facets of corporeal feminism (ethical, ontological, and metaphorical dimensions) as its conceptual framework to examine the bodily intricacies and experiential agonies of Afro-American women in healthcare institutions.

This paper examines the relationship between the fantastic and trauma in the detective novels of Kate Atkinson and Ahmet Ümit within the theory of Comparative Literature. Based on Cathy Carruth's Trauma Theory, the paper aims to explore how Atkinson and Ümit employ fantastic elements such as ghosts and time-traveling in their detective novels to unmask the traumatic events rooted in the memories of the patriarchal cultures where they have been living. It is suggested that both Atkinson and Ümit lead the reader to discover the silenced narratives of marginalized people such as women, children, and men that do not belong to the male dominant ruling class in their societies by creating a fictional world where the ghosts help the characters to detect their personal and cultural wounds stemming from male-dominated social environments. Thereby, the writers offer some healing to the marginalized people by giving them a voice and also contribute to creating integrity and union within their societies.

This paper examines the relationship between the fantastic and trauma in the detective novels of Kate Atkinson and Ahmet Ümit within the theory of Comparative Literature. Based on Cathy Carruth’s Trauma Theory, the paper aims to explore how Atkinson and Ümit employ fantastic elements such as ghosts and time-traveling in their detective novels to unmask the traumatic events rooted in the memories of the patriarchal cultures where they have been living. It is suggested that both Atkinson and Ümit lead the reader to discover the silenced narratives of marginalized people such as women, children, and men that do not belong to the male dominant ruling class in their societies by creating a fictional world where the ghosts help the characters to detect their personal and cultural wounds stemming from male-dominated social environments. Thereby, the writers offer some healing to the marginalized people by giving them a voice and also contribute to creating integrity and union within their ...

Music…allows sharing with the other(s) in difference before and beyond any word or cultural specificity (Luce Irigaray). John Carney's award-winning Irish film Once depicts the moving friendship between a male Irish busker and a female Czech immigrant, who come together to record a selection of songs over the course of a week. Carney's film de-centres the patriarchal logos and allows for a space of understanding to be cultivated between two subjectivities devoid of hierarchies and binaries. The friendship that develops between the two characters in the film is both positive and creative. Its focus on music allows for an original way to explore the relationship with the other which is a central issue for a multicultural Ireland. The film also counters a concern of Ruth Barton's that was raised regarding films of the 1990s and that is the 'the absence of any "crossover" successes' (Barton 2004, 179) for small films made in Ireland. Shot over 17 days in Dublin in January 2006 with funding of under €30,000 from the Irish Film Board Once took just under $10m at the US box office. Carney has also achieved enormous success with his modern day musical, with Glen Hansard and Markéta Irglová, who play the two main parts, winning an Oscar for their song 'Falling Slowly'. It was also shot on three little Sony HDVs without any of the addenda typical of film sets (Roberts 2007, e-text). Perhaps the benefit of having total artistic control results in an authentic film that is in no way burdened with the expectation of Irishness that the larger movies have. Coupled

This paper examines the relationship between the fantastic and trauma in the detective novels of Kate Atkinson and Ahmet Ümit within the theory of Comparative Literature. Based on Cathy Carruth's Trauma Theory, the paper aims to explore how Atkinson and Ümit employ fantastic elements such as ghosts and time-traveling in their detective novels to unmask the traumatic events rooted in the memories of the patriarchal cultures where they have been living. It is suggested that both Atkinson and Ümit lead the reader to discover the silenced narratives of marginalized people such as women, children, and men that do not belong to the male dominant ruling class in their societies by creating a fictional world where the ghosts help the characters to detect their personal and cultural wounds stemming from male-dominated social environments. Thereby, the writers offer some healing to the marginalized people by giving them a voice and also contribute to creating integrity and union within their societies.

In Life After Life (2013), British writer Kate Atkinson returns to the rewriting of History as her-story that characterized her early fiction. The protagonist’s lifespan overlaps with the major historical events of the twentieth century, allowing the writer to explore how those affected the individual lives of women and, at the same time, problematizing history, memory, and the past. Above all, Life After Life highlights the deep vulnerability of women to systemic gender violence, although it also emphasizes women’s resilience. The purpose of this paper is to examine Atkinson’s peculiar rendering of resilience, which interestingly she locates in the body, rather than in the mind. I contend that in Life After Life resilience results from the combination of embodied memory and emotional forgetting. The former—a kind of sixth sense that instinctively steers Ursula away from danger—facilitates women’s survival, while the latter ensures the character’s psychological welfare. My analysis ...

This article is concerned with the construction of the older female protagonist in a number of British, Irish and French films. In order to identify what knowledge is legitimated about aging women, and what is not, a close textual analysis of four films:

SUBMISSION INFORMATION RCEI invites contributions of articles in such fields as linguistics, literature, critical theory, history, and cultural studies within the English Philology. Manuscript submissions, presented in English between 4,500 and 5,500 words, should conform to the guidelines found in the latest MLA Style Manual. For specific instructions on style contact the editorial office. Authors are expected to send their contributions as an attachment to rceing@ull.es and mail three double-spaced, printed copies with wide margins. Short abstracts (about 100 words) in English and Spanish are required, along with the key words (4-8) of the essay in both languages. The Editorial Committee reserves the right to introduce stylistic changes and to adjust illustrations. Further details on submissions: http://webpages. ull.es/users/rceing/submissions.html. Any acknowledgments must appear as an initial, unnumbered note. Footnotes, numbered consecutively throughout the manuscript, must be, in the case of quoted material, after the punctuation mark (indented quotes) or the quotation marks. Digressive or excessively lengthy footnotes should be avoided. Subsequent references to a previously cited work require only the author's last name but in the case of previous citations to more than one work by the same author, a title must appear (as is clear, op.cit. is not to be used). Each contributor should send a note stating specifically his/her manuscript is only being considered for publication by Revista Canaria de Estudios Ingleses. Authors may republish their own material, provided such republication provides due acknowledgment.

SUBMISSION INFORMATION RCEI invites contributions of articles in such fields as linguistics, literature, critical theory, history, and cultural studies within the English Philology. Manuscript submissions, presented in English between 4,500 and 5,500 words, should conform to the guidelines found in the latest MLA Style Manual. For specific instructions on style contact the editorial office. Authors are expected to send their contributions as an attachment to rceing@ull.es and mail three double-spaced, printed copies with wide margins. Short abstracts (about 100 words) in English and Spanish are required, along with the key words (4-8) of the essay in both languages. The Editorial Committee reserves the right to introduce stylistic changes and to adjust illustrations. Further details on submissions: http://webpages. ull.es/users/rceing/submissions.html. Any acknowledgments must appear as an initial, unnumbered note. Footnotes, numbered consecutively throughout the manuscript, must be, in the case of quoted material, after the punctuation mark (indented quotes) or the quotation marks. Digressive or excessively lengthy footnotes should be avoided. Subsequent references to a previously cited work require only the author's last name but in the case of previous citations to more than one work by the same author, a title must appear (as is clear, op.cit. is not to be used). Each contributor should send a note stating specifically his/her manuscript is only being considered for publication by Revista Canaria de Estudios Ingleses. Authors may republish their own material, provided such republication provides due acknowledgment.

Henry James, who lived in 1900s, is one of the distinctive authors in American Literature. Watch and Ward the author's first attempt to write novel, remains unsuccessful and tribulation for James and the novel is not regarded as his first novel by both the author himself and the critics. The novel starts with adopting a St. Louisian twelve-year-old girl Nora Lambert whose father suicides because of not taking money he asks from Roger. All Nora's training and education is related to how to be a good wife. In this context, some critics suppose that their connection with each other is immoral and far from ethics. Here, in this study, the relationship between child and parent will be discussed.

SUBMISSION INFORMATION RCEI invites contributions of articles in such fields as linguistics, literature, critical theory, history, and cultural studies within the English Philology. Manuscript submissions, presented in English between 4,500 and 5,500 words, should conform to the guidelines found in the latest MLA Style Manual. For specific instructions on style contact the editorial office. Authors are expected to send their contributions as an attachment to rceing@ull.es and mail three double-spaced, printed copies with wide margins. Short abstracts (about 100 words) in English and Spanish are required, along with the key words (4-8) of the essay in both languages. The Editorial Committee reserves the right to introduce stylistic changes and to adjust illustrations. Further details on submissions: http://webpages. ull.es/users/rceing/submissions.html. Any acknowledgments must appear as an initial, unnumbered note. Footnotes, numbered consecutively throughout the manuscript, must be, in the case of quoted material, after the punctuation mark (indented quotes) or the quotation marks. Digressive or excessively lengthy footnotes should be avoided. Subsequent references to a previously cited work require only the author's last name but in the case of previous citations to more than one work by the same author, a title must appear (as is clear, op.cit. is not to be used). Each contributor should send a note stating specifically his/her manuscript is only being considered for publication by Revista Canaria de Estudios Ingleses. Authors may republish their own material, provided such republication provides due acknowledgment.

CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." In addition to the publication of articles, the journal publishes review articles of scholarly books and publishes research material in its Library Series.

Following new materialist analysis, this article takes the body as the central locus of analysis, and relates it to broader questions such as ethics, ideology, power and/or technologies. Specifically, it revolves around the idea of embodied subjectivity as articulated by scholars Rosi Braidotti, Sherryl Vint or Cary Wolfe, whereby body and subjectivity are indissolubly and interestingly connected. Stephen Frears’s Dirty Pretty Things (2002) and Mark Romanek’s Never Let Me Go (2010) exploit the idea of the commodified body, understood here as a vulnerable body, a disposable commodity at the service of powerful and/or wealthy people. Victims of the cruelties inflicted on their bodies by advanced capitalist societies, the main characters in these movies are considered as alien, marginal and/or non-human beings. Their body organs are but commodities to be literally traded and removed to be given to the privileged ones in order to preserve the latter’s integrity and “humanity”. These com...

Ce recueil de nouvelles liees entre elles par des themes communs, est encadre par deux recits qui se repondent, "Charlene and Trudi go Shopping" et "Pleasureland". Dans les deux nouvelles, deux jeunes femmes tentent de vaquer a leurs occupations dans une ville qui se trouve au bord de l'apocalypse. Affrontant avec courage le desastre a l'occasion d'un tour des magasins dans le premier recit, les protagonistes se preparent, dans le dernier, a mourir. Ces deux nouvelles peuvent se lire comme un commentaire de l'"apocalypse" postmoderne : selon cette idee, la mimesis n'est plus possible, et le sujet doit lutter pour sa survie. Cet article se propose d'analyser les limites et les contradictions inherents au concept d'"imagination postmoderne" et de demontrer que le processus createur, meme dans un monde qui se trouve au bord de l'autodestruction, n'est que subverti, jamais detruit.

In this chapter, Varas studies how parody has shaped the Latin American crime novel. Parody’s most subversive aspect, “appropriation,” is a concept that encourages the creative process in the region in general and, in particular, in the crime genre. The Argentinian Claudia Pineiro’s novel, Elena Sabe (Elena Knows) depicts the subversive and enriching aspects of parody in different ways. By revising the traditional detective novel formula, incorporating a gender critique, and including a discussion of disability, the novel opens new forms of reading gender and disability within the crime novel.

Curieusement, I'amour des gosses est dans I'esprit lie a I'idee de violence. Gabriel Matzneff, Les moins de seize ans Toute reuvre nouvelle [... ] est, a la limite, la ruine de celie qui I'a precedee. Alain Robbe-Grillet, "Du Nouveau Roman a la Nouvelle Autobiographie" (7f uthor of some dozen works of homoerotic fiction, two polemical essays, and :.r\.. recipient of the 1973 Prix Medicis l , Tony Duvert published his first novel Recidive in 1967. Seven years later he rewrote it, ultimately publishing a much shorter version in 1976-which for reviewer A. Thiher resembles what the prose of Jean Genet might

Author of some dozen works of homoerotic fiction, two polemical essays, and recipient of the 1973 Prix Médicis1, Tony Duvert published his first novel Récidive in 1967. Seven years later he rewrote it, ultimately publishing a much shorter version in 1976 - which for reviewer A. Thiher resembles what the prose of Jean Genet might have become were it to

There wasn't enough for Indigo in the world she'd been born to, so she made up what she needed."-Ntozake Shange sassafrass, cypress, and indigo ". .. the Spirit, or spirituality, defies definition-a fact that speaks to its power as much as it reflects its mystery."-Gloria Wade-Gayles My Soul is a Witness I love the character of Indigo. She has to be one of the most unique female child characters in African American literature. A child of few words, Indigo creates her own world because "there wasn't enough for Indigo in the world she'd been born to" (Shange 1982). She is shaped by author Ntozake Shange as a girl-child who had a "moon in her mouth". Wise beyond her years, complex in spirit, Indigo embodies folk and ancestral culture, a spiritual reorientation of Black feminine consciousness personified in the many dolls that become her community of witnesses, her vocal expressions of defiance, protection, agency, and empowerment when the world seemed too big for her, and words were not adequate enough to speak into existence that which she needed. Made of and filled with cotton root bark, comfrey leaves, and dried sunflowers, Indigo's dolls-Jamaican, Caribbean, and American-weave past and present into a creative interrogation of the intertextualities of collective African identities. Shange's critical intervention-a practice that, at once reaffirms and yet destabilizes ineffectual discourses that efface resistive narratological frameworks in Black women's literatures-resituates divine Black feminine consciousness in a literary methodology that moves the margins to the center. Shange's text calls into question the ways Black women's bodies become written texts-marked by racism, sexism, colorism, and otherism. Yet they are spiritual beings, nonetheless. Shange's novel utilizes creativity-weavers, dancers, midwives-as symbolic linkages of culture, community, and history. And just as Indigo's spiritual offerings become her four-foot tall dolls whose arms she crawls into to find soul comfort, Shange develops another "Creation story" where Black women become the center of her universe and recipes, rituals, dream stories, and letters the beatitudinal moorings that anchor Gullah/Geechee mores at the center of her narrative. This special collection seeks to explore the ways in which writers reclaim the Black female body in African American literature using the theoretical, social, cultural, and religious frameworks of spirituality and religion. In order to more fully consider the ways Black women have spiritually represented themselves and their bodies in African American literature, one must consider, as Katherine Clay Bassard reminds us, a variety of religious traditions that shape their religious experiences, including Christianity, Islam, African and neo-African traditional, among others (Bassard 1999). This practice of interpreting Black women's intertextuality (what Bassard terms spiritual interrogation) structures visions of reading that provide a richer understanding of the ways in which the sacred and secular, the spiritual

SUBMISSION INFORMATION RCEI invites contributions of articles in such fields as linguistics, literature, critical theory, history, and cultural studies within the English Philology. Manuscript submissions, presented in English between 4,500 and 5,500 words, should conform to the guidelines found in the latest MLA Style Manual. For specific instructions on style contact the editorial office. Authors are expected to send their contributions as an attachment to rceing@ull.es and mail three double-spaced, printed copies with wide margins. Short abstracts (about 100 words) in English and Spanish are required, along with the key words (4-8) of the essay in both languages. The Editorial Committee reserves the right to introduce stylistic changes and to adjust illustrations. Further details on submissions: http://webpages. ull.es/users/rceing/submissions.html. Any acknowledgments must appear as an initial, unnumbered note. Footnotes, numbered consecutively throughout the manuscript, must be, in the case of quoted material, after the punctuation mark (indented quotes) or the quotation marks. Digressive or excessively lengthy footnotes should be avoided. Subsequent references to a previously cited work require only the author's last name but in the case of previous citations to more than one work by the same author, a title must appear (as is clear, op.cit. is not to be used). Each contributor should send a note stating specifically his/her manuscript is only being considered for publication by Revista Canaria de Estudios Ingleses. Authors may republish their own material, provided such republication provides due acknowledgment.

espanolEsta contribucion intenta analizar como las formas narrativas populares utilizan el tema del trafico de personas en los ultimos tiempos. El analisis se concentra en la novela One Good Turn de Kate Atkinson (2006) y la pelicula Venganza (2008) dirigida por Pierre Morel, debido a su tratamiento del tema de la trata con fines sexuales. Ambos textos se clasifican dentro del genero de misterio, mas especificamente del “thriller” cinematografico y la novela de detectives. Un analisis comparativo de ambos textos ilustrara como se representa en la cultura popular la trata de personas con fines de explotacion sexual, y demostrara interesantes divergencias en la ideologia en que se inscriben. La pelicula evoca peligros destinados a mitificar la trata en el contexto de los tradicionales temores sobre la trata de blancas, sin tener en cuenta la estructura amplia y compleja de la industria del sexo en combinacion con los flujos migratorios. Por el contrario, al explorar los fallos de la p...

In Night's City (Dorothy Nelson, 1982) is a novel which, stylistically, looks back to modernist experimentation in order to present a harrowing story of paternal incest and maternal neglect and hatred. Dorothy Nelson addresses these unpalatable issues indirectly, though effectively, creating narrative, fantasy, and hallucinatory scenarios which are brutal while still being oblique. Many passages in the novel have the texture of dreams morphing into nightmares. Synesthesia, displacement, replacement, condensation, repetition: these are some of the rhetorical strategies used in steam of consciousness passages which undo one of the enduring dichotomies in Western thought: that between the mind and the body, since in these passages in the novel it is the body that thinks-feels. The novel's emphasis on the female body as site of pain and violation, together with its grotesque view of the human body as the interface between outside and inside, forever subject to bodily fluids coming out and/or coming in, transforms this narrative into a paradigm for theories on abjection and/or trauma. Blood, urine, sweat, faeces, saliva, dirt, filth, grotesque human bodies whose fluids are forever coming outside, defiled female bodies, always tainted and impure: these recurring elements evince the novel's encoding of Julia Kristeva's notion of abjection and of the concept of trauma, as has already been pointed out by different critics (Heather Ingman, Asier Altuna and Roberta Gefter Wondrich). The text's events and characters point to reiterated incest, from the time Sara, the protagonist, is three years old to the time of her first menstruation, as originating her traumatised condition and her dissociative process.

This research aims to study the application of the Grotesque technique on the characters of the very short story written by Palestinian female writers. The study includes three examples of very short stories by Palestinian female writers from different sectors: Israel, West Bank and Gaza Strip, and the diaspora. It attempts to find the connection between the grotesque reality that emerged after the war in 1948 and its effects and changes in society, politics and economics. Therefore, we will monitor the topics written by Palestinian female writers in the very short story because of the preferences that this genre achieves that do not exist in other literary genres such as reduction, brevity, intensification. We reveal the extent to which the Grotesque technique is used to express marginalized feminist issues, and to find similarities and differences between stories in the application of the Grotesque technique on the characters. We found That the Grotesque technique used in the stor...

Part of the Comparative Literature Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact:

Categorized variously as masque, comedy, tragi-comedy and romance, The Tempest with its meta-theatrical elements of plot, its unique cast of characters and its profound socio-historical echoes, has successfully served as a popular intellectual cuisine on the epistemic tables of almost all camps of critical theory. The fact, however, remains that despite the innumerable critical discourses that the play has, over the years, generated, its meanings and significance refuse to be contained and resolved within the bounds of any particular discourse, spilling out inevitably and necessitating thereby, the framing of new discourses. It is the exploration of this essential plurality of The Tempest and its incapability of being explained through any single theory, idea or perspective that shall constitute the thrust of this paper. In examining The Tempest as a plural text resonating with conflicting voices that powerfully assert their variant points of view, the paper shall chiefly make use of Mikhail Bakhtin’s ideas of polyphony and dialogism and attempt to establish their relevance in terms of the play.

Henry James, who lived in 1900s, is one of the distinctive authors in American Literature. Watch and Ward the author's first attempt to write novel, remains unsuccessful and tribulation for James and the novel is not regarded as his first novel by both the author himself and the critics. The novel starts with adopting a St. Louisian twelve-year-old girl Nora Lambert whose father suicides because of not taking money he asks from Roger. All Nora's training and education is related to how to be a good wife. In this context, some critics suppose that their connection with each other is immoral and far from ethics. Here, in this study, the relationship between child and parent will be discussed.

Part of the Literature in English, British Isles Commons, and the Women's Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact:

Many women writers employ intertextuality to question gender identity and to produce female characters who are free of the narratives that have proven to be violent, oppressive and not viable for the contemporary female experience. In this article, I propose a reading of Kate Atkinson’s 2000 novel, Emotionally Weird in the light of Bakhtin’s argument on intertextuality in novelistic discourse to understand how the novel rewrites the gendered individual. Emotionally Weird combines the quest for a new female character and the investigation of postmodern novel’s relation to previous novelistic discourses. Kate Atkinson stages a quest of identity, crystallized in Euphemia Stuart Murray’s search for her true parentage, which merges with the quest of the paternity of the novel searched through the rewritings of literary traditions. The new woman that emerges when these quests are resolved is an illegitimate woman writer; a bastard born out of wedlock who disrupts the law of inheritance while the postmodern novel is similarly shown as an illegitimate novelistic discourse born out of its dialogism with previous novelistic discourses and other literary forms.

Abstract: In her essay, "Sex Between Women and Indianness: Vulnerable Casted Bodies," Antonia Navarro-Tejero examines the lesbian experience, using two heterosexual voices representing the lesbian abject: Shobha Dé’s popular bestseller novel Strange Obsession (1992) and Karan  Razdan’s Bollywood film Girlfriend (2004), as they espouse the dominant ideology of heteronormativity, rendering homosexuality as a western illness that taints the Indian culture. First, the author provides an  overview of the history of lesbian desire in India, and how it is rendered by Hindu nationalists. Then, following the postulates of Michel Foucault, she analyzes both cultural texts with respect to how same-sex desire
is represented in relation to religious morality. Both works deploy, and manipulate for dramatic effect, a repertoire of visual/textual stereotypes that have long been associated in misogynist and patriarchal  imagination with perceptions of lesbian (Christian) women as sexually abject and heterosexual (Hindu) partners as victims of their insanity. She concludes that, because women’s sexuality is deployed in the services of reproducing the nation, lesbianism symbolizes a threat to the Hindu family.

Christie nació en Torquay, Devon, Reino Unido el 15 de septiembre de 1890. Desde pequeña recibió educación básica en la comodidad de su hogar, aprendiendo a leer a los cuatro años de edad. Cuando cumplió 12 años comenzó a estudiar en la Escuela de la señorita Guyer y más tarde se trasladó a París donde estudió piano y canto con la intención de convertirse en cantante profesional, sin embargo, lo abandonó en 1910 y regresó a Torquay para acompañar a su madre que estaba enferma. Desde los ocho años ya leía novelas detectivescas con su hermana y aspiraba a poder escribir como Arthur Conan Doyle, quien fue su principal fuente de inspiración. En 1914 se casó con un aviador de donde tomó el apellido Christie. Trabajó como enfermera voluntaria durante la primera Guerra Mundial, donde comenzó a elaborar sus primeros borradores para su primera novela publicada en 1920 "El misterioso caso de Styles". En 1926 desapareció durante 11 días tras enterarse de la infidelidad de su esposo. En ese intervalo de tiempo sufrió de amnesia y tuvo que recibir tratamiento psiquiátrico. Se divorció y después un par de años volvió a casarse, esta vez con un arqueólogo 15 años menor que ella, con el cual tuvo la oportunidad de viajar a países del medio oriente, tomó el Orient Express para viajar a Bagdad y ahí tuvo inspiración para después escribir "Asesinato en el Orient Express" (1934), una de sus novelas más famosas. En 1995 recibió un Premio Edgar Gran Master. En 1974, fue nombrada "Dama comendadora" por la reina Isabel II de Inglaterra. Falleció el 12 de enero de 1976 en Wallingford, Reino Unido de causas naturales a la edad de 85 años. Christie es autora de novelas como "Un cadáver en la biblioteca" (1942) que relata el misterio que envuelve un hallazgo en la biblioteca de un matrimonio con el que la víctima jamás tuvo relación.

Sarah Waters’s Neo-Victorian novel Tipping the Velvet (1998) is set in the last decades of
the nineteenth century and its two lesbian protagonists are given voice as the marginalised and “the other.” Judith Butler’s notion of gender performance is taken to its extremes in a story where male prostitution is exerted by a lesbian woman who behaves and dresses like a man. Therefore, drawing from Butler’s theories on gender performance and Elisabeth Grosz’s idea about bodily inscriptions, this article will address Victorian and contemporary discourses connected with the notions of identity and agency as the result of sexual violence and gender abuse.

Abstract: Following new materialist analysis, this article takes the body as the central locus of analysis, and relates it to broader questions such as ethics, ideology, power and/or technologies. Specifically, it revolves around the idea of embodied subjectivity as articulated by scholars Rosi Braidotti, Sherryl Vint or Cary Wolfe, whereby body and subjectivity are indissolubly and interestingly connected. Stephen Frears’s Dirty Pretty Things (2002) and Mark Romanek’s Never Let Me Go (2010) exploit the idea of the commodified body, understood here as a vulnerable body, a disposable commodity at the service of powerful and/or wealthy people. Victims of the cruelties inflicted on their bodies by advanced capitalist societies, the main characters in these movies are considered as alien, marginal and/or non-human beings. Their body organs are but commodities to be literally traded and removed to be given to the privileged ones in order to preserve the latter’s integrity and “humanity”. These commodified subjects do not construct a “liveable” sense of the self in the face of multiplicity, ambivalence, contradiction, inequalities and oppression, as materialist feminism advocate, but remain, however, on a marginal side. As this article sets up to contend, both movies denounce the commodification of the body or “life” trading by positioning viewers on the side of the marginal, allowing us to become part of the post/in human experience. Hence, Dirty Pretty Things and Never Let Me Go offer instances of commodified beings whose fears, pains, vulnerabilities, thoughts and feelings are available to mass audiences. In this sense, the immigrant/illegal/artificial/exploited body becomes a repository of the characters’ troubled subjectivities, allowing spectators to situate themselves and reflect upon the intricacies of contemporary ideologies upon certain bodily practices. The body becomes, then, a valid tool for criticism that connects to current understandings of power and subjectivity.

In her article “Trauma, Ethics, and the Body at War in Brittain, Borden and Bagnold,” Carolina Sánchez-Palencia Carazo discusses how the autobiographical accounts of the conflict by Vera Brittain, Enid Bagnold and Mary Borden, inspired by their experiences as voluntary nurses in the front,deconstruct the meanings of femininity, masculinity and patriotism, contesting the official rhetoric of passivity that defined the role of women in World War I. Their extreme engagement with the precariousness and vulnerability of others elicits an empathic response that can be interpreted through
Judith Butler (2004; 2009), Emmanuel Lévinas (1969) and Alan Badiou’s (1993) ethics of alterity. Against the abstract assumptions of honor and heroism in many male war accounts, these women’s face-to-face encounter with the suffering bodies impels them to an intersubjective relation defined by sensibility and affectivity. Their exposure to the limits of (in)humanity implies a drive towards commonality that cannot be overlooked and suggests a gendered intervention in the body politic in which the war/peace, front/home binaries are necessarily redefined. Their texts are also “bodies in transit” inasmuch as they move between Victorian conventional order and a sense of Modernistfragmentariness evoking the distorted anatomies of the combatants they
nursed. Re-visiting Brittain, Bagnold and Borden from the critical perspectives of the
Ethical Turn and Trauma Studies is essential for a reconceptualization of war and of the intricacies of its representation..

Shobhaa De as a writer is more customary to upper class society and has published seven exceedingly assuring novels. In all her novels she handles the subject matter that is well advised as taboos for women writers. De discusses the problems of women in patriarchal society, manwoman relationship, lesbian and homosexual relationship and the emergence of live-inrelationship. As a writer, she is gifted with extraordinary ability to discuss the sensitive aspects of human life and human relationship tactfully. The power of her narration is wonderful andis totally different from other Indian women novelists in English. She is gifted with intimate understanding of the psyche of women and her problems.

Shobhaa De as a writer is more customary to upper class society and has published seven exceedingly assuring novels. In all her novels she handles the subject matter that is well advised as taboos for women writers. De discusses the problems of women in patriarchal society, manwoman relationship, lesbian and homosexual relationship and the emergence of live-inrelationship. As a writer, she is gifted with extraordinary ability to discuss the sensitive aspects of human life and human relationship tactfully. The power of her narration is wonderful andis totally different from other Indian women novelists in English. She is gifted with intimate understanding of the psyche of women and her problems.

Shobhaa De as a writer is more customary to upper class society and has published seven exceedingly assuring novels. In all her novels she handles the subject matter that is well advised as taboos for women writers. De discusses the problems of women in patriarchal society, manwoman relationship, lesbian and homosexual relationship and the emergence of live-inrelationship. As a writer, she is gifted with extraordinary ability to discuss the sensitive aspects of human life and human relationship tactfully. The power of her narration is wonderful andis totally different from other Indian women novelists in English. She is gifted with intimate understanding of the psyche of women and her problems.