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Dissertations / Theses on the topic 'Handmaid's tale'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Sarrazin, Timothy M. C. "Reading the Handmaid's tale." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262014.

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Cheong, Weng Lam. "Beyond a feminist dystopia : Margaret Atwood's The Handmaid's Tale." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456330.

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3

Maratta, Tanya <1991&gt. "A Critique of Contemporary World: Margaret Atwood's "The Handmaid's Tale"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12956.

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The thesis analyses Margaret Atwood's renowned "The Handmaid's Tale", showing how the author, through the depiction of a dystopic future world, deals with significant 20th-century issues, such as environmental pollution, racial and sexual inequalities and the dynamics of power and totalitarianisms, for instance, thus criticizing the contemporary world she lived in. As a dystopia, the narrative owes a great deal to Orwell's "Nineteen Eighty-Four". However, at the same time, I demonstrate how the influence of Postmodern literature differentiates it from its predecessors (Orwell, Huxley, Bradbury). Finally, even though it came out in 1985, the novel has continued to be very representative even in the following decades, so much so that in 2017 a tv series by the same title came out.
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4

Pettersson, Fredrik. "Discourse and Oppression in Margaret Atwood's The Handmaid's Tale." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5766.

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5

Nyberg, Björn. "Sociological Perspectives on Gender and Sexual Violence in The Handmaid's Tale." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-151322.

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This essay aims to highlight and explain the gender inequality, the sexual assault and the rape in Atwood’s The Handmaid’s Tale from a feminist perspective, using the theory of the individualist, interactionist and institutional approach to gender found in Wharton’s The Sociology of Gender. Research questions: How does gender inequality shape the characters in the novel? What does it mean for them? How can the gender inequalities seen in Gilead society, as well as the sexual violence in the novel, be explained using sociological perspectives on gender? Gender inequality, which is what leads to the sexual violence, is produced on every level of society, and especially at the institutional level of society, that is, the culture of the society.
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Roland, Karla M. "The Symbolic Power of Red in Margaret Atwood's The Handmaid's Tale." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/167.

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This thesis utilizes red objects in Margaret Atwood's The Handmaid's Tale to discuss the symbolic meaning of red to the story as a whole and the power relationship among social groups in Gilead. This thesis focuses primarily on the wardrobe of the handmaid and flower imagery to examine red as a manifestation of power in the story.
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7

Brown, Kimberly Ann. "Denying Authority: Monologic and Dialogic Perspectives in Margaret Atwood's "The Handmaid's Tale"." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625886.

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Marx, Hedvig. "Moira, take me with you! : Utopian Hope and Queer Horizons in Three Versions of The Handmaid's Tale." Thesis, Linköpings universitet, Tema Genus, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-148928.

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Using postmodern, feminist and queer notions of utopia/dystopia and narrative theory, this thesis contains an analysis of The Handmaid’s Tale (novel 1985; film 1990; TV series S01 2017) based on theoretical and methodological understandings of utopia/dystopia and narrative as deeply connected with notions of temporality and relationality, and of violence and resistance as the modes of expression of utopia and dystopia in the source texts. The analysis is carried out in an explorative manner (Czarniawska 2004) and utilises the notion of “disidentification” (Butler 1993; Muñoz 1999) and the concepts of “diffraction” (Haraway 1992, 1997; Barad 2007, 2010), and “entanglement” (Barad 2007). The conclusion becomes that utopia and dystopia in The Handmaid’s Tale are, to a great extent, imagined within the same system of understanding, but that utopian hope can be found in the relationality and temporality of resistance, and that the radically different utopian place is the queer horizon.
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9

DiBenedetto, Tamra Elizabeth. "The role of language in constructing consciousness in Margaret Atwood's The Handmaid's Tale." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/1128.

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10

Laine-Wille, Ilona. "Literatur als Spiegel : Kulturkritik in Christa Wolfs Kassandra und Margaret Atwoods der Report der Magd." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23338.

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This thesis is a comparative study of two contemporary novels: Christa Wolf's: Cassandra (1983) and Margaret Atwood's The Handmaid's Tale (1985).
Wolf's Cassandra can be interpreted as a utopian projection. It is an expression of Wolf's not so modest proposal: "Literature today ought to be research on peace."
Atwood examines the underside of hope. While describing the present time as alarming, she speculates about the future. Juxtaposing the two novels provides a view of the political and philosophical imagination of the two authors. The cultural critique is esthetically expanded through the perspective of the protagonists. Both novels can be viewed as archeological work from a female perspective, as they attempt to provide a new vision by uncovering the blind spots of our western socio-political history.
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11

Lamoureux, Cheryl. "History as hysterectomy, the writing of women's history in The handmaid's tale and Ana historic." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ32162.pdf.

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12

Betts, Lenore. "Puffball and The handmaid's tale : the influence of pregnancy on the construction of female identity." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53023.

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Thesis (MA)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: This thesis uses an analysis of Fay Weldon's Puffball and Margaret Atwood's The Handmaid's Tale to explore the construction of identity, particularly female identity. It takes into consideration the influence of both biology and culture on identity and explores how, within the context of the patriarchal societies depicted by the novels, female identity is closely linked to reproductive function. It examines how the construction of female identity based on reproductive function further objectifies the female body in society, and how it can aid patriarchal domination and oppression of women. The analysis of the novels draws on both essentialist and social constructionist feminist approaches to oppression and female identity. The essentialist approach views female biological difference (reproductive function) as responsible for the way in which women are oppressed. The social constructionist view argues that female oppression stems from the social construction of female identity around concepts of motherhood and femininity. The thesis takes both approaches into account as it seeks to explain how patriarchy oppresses women through the construction of female identity. The thesis also explores how control over the female body and identity can be exercised through reproductive technology. An examination of the role reproductive technology plays in contributing to patriarchal dominance, suggests that new technologies may compel women to conform to stereotypes of femininity based on pregnancy and motherhood. The thesis considers the impact infertility and the choice not to have children have on female identity and takes into account the options available to these women. The main focus, with regard to infertility and choice, is on the relationship between women who have children and those who do not. This thesis refutes the notion that there is solidarity between women based on shared childbearing experience, and focuses on the conflict that occurs between fertile and childless women. It finds that the conflict that occurs is a result of the socialisation of women into viewing motherhood as an essential aspect of 'normal' femininity. The thesis also considers what causes the desire to have children and finds that, as in the case of the conflict between women, it is as a result of socialisation and an innate/instinctual biological drive. The thesis investigates options available to women in order for them to avoid constructing their identities solely around their reproductive function. It considers the alternatives women are presented with when constructing their identity and how these may contribute to or liberate them from patriarchal oppression. If they choose to identify themselves using patriarchal norms, then they are contributing to their objectification; but if they choose to construct their identity on their own terms, and offer some resistance to patriarchal constructions, they will be more liberated than women who conform to stereotypes. Evidence of such resistance can be seen in both novels in the narrative structure the respective authors have chosen: just as the main characters subvert traditional stereotypes through the construction of their own identity, embracing female experience on their own terms, so do both authors subvert traditional narratives.
AFRIKAANSE OPSOMMING: Hierdie tesis is gegrond op die analisering van die novelle Puffball deur Fay Weldon en The Handmaid's Tale deur Margaret Atwood ter ondersoek van die konstruksie van identiteit, naamlik die vroulike identiteit. Die analise neem beide die biologiese en kulturele invloed van identiteit in ag, veral binne die konteks van die patriargale samelewing wat in novelles voorkom.Die wisselwerking tussen vroulike identiteit en die funksie van reproduksie word aangeraak. Die tesis ondersoek die wyse waarop die konstruksie van die vroulike identiteit gebasseer op die reproduksie funksie, verder die vroulike liggaam binne samelewingskonteks tipeer en hoe dit indirek patriargale dominansie ondersteun sowel as die onderdrukking van die vrou. Die analise van die novelles steun sterk op beide die essensialistiese en sosiale konstruksialistiese feministiese benaderings ten opsigte van onderdrukking en vroulike identiteit. Die essensialistiese benadering blameer die vroulike biologiese verskil, met verwysing na die reproduksie funksie, vir die wyse waarop die vrou onderdruk word. In kontras hiermee, argumenteer die sosiale konstruksialistiese seining dat vroulike onderdrukking voortspruit uit die sosiale konstruksie van vroulike identiteit binne die konsep van moederskap en vroulikheid. Die tesis neem beide standpunte in ag daar dit hom ten doel stelom te verduidelik waarom patriargie die vrou onderdruk deur die konstruksie van die vroulike identiteit. Die tesis fokus ook op die wyse waarop kontrole oor die vroulike liggaam en identiteit uitgeoefen kan word deur die reproduktiewe tegnologie. 'n Ondersoek na die rol wat reproduktiewe tegnologie speel ter ondersteuning van patriargale dominansie, argumenteer dat nuwe tegnologieë "Toue kan verplig tot die konformering van stereotipes van vroulikheid gebasseer op swangerskap en moederskap. Die analise neem ook die impak wat onvrugbaarheid op die vroulike identiteit het, in ag , sowel as die besluit om nie kinders te hê nie. Verder neem dit ook die verskeie opsies wat beskikbaar is vir die vrou wat daarteen besluit om kinders te hê, in ag, sover dit die konstruksie van identiteit raak. Die hooffokus met betrekking tot onvrugbaarheid en keuse, is gebasseer op die verhouding tussen vroue wat wel kinders het en diegene wat kinderloos is. Die tesis weerlê die idee dat daar solidariteit is tussen vroue gebasseer op gedeelde ervarings en gemeenskaplike doelwitte en begeertes en fokus op die konflik wat ontstaan tussen kinderlose en vrugbare vroue. Die ondersoek ondervind dat die konflik wat onstaan, 'n produk is van die sosialisering van vroue met die idee van moederskap as 'n essensiële aspek van "normale" vroulikheid. Die tesis ondersoek ook die oorsake van die begeerte om kinders te hê en ondervind dat, soos ook die geval met konflik, dit die produk is van sosialisering en instinktiefbiologies gedrewe is. Die tesis ondersoek die opsies beskikbaar vir die vrou ten einde haar te verhoed om die konstruksie van haar identiteit te grond alleenlik op die reproduktiewe funksie. Die analise neem die alternatiewe waarmee die vrou gekonfronteer word tydens die konstruksieproses, in aanmerking, en bevraagteken die wyse waarop hierdie alternatiewe kan bydra tot , of die bevryding van, die patriargale onderdrukking. Indien die vrou verkies om haarself te identifiseer deur patriargale norme te gebruik sal sy bydra tot haar objektivering binne die tradisionele patriargale konteks; maar indien sy kies om haar eie identiteit te konstruktueer volgens haar eie norme en terselfdertyd patriargale konstruksie teenstaan, sal sy meer geëmansipeerd wees as haar eweknie wat tot die stereotipe gekonformeer het. Deel van die weerstand wat voorkom in beide novelles, kan opgemerk word in die naratiewe struktuur gekies deur die skrywer. Paralelle word aangetref tussen enersyds, die wyse waarop die hoofkarakters hulself aan die tradisionele stereotipes ondermyn deur die konstruksie van hul eie identiteit, terselfdertyd deur die koestering van vroulike ervarings, en andersyds die wyse waarop beide skrywers hulself aan tradisionele naratiewe onderwerp.
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13

Cooke, Nicole Lynn. "Feminist Dystopias and Ecofeminist Representation: Margaret Atwood's The Handmaid's Tale and Naomi Alderman's The Power." University of Toledo Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors154481823575487.

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14

Orsato, Francesca. "La presidenza Trump come serie distopica. The Handmaid's Tale, Watchmen e Il complotto contro l'America." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23490/.

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La serialità americana fin dagli esordi tocca temi dell’attualità politica, ma si intreccia saldamente con i meccanismi di Washington soprattutto con West Wing, la serie che meglio ne ha spiegato i dietro le quinte, delineando un ideale da cui la realtà si stava però sempre più allontanando. La politica nelle serie tv diventa sempre più estrema, ma quando quella reale, con l’elezione di Trump, supera quella televisiva in stranezze, incompetenze e crudeltà, sembra che le sceneggiature non riescano più a stare al passo con ciò che accade fuori lo schermo: lo mostra bene The Good Fight, in cui la protagonista arriva a non capire più quali notizie siano reali e quali frutto di sostanze allucinogene. Sembra che le serie che cercano di parlare direttamente del 45° presidente degli Stati Uniti debbano puntare troppo in alto; allora tra i prodotti che hanno meglio saputo raccontare la presidenza Trump e le paure che l’hanno accompagnata per buona parte della popolazione americana sono stati quelli distopici, che mai come in questi ultimi anni sono state presenti negli schermi televisivi. Prendo in particolare in considerazione The Handmaid’s Tale, Watchmen, e Il complotto contro l’America, ognuna delle quali analizza un lato particolare della presidenza Trump.
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Myrén, Adam. "Hegemonic Masculinity in Atwood’s The Handmaid’s Tale : A gender analysis on the masculinity of the two characters Luke and the Commander in Margaret Atwood’s novel The Handmaid’s Tale." Thesis, Karlstads universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-80310.

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This essay deals with how Margaret Atwood’s novel The Handmaid’s Tale (1985) works as a critique of the patriarchal hierarchy and the values it brings. This is portrayed in a dystopic setting in which women are subordinate to men, but also men being subordinate and marginalized by other men. Based on a gender theory on masculinities, an analysis is made on two male characters; Luke and the Commander. Both characters gain advantages in society because of hegemonic masculinity. One of them gains advantages in pre-Gilead society, and the other in the Gilead society. The focus of the analysis is on the similarities of the two characters’ connection to hegemonic masculinity. Even though, they live in different periods of history.
Denna uppsats behandlar hur Margaret Atwoods roman En Tjänarinnas Bekännelse (1985) fungerar som en kritik mot det patriarkala samhället och de värderingar som det medför. Detta porträtteras i en dystopisk miljö där kvinnor är underlydande till män, men också där män är underlydande och marginaliserade av andra män. Baserat på en könsanalys om maskuliniteter, så görs en analys av två karaktärer. Luke och the Befälhavaren. Båda karaktärer får fördelar i samhället på grund av hegemonisk maskulinitet. En av dem får fördelar i samhället före skapandet av Gilead, och den andra i Gileads samhälle. Analysen fokuserar på de likheter som finns i kopplingen till hegemonisk maskulinitet hos dem två karaktärerna. Även fast, de lever i två olika tider av historien.
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Laing, Heidi. "The right (not) to read "The Handmaid's Tale" in school: Tensions within conversations about risky texts." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28528.

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Debates about book censorship and selection are far-reaching and ongoing, however little research has lingered in the spaces of irresolvable tension within these debates, and specifically the debates that focus on novels read in school. In an intertextual analysis of literary theory and editorial-blog responses to a recent debate about the suitability of Margaret Atwood's The Handmaid's Tale as a high school text, I work to broaden and trouble understandings of what it means to read this novel in school. The online forum for discussion is a unique space that offers new and different insights into an age-old conversation. Weaving online reader responses to the Handmaid's Tale debate with a large body of research that struggles with our complicated relationship with reading, this thesis strives to add complexity and depth to an often-polarizing issue.
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Greif, Annette [Verfasser]. "Atwood, Pinter, Schlöndorff: The Handmaid's Tale – Intermedial. Eine kognitiv-hermeneutische Untersuchung der filmischen Literaturadaption / Annette Greif." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2017. http://d-nb.info/1149330503/34.

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Toubia, Carmen. "Adaptation and Original in the EFL-classroom : An Analysis of Different Versions of The Handmaid's Tale." Thesis, Högskolan för lärande och kommunikation, Jönköping University, HLK, Ämnesforskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-50772.

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This qualitative study aims to examine the differences between Margaret Atwood’s novel and Bruce Miller’s adapted version of The Handmaid’s Tale by the application of adaptation, as well as, feminist theory. An additional aim is to investigate the didactic potential of using both the original version and the TV series adaptation in the EFL-classroom, this in relation to the Curriculum for English at upper secondary level. The two research questions addressed in this study were: What are the main differences between the adapted version and the original version? and, in relation to the EFL-classroom and the subject English 7, what can be gained by working comparatively with the original version and the TV series adaptation? The essay is examined by using adaptation theory and feminist theory. The findings of the analysis presented in this study show for example that the television adaptation features a more feminist portrayal of the female characters than the original story. In addition, the findings of this study suggests that by using both texts in the EFL-classroom, one can get the opportunity to highlight prominent themes within the two media which were discovered in this study. For example, discrimination based on gender or sexual orientation. Therefore, by comparing the two texts, students may become aware of differences between how the two texts are able to portray such indifferences as mentioned above. In an educational setting this is useful since by working with questions which aims to compare both texts in the EFL-classroom, students also get the chance to deal with various living conditions and attitudes in relation to both the historical and contemporary English-speaking world (Skolverket 2011, p. 4).
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Laycock, Frances Catherine. "Contemporary opera as relevant and effective socio-political critique : two case studies / F.C. Laycock." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1360.

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Adamo, Laura. "The imaginary girlfriend, a study of Margaret Atwood's The handmaid's tale, Cat's eye, The robber bride, and Alias grace." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0014/MQ31277.pdf.

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Charat, Hildegarde. "Competition, Domination and Relationships between Serena and Offred : Challenging Gilead's Rules and Patriarchy in Margaret Atwood The Handmaid's Tale." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-37329.

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Jonsson, Andrea. "Enforcing Patriarchal Values : A socialist feminist analysis of the characters of Offred and Serena Joy in Margaret Atwood's novel The Handmaid's Tale." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66776.

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This essay shows how Margaret Atwood’s novel The Handmaid’s Tale (1985) functions as a critique of patriarchal society as it depicts a dystopic, dismantled society where women are divided into societal groups on biological grounds. Based on socialist feminist literary theory, an analysis is carried out of two of the female characters, Offred and Serena Joy, who are both oppressed by a patriarchal, totalitarian government; an oppression that is manifested in different ways. Offred is used as a tool to provide children and Serena Joy is confined within the home. The focus of the analysis is on the oppression of these two characters by the patriarchal government through the removal of their rights due to their gender. Red and blue, the two colors used to mark their different societal groups, are analyzed to show how they affect the reader’s perception of these characters and how the novel demonstrates the division of women visually.
Denna uppsats visar hur Margaret Atwoods roman Tjänarinnans berättelse (1985) fungerar som en kritik mot ett patriarkalt samhälle. Denna kritik tar sig uttryck genom en dystopisk skildring av ett samhälle där kvinnor delas in i sociala grupper baserat på deras biologiska förutsättningar. Med utgångspunkt i socialistisk feministisk litteraturteori görs en karaktärsanalys av två av de kvinnliga karaktärerna, Offred och Serena Joy. De är båda förtryckta av det patriarkala, totalitära styret, ett förtryck som tar sig uttryck på olika sätt. Offred används som ett verktyg för att öka barnafödandet och Serena Joy är isolerad i hemmet. Analysen fokuserar på förtryckandet av de två karaktärerna baserat på borttagandet av deras tidigare rättigheter på grund av deras kön. Röd och blå, två färger som används för att markera deras sociala grupp, analyseras för att påvisa hur de påverkar läsarens uppfattning av karaktärerna och hur romanen rent visuellt kategoriserar kvinnor i olika grupper.
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Johnson, Marie. "Gender is war : a battle over the female self in Margaret Atwood's The robber bride, the edible woman and the handmaid's tale /." Title page and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09arj678.pdf.

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Ögren, Jennifer. "Tjänarinnornas berättelser : En studie om intertextualitet i Margaret Atwoods Tjänarinnans berättelse." Thesis, Uppsala universitet, Gamla testamentets exegetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384927.

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Margaret Atwoods dystopiska roman Tjänarinnans berättelse (The Handmaid’s Tale) från år 1985 fick åter uppmärksamhet år 2017 när teveseriens första säsong, baserad på romanen, hade premiär. I berättelsen skildras tjänarinnan Offreds liv i republiken Gilead, före detta USA, där infertilitet är ett av de stora problemen. Det föds sällan barn i landet och av de som föds är endast tre av fyra barn friska. Kvinnor med låg social status, men med fungerande livmoder, utses till tjänarinnor och enligt republiken har de en ärofylld uppgift; att föda friska barn åt aristokratiska makar. Republiken legitimerar tjänarinnornas avsaknad av frihet genom att hänvisa till Bibelns texter, främst till Genesisberättelsen om Bilha, Rakel och Jakob. Bilhas uppdrag i hushållskonstellationen är att förse patriarken Jakob med avkommor och på liknande sätt fungerar Offreds roll i romanens handling. Denna uppsats undersöker den bibliska intertextualiteten i romanen. Det förekommer både uppenbara citat och mindre tydliga allusioner. Genom att tillämpa Lina Sjöbergs system om markör, sätt och effekt analyseras bibelreferenserna på tre nivåer. Den första nivån identifierar referensen som citat, refererat, allusion eller tema. Den andra nivån undersöker på vilket sätt intertextualiteten sker och den tredje nivån beskriver vilken effekt bibelreferensen får hos läsaren.  Bibeln har länge inspirerat olika kulturyttringar och sedan den senare halvan av 1900-talet har den allmänna populärkulturen studerats ur ett bibelvetenskapligt perspektiv. Trots sekulariseringsteorier går det inte att avfärda bibelberättelsers inflytande i moderna verk. Bibeln har länge varit en del av vår kultur och många känner till de klassiska gammaltestamentliga berättelserna om Adam och Eva, Noa och flodvågen, Abrahams söner, Jobs olycka och Jona i valfisken. Detta bibliotek av böcker, med spridda stilar, har på många olika sätt influerat modern skönlitteratur och Tjänarinnans berättelse är en av dessa.
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Krey, Catellier Miriam. "A study of Margaret Atwood's The handmaid's tale, from novel to its film reading = La servante écarlate de Margaret Atwood : du roman à l'adaptation cinématographique." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ48934.pdf.

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Adolfsson, Linnea. "Genom våra ögon : En komparativ litteraturanalys av Margaret Atwoods The Handmaid’s Tale och Octavia E. Butlers Kindred, utifrån forskningsfältet kulturella minnesstudier." Thesis, Södertörns högskola, Litteraturvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37492.

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This essay’s primarily focus is on the common discourse about the persisting effects of the past in the present in Margaret Atwood’s The Handmaid’s Tale(1985)and Octavia E. Butler’s Kindred (1979).These novels are the testimonies of the protagonists Offred and Dana who shares their experience of traumatic violence and oppression. Dana, with her ability to time travel, will see her present time in clearer light as she experiences the life of a slave on an antebellum plantation. Offred, the Handmaiden owned by the totalitarian regime Gilead, portrays her contemporary life in parallel to remembering her former and thus describing Gilead’s increasing authority. Based on different theorists and concepts in the field of cultural memory studies, this essay examines the tension between memory and history, the distantness towards the past and the problematics with representations of traumatic events. As I argue that the voices of Dana and Offred calls attention to the importance of perspective and of sharing stories, they are also an act of hope, therapy and resistance; an act that also make possible a critique of the processes of the production of historical knowledge.
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Llewellyn, Jana Diemer. "Rape in feminist utopian and dystopian fiction Joanna Russ's The female man, Margaret Atwood's The handmaid's tale, and Octavia Butler's The parable of the sower and The parable of the talents /." Click here for download, 2006. http://wwwlib.umi.com/cr/villanova/fullcit?p1432523.

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Garrard, Christopher. "Portfolio of compositions and critical writing." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:1e58812f-115f-4749-800b-822eb6eba009.

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The portfolio of compositions comprises six pieces: a chamber opera, an orchestral piece and four shorter chamber works. These pieces are diverse and distinct from one another but collectively explore aesthetic tensions relating to tonality, aura and ontology. The largest piece is a chamber opera setting Margaret Atwood's novel, The Handmaid's Tale, which has been flexibly scored as a series of fragments in order to reflect the quality of her text. The remaining pieces draw influence from poetry, landscape and the environment. They all encompass a series of material contrasts but attempt to simply contain these tensions in some way, leaving them partially unresolved. The thesis is a re-assessment of the music of the Ukrainian composer, Valentin Silvestrov, in particular, his 'metamusic' approach to composition that treats pre-existing styles as a form of musical metaphor. Through a series of comparisons with landscape and photography, I offer new vantage points for approaching the aesthetic issues present in his work, relating to aura, imitation and historical reference. The metaphors of landscape and photography might appear far removed from his work, but mediated by the work of the artist Gerhard Richter, offer a basis for critically analysing Silvestrov's approach. Furthermore, by drawing upon the theories of Walter Benjamin, Roland Barthes and the geographer, Stephan Harrison, I demonstrate how concepts from other disciplines can be recast in order to be effective for approaching both Silvestrov and Richter. As a form of conclusion, I consider the role of photography in the production of CD covers and how this relates to the reception of Silvestrov's metamusic in a commercial setting.
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Serretelle, Carlotta. "Adattare le female-centered dramas. Trasposizioni contemporanee di personaggi femminili dal romanzo alla serie tv." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23492/.

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In un mercato segnato da una sempre crescente competizione, l’industria televisiva statunitense è tornata, da qualche anno a questa parte, a volgere lo sguardo alla narrativa contemporanea in cerca di narrazioni da adattare per il pubblico televisivo. Dalla fine del 2016 circa, eventi quali l’elezione dell’ex presidente degli Stati Uniti Donald Trump e l’esplosione del caso Weinstein hanno favorito la rinascita dell’allora dormiente movimento femminista riverberandosi anche sul mercato televisivo con un numero sempre crescente di female-centered dramas, molte di queste adattate proprio da romanzi. Impiegando l’approccio ai prodotti audiovisivi proposto da Casetti parallelamente a una dovuta analisi comparativa, questa tesi considera i cinque casi di studio in termini di “discorsi sociali”; il nostro obiettivo è dimostrare l’influenza che la rapida ripresa del movimento femminista ha esercitato – in maniera più o meno marcata - sui processi di adattamento dei testi source di Sharp Objects, Big Little Lies, Dietland, The Handmaid’s Tale e Alias Grace
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Wilson, Mark Robert. "Historicizing Maps of Hell." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1115503544.

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Кінщак, О., and І. Жукович. "Гендерна інтерпретація чоловічих образів у романі "The Handmaid’s Tale" М. Етвуд." Thesis, Сумський державний університет, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84348.

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Метою наукової розвідки є розкриття чоловічих образів у романі "The Handmaid’s Tale" М. Етвуд шляхом перекладу оригіналу твору. Завданням дослідження є проаналізувати чоловічі образи, виявити їх характерні риси у романі "The Handmaid’s Tale" М. Етвуд.
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Hachtel, Julia. "Die Entwicklung des Genres Antiutopie : Aldous Huxley, Margaret Atwood, Scott McBain und der Film "Das Leben der Anderen" /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3008882&prov=M&dok_var=1&dok_ext=htm.

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Malm, Albin. "Den religiöst motiverade könsmaktsordningen : En textanalys av Margaret Atwoods The Handmaid’s Tale." Thesis, Uppsala universitet, Religionssociologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353047.

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Through the history have the women been subordinated to the men, structures that still are present in these days even though feminist movements have tried work against them. One platform that is quite common to use for drawing attention to a certain subject is popular culture. Here the author can disguise their thoughts or highlight them through another context. This brought my attention to Margaret Atwood’s The Handmaid’s Tale where religious symbols are commonly used through the book at the same time as women’s rights are neglected. I wanted to know how these religious symbols are connected to this kind of structures, how they are motivating them. To answer that question I used a text analysis with the focus to find the underlying factors to this kind of use of religious symbols and how the gender roles are built up. I used two kinds of theories, one is Stig Hjarvard’s mediatization theory with the focus on banal religion, and the other is Yvonne Hirdman’s gender theory that are focusing on the view of women through the history. What I found was that Atwood is using religion as a theme to criticize the patriarchal structures in her time and to comment on the use of religious symbols uncontextualized to debate on questions that affects a majority of people, like questions about sexuality, abortion and sexual abuse.
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Pawlak, Solange. "A Work of Speculative Fiction : Intertextuality in Margaret Atwood’s The Handmaid’s Tale." Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30479.

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Nyström, Fredrik. "Surveilled and Silenced : a Study about Acquiring and Maintaining Powerin Margaret Atwood’s The Handmaid’s Tale." Thesis, Högskolan i Halmstad, Sektionen för lärarutbildning (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-19839.

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In The Handmaid’s Tale, Atwood indirectly exposes frightening and undemocratic traits in societies of our time when she applies them to a fictive future in which these factors have caused horrible consequences. A group of men has formed a new state, “Gilead”, in which they ruthlessly control the population. This essay studies how this dictating power gains and, essentially, maintains power in the fictive society. The essay argues, and comes to the conclusion, that by surveilling the population and by restricting its means of communication the dictatorship is able to control the people and keep them docile.
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Saretta, Maria <1995&gt. "From Margaret Atwood's "The Handmaid’s Tale" to "The Testaments": a story and its generic inflections." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16915.

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In one of her many interviews, Margaret Attwood states that in writing "The Handmaid’s Tale", she was inspired by Orwell’s dystopia par excellence, "1984". It is not so easy, however, to insert the novel in a specific literary genre. First of all, Atwood distances herself from the term science fiction and replaces it with that of speculative fiction. Secondly, just as the protagonist of her novel, Offred, has an inclination to play with words, so Atwood coins a new term to better define the genre of "The Handmaid’s Tale": ustopia. She argues: “Every dystopia contains a little utopia, and every utopia contains a little dystopia”. The result is that in Atwood’s novel different genres are interwoven, the boundary between dystopia and utopia is blurred and, in addition, many critics insert the novel in another literary genre, namely, satire. This mix of genres is confirmed in the sequel "The Testaments". Here, characters and perspective change, and the result is a very different novel telling the same story. The aim of this thesis is to analyze the generic trajectory of the two novels along comparative lines.
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Beaulieu, Jean-François. "The Role and Representation of Nature in a Selection of English-Canadian Dystopian Novels." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23903/23903.pdf.

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Kurikkala, J. (Jonna). "“Under his eye”:a comparison of Margaret Atwood’s novel The Handmaid’s Tale and the television series adaptation." Bachelor's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201901261095.

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Abstract. The aim of this thesis is to compare and contrast Margaret Atwood’s novel The Handmaid’s Tale with its television series adaptation. The object of the study is to examine the kind of differences that can be found when comparing the two works, and what could be the reasons behind these differences. The tools used to conduct the analysis were feminist theories as well as multimodal discourse analysis. The data for the study consists of the original novel The Handmaid’s Tale by Margaret Atwood and the first season of the television series adaptation by Hulu Network. The data was delimited to consist of only the first season of the series as it is the only season that is based on the novel. The findings presented in the study showcase that while being mostly faithful to the novel, the television series adaptation does present a more feminist version of the original story. The depiction of the protagonist is deemed as more feminist in the television series.Tiivistelmä. Tämän kandidaatintutkielman tarkoituksena on verrata toisiinsa Margaret Atwoodin romaania The Handmaid’s Tale (suom. Orjattaresi) ja sen televisiosovitusta. Tutkielmassa etsitään eroavaisuuksia näiden kahden teoksen välillä ja oletettuja syitä, joita näille eroavaisuuksille voidaan löytää. Analyysissa on käytetty apuna feministisiä teorioita sekä multimodaalista diskurssianalyysia. Tutkimusmateriaalina käytettiin Margaret Atwoodin kirjoittamaa alkuperäistä romaania, The Handmaid’s Tale sekä televisiosarjan ensimmäistä kautta. Ensimmäinen kausi on valittu, koska se on ainoa kausi, joka kokonaisuudessaan perustuu Atwoodin romaaniin. Tutkimustuloksista voidaan päätellä sarjan suurimmilta osin seuraavan romaanin juonta ja teemaa mutta esittävän feministisemmän version alkuperäisestä tarinasta. Tämä feminististä teoriaa tukeva esitys on nähtävissä esimerkiksi televisiosarjassa päähenkilön, Offredin, kuvauksessa.
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Barga, Rachel M. "Sex Theory: Theology of the Body as Literary Criticism." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1304527876.

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Rüsche, Ana. "Utopia, feminismo e resignação em The left hand of darkness e The handmaid\'s tale." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09092015-164853/.

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Os romances norte-americanos The left Hand of Darkness de Usula Le Guin (1969) e The Handmaids Tale de Margaret Atwood (1985) traduzem os anseios dos ideários políticos e feministas em seus momentos de publicação. As obras são consideradas, respectivamente, u m romance utópico do gênero ficção científica e um romance distópico que se tornou best seller. The left Hand of Darkness coloca, em fragmentos, a questão do planeta Gethen, que se vê diante de uma ginada histórica: ingressar ou não, figurando como uma nação periférica, no Ekumen, uma liga interplanetária. O planeta é habitado por seres ambissexuais e recebe a visita do Enviado, um homem, o incumbindo em trazer esta questão. The Handmaids Tale traz relatos da Aia Offred, residente de Gilead, nação que seria um fantasmagórico duplo dos Estados Unidos dos anos de 1980, onde se instituiu um governo teocrático, abolindo os direitos mais básicos de todas as mulheres, embora restem mantidas a propriedade privada e a produção capitalista. Offred é uma Aia, o seu útero é tutelado por este Estado e seus relatos foram reconstituídos por dois professores em um simpósio acadêmico no ano de 2195. No trabalho, discute-se a impossibilidade da configuração da utopia nos romances, observando-se as teorias feministas e estudos de gênero na segunda metade do século XX; as formas literárias dentro da noção do que seria o romance no pós - modernismo; a crítica da representação e suas funções ideológicas e a emergência de impulsos utópicos em produtos da cultura de massa, tendo em vista a medologia desenvolvida pela crítica materialista, com ênfase nas análises de Fredric Jameson na obra Archaeologies of the future: the desire called utopia and other science fictions.
The North American novels The Left Hand of Darkness by Usula Le Guin (1969) and The Handmaid\'s Tale by Margaret Atwood (1985) reflect the political and feminist aspirations at the time they were each published. They are considered, respectively, a science-fiction utopian novel and a best-seller dystopian novel. The Left Hand of Darkness presents, in a fragmented way, the question faced by the planet Gethen at a turning point in its history: to join or not, as a peripheral nation, the interplanetary league known as Ekumen. The planet is inhabited by \"ambisexuals\" beings and receives a visit from the Envoy\", a male, who is tasked with presenting this choice to Gethen. The Handmaid\'s Tale tells the story of the handmaid Offred, a resident of Gilead, a nation that represents a phantasmagoric version of the United States in the 1980s, where a theocratic government was stablished, suppresing the most basic rights of all women, while mantaining capitalism and private property. Offred is a handmaid, which uterus is managed by this state and her story is reconstituted by two professors in an academic symposium in the year 2195. In this paper, I discuss the impossibility of the utopia in these novels, taking in account feminist theo ry and gender studies in the second half of the twentieth century; literary forms and the idea of what would constitute the postmodern novel; the critique of representation and its ideological functions and the emergence of utopic impulses in the products of mass culture, having in mind the to metodology developed by the materialist critique, with emphasis in Fredric Jameson and his work Archaeologies of the future: the desire called utopia and other science fictions.
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Zarassi, Pega, and Miranda Larsson. "”Jag hoppas få vara er livmoder” : En multimodal analys av surrogatmödraskap i scener ur The Handmaid’s tale och Vänner." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-156227.

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Title: “I hope to be your uterus” - A multimodal analysis on surrogacy in scenes from The Handmaid’s tale and Friends Surrogacy is a widely discussed subject both internationally and in Sweden. The opinions on whether it should be legalized or not differ from country to country, which is reflected in how they implement their different laws on the subject. The main issues in the debates about surrogacy is whether a legalization of altruistic surrogacy would lead to safe methods within the medical care and stop the expansion of illegal markets or if there’s risks of opening the doors to a bigger commercial market. Parallel to the political discussion and opinions on the subject, the portrayal of surrogacy has appeared within popular culture, as in TV-series, for a period of time. It can be found in different genres like drama and comedy since the 90s, which makes the subject interesting to observe. The purpose of this essay is to study how the topic of surrogacy is portrayed in two different genres in the TV-series Friends and The Handmaid’s tale. For this purpose we use multimodal analysis to answer if there are similarities and/or differences in the portrayal of surrogacy within our research material. The theoretical framework is based on Richard Dyers theories on stereotypes, Carol Patemans ideas of ‘the sexual contract’ and Brooke Weihe Edges studies on the representation of women in different movie genres amongst others. Our study shows that even if the genres vary there are stereotypical structures in how both infertile women and surrogate mothers are presented to the audience.
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Wilson, Nicole. "Ruling Bodies in Feminist Speculative Fiction : Body Politics and Reproductive Rights in The Handmaid’s Tale and The Carhullan Army." Thesis, Högskolan Dalarna, Engelska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28210.

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Lindgren, Moa, and Aya Sheikhmoussa. ""Don’t let the bastards grind you down" : En multimodal kritisk diskursanalys av hierarkier i TV-serien The Handmaid’s Tale." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103897.

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This study attempts to examine how gender roles appear in the adaption of Margaret Atwood’s published book, The Handmaid’s Tale TV series, which introduces the fictional and dystopian society Gilead, where the infertility rates decreased as the result of climate change. This study focuses on the first, second and third seasons of the TV series from 2017-19. A qualitative method was used to study how groups of males and females are portrayed in a hierarchy. This study examines how males and females are represented in The Handmaid’s Tale through a content analysis with multimodal critical discourse analysis as a method, completed with gender system theory and feminist standpoint theory.  In the study, we focused on four groups of females and two groups of males that were included in an obvious ranking in the hierarchy of Gilead. All of the groups were analyzed separately to observe how their gender roles were represented in the TV series. Consequently, we compared the male groups to the female groups to examine the differences between their representation and ranking in the hierarchy in Gilead. The results of this study shows that males are dominant and females are submissive in Gilead, which confirms the gender theory used in this study. The low-ranking groups of females, such as the handmaids or the marthas also confirmed the existence of the feminist standpoint theory. It shows that the groups of males were placed in the highest ranking in the hierarchy in Gilead, even though some of the women seemed to be powerful, it was not enough to dominate all of the male groups in the hierarchy.
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Brandstedt, Nathalie. "The Complexity of Motherhood in Dystopian Novels : A comparative study of Margaret Atwood’s The Handmaid’s Tale and Lois Lowry’s The Giver." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-44202.

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This study explores how motherhood is depicted in Margaret Atwood’s and Louis Lowry’s dystopian novels The Handmaid’s Tale and The Giver. It examines the negative social and psychological consequences of forced surrogacy in the novels’ state-constructed nuclear families, looking closely at a lack of maternal love and care. Using feminist and psychoanalytic criticism, this essay examines the link between the broken connection of mother and child and the protagonists’ search for maternal love in other relationships. It contrasts the protagonists’ rebellion to the social backlash effect and shows how motherhood emerges as a form of resistance against the social engineering of the dystopian societies.
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Gosser-Duncan, Jennifer. "Religion, Power and Gender in Margaret Atwood’s Dystopian Societies : A Reading of The Year of the Flood and The Handmaid’s Tale." Thesis, Umeå universitet, Institutionen för språkstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160236.

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Women are traditionally counted among the victims or losers in religious power plays. On the surface, Margaret Atwood’s dystopian novels give the impression that women will be the underdogs in these stories as well. However, on closer examination and application of Michel Foucault’s techniques of power, it can be seen that women indeed have and use power to put up resistance in otherwise seemingly hopeless situations in male dominated religious societies. The religious societies in The Year of the Flood and The Handmaid’s Tale will be compared as to how they appropriate religion and power to their advantage and how women make use of power techniques such as witnessing through discourse and the forbidden written language, use of their bodies and the fraying threads of power as opportunities, as well as community and solidarity and forgiveness to turn their situation around and fight for their futures.
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Abreu, Relines Rufino de. "O (des)velar de ideologias em The Handmaid s Tale: vozes/discursos entrelaçados nas amarras do poder." Universidade Federal de Viçosa, 2012. http://locus.ufv.br/handle/123456789/4843.

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Margaret Atwood is known as one of the major contemporary writers and one of the greatest names of the Canadian Literature. She uses her characters to make political and social discussion about several themes. Her book, The Handmaid s Tale (1985), which is the focus of this research, constitutes a vast material for analysis of issues concerning power relations and subject identity. Thus, the aim of this study is to identify the representations of the social forces that move and recognize as valid an anti-democratic system, analyzing and investigating power relations in the construction of the individual identity, from the perspective of the subject and its relationship with the social environment. The methodological procedures used in the analysis are based on a close reading of Margaret Atwood s text and on its critical essays. In order to fundament the analysis of power and the intricate relationship of the social voices in The Handmaid s Tale, the theories of Michel Foucault and Mikhail Bakhtin were most relevant, providing insights into the study and the researcher s apprehension of the fictional universe of Margaret Atwood, as well as of the general context in which the work takes part.
Margaret Atwood é reconhecida como uma das maiores escritoras contemporâneas e um dos grandes nomes da Literatura Canadense. Através de suas personagens, ela trava fortes discussões políticas e sociais em suas obras acerca de inúmeros temas, sempre buscando alternativas para um discurso que se pretende verdade única. O romance de sua autoria, The Handmaid s Tale (1985), foco do estudo desta pesquisa, mostra-se um espaço vasto para se analisar as nuances retratadas entre as relações de poder e o redimensionamento/construção da identidade do sujeito. Deste modo, o objetivo deste estudo é identificar as representações das forças sociais que movem e reconhecem como válido um sistema antidemocrático, analisando e investigando as relações de poder na construção da identidade do indivíduo, sob a perspectiva do sujeito e sua relação com o meio social. Os procedimentos metodológicos utilizados se voltam para a análise do texto literário em vista dos conhecimentos adquiridos com as leituras teóricas e os ensaios críticos de Mikhail Bakhtin e Michel Foucault, trazendo ao estudo a leitura da pesquisadora e sua apreensão do universo fictício de Margaret Atwood, assim como do contexto geral em que a obra se insere e aquele a que o texto remete.
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Wallworth, Giorgia. "Traversing the boundaries of the New Momism: Challenging the “good” mother myth in The Handmaid’s Tale (2017 –) and Big Little Lies (2017 –)." Thesis, Department of Gender and Cultural Studies, 2018. http://hdl.handle.net/2123/18909.

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This thesis explores the conflicting and polarising nature of contemporary motherhood, whereby tactics of surveillance and monitoring generate internalised anxieties surrounding the achievement of “good” motherhood. Through a textual analysis framework, this thesis examines the capacity for televisual texts to intervene in and provide a commentary on, the cultural conversations surrounding the regulation of mothering practices and the kinds of subjectivities women can inhabit in 21st century America. The heightened politicisation of women’s bodies in the United States and its intersecting relationship with motherhood is examined through Hulu’s The Handmaid’s Tale (2017 –) and HBO’s Big Little Lies (2017 –). Although the texts are generically very different, with one being a dystopian drama and the other a realistic suburban “whodunnit”, I argue that both texts represent a complex engagement with the central female characters who come to understand their selves within, and outside of, their role as mothers. I also examine the characters’ everyday feminine entanglements with violence and trauma that invoke a collective act of consciousness raising between the female characters as well as from the audience. In my analysis of both texts, I draw extensively on Adrienne Rich’s (1976) definition of motherhood as a patriarchal institution, its potentially empowering qualities and the dichotomy of motherhood as a site of both love and anger, as well as Susan J. Douglas and Meredith W. Michaels’ (2005) theory of “The New Momism” and the postfeminist trope of “having it all”. I argue that the changing landscape of production, access and distribution, allows for television to re-orient the male gaze, challenge dominant, limiting narratives about motherhood as well as providing a platform for female characters to “speak back to” traditional representations of women, and their role as mothers on screen.
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Rine, Abigail. "Words incarnate : contemporary women’s fiction as religious revision." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1961.

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This thesis investigates the prevalence of religious themes in the work of several prominent contemporary women writers—Margaret Atwood, Michèle Roberts, Alice Walker and A.L. Kennedy. Relying on Luce Irigaray’s recent theorisations of the religious and its relationship to feminine subjectivity, this research considers the subversive potential of engaging with religious discourse through literature, and contributes to burgeoning criticism of feminist revisionary writing. The novels analysed in this thesis show, often in violent detail, that the way the religious dimension has been conceptualised and articulated enforces negative views of female sexuality, justifies violence against the body, alienates women from autonomous creative expression and paralyses the development of a subjectivity in the feminine. Rather than looking at women’s religious revision primarily as a means of asserting female authority, as previous studies have done, I argue that these writers, in addition to critiquing patriarchal religion, articulate ways of being and knowing that subvert the binary logic that dominates Western religious discourse. Chapter I contextualises this research in Luce Irigaray’s theories and outlines existing work on feminist revisionist literature. The remaining chapters offer close readings of key novels in light of these theories: Chapter II examines Atwood’s interrogation of oppositional logic in religious discourse through her novel The Handmaid’s Tale. Chapter III explores two novels by Roberts that expose the violence inherent in religious discourse and deconstruct the subjection of the (female) body to the (masculine) Word. Chapters IV and V analyse the fiction of Kennedy and Walker respectively, revealing how their novels confront the religious denigration of feminine sexuality and refigure the connection between eroticism and divinity. Evident in each of these fictional accounts is a forceful critique of religious discourse, as well as an attempt to more closely reconcile foundational religious oppositions between divinity and humanity, flesh and spirit, and body and Word.
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Latterell, Richard Allan. "The Role of the Chorus Master in Three Contemporary Operas Addressing Social Conflict: A Dramatic Analysis of Poul Ruders’ (b. 1949) The Handmaid’s Tale (1998), Jake Heggie’s (b. 1961) Dead Man Walking (2000), and Kevin Puts’ (b. 1972) Silent Night (2011)." Diss., North Dakota State University, 2019. https://hdl.handle.net/10365/29391.

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Abstract:
In opera, the opera chorus actively shapes the dramatic structure through interactions with the soloists, commentary after events, and momentum provided toward scene endings. Since the chorus traditionally represents the voice of the people, it also provides a natural access point by which audiences may connect to the unfolding drama. To realize its dramatic potential, an opera chorus must have a resonant, vibrant sound that is more “soloistic” than other genres of choral music. Indeed, there are quantifiable acoustic differences between classical solo and choral singing. The characterizations of the chorus must also be convincing. Yet there is only minimal research, to date, describing a systematic approach to rehearsing the opera chorus and applying those rehearsal techniques to specific musical examples. In this disquisition, I summarize existing research regarding choral rehearsal strategies and the role of the chorus master. I then synthesize and apply this research in the form of a chorus master’s analysis of choral excerpts from three contemporary operas recently produced by The Minnesota Opera: Norwegian composer Poul Ruders’ (b. 1949) The Handmaid’s Tale (1998), Jake Heggie’s (b. 1961) Dead Man Walking (2000), and American composer Kevin Puts’ (b. 1972) Silent Night (2011). I argue that a chorus master’s rehearsal strategies for these works must invite efficient, classical vocalism and a dramatic, textually informed interpretation of the elements of melody, harmony, form, rhythm, texture, and timbre. The composers of these three operas hoped to engage audiences about specific social issues: whether absolute power corrupts any ideology in The Handmaid’s Tale; whether capital punishment should be allowed in Dead Man Walking; and from the historical wartime truce in Silent Night, whether violent conflict is the direct result of our failure to seek connections with others who hold convictions different from our own. But social learning requires dialogue. The opera chorus, in giving voice to the people, can be a bridge between the audience and the greater social lessons to be learned from these operas. It can inspire audience members to share their experience and begin this dialogue. Thus, for the chorus master, there is much at stake.
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Latterell, Richard Allan. "The Role of the Chorus Master in Three Contemporary Operas Addressing Social Conflict: A Dramatic Analysis of Poul Ruders? (b. 1949) The Handmaid?s Tale (1998), Jake Heggie?s (b. 1961) Dead Man Walking (2000), and Kevin Puts? (b. 1972) Silent Night (2011)." Diss., North Dakota State University, 2019. https://hdl.handle.net/10365/29391.

Full text
Abstract:
In opera, the opera chorus actively shapes the dramatic structure through interactions with the soloists, commentary after events, and momentum provided toward scene endings. Since the chorus traditionally represents the voice of the people, it also provides a natural access point by which audiences may connect to the unfolding drama. To realize its dramatic potential, an opera chorus must have a resonant, vibrant sound that is more ?soloistic? than other genres of choral music. Indeed, there are quantifiable acoustic differences between classical solo and choral singing. The characterizations of the chorus must also be convincing. Yet there is only minimal research, to date, describing a systematic approach to rehearsing the opera chorus and applying those rehearsal techniques to specific musical examples. In this disquisition, I summarize existing research regarding choral rehearsal strategies and the role of the chorus master. I then synthesize and apply this research in the form of a chorus master?s analysis of choral excerpts from three contemporary operas recently produced by The Minnesota Opera: Norwegian composer Poul Ruders? (b. 1949) The Handmaid?s Tale (1998), Jake Heggie?s (b. 1961) Dead Man Walking (2000), and American composer Kevin Puts? (b. 1972) Silent Night (2011). I argue that a chorus master?s rehearsal strategies for these works must invite efficient, classical vocalism and a dramatic, textually informed interpretation of the elements of melody, harmony, form, rhythm, texture, and timbre. The composers of these three operas hoped to engage audiences about specific social issues: whether absolute power corrupts any ideology in The Handmaid?s Tale; whether capital punishment should be allowed in Dead Man Walking; and from the historical wartime truce in Silent Night, whether violent conflict is the direct result of our failure to seek connections with others who hold convictions different from our own. But social learning requires dialogue. The opera chorus, in giving voice to the people, can be a bridge between the audience and the greater social lessons to be learned from these operas. It can inspire audience members to share their experience and begin this dialogue. Thus, for the chorus master, there is much at stake.
APA, Harvard, Vancouver, ISO, and other styles
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