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Journal articles on the topic 'The representation of the mother in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

Whitehead, Anne. "Reading with empathy: Sindiwe Magona’s Mother to Mother." Feminist Theory 13, no. 2 (August 2012): 181–95. http://dx.doi.org/10.1177/1464700112442645.

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Through a reading of Sindiwe Magona’s Mother to Mother (1998), this article assesses claims for the empathetic potential of reading fiction, as a means of promoting cross-racial understanding. Drawing on feminist theorists Ann Cvetkovich, Clare Hemmings, and Sara Ahmed, I uncover the modes of political critique that can reside in resisting affective identification, and position Magona’s rejection of empathetic cross-racial connection as a critique of the South African Truth and Reconciliation Commission (TRC). I focus particularly on Magona’s representation of black motherhood, and argue that Mother to Mother seeks to inscribe the systematic violation of the maternal relation under apartheid – a form of violence that was not registered by the TRC – and also to position the black mother’s affective experience outside of the empathetic reach of the white mother, precisely because it is embedded in a long history of social, political, and material dispossession.

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2

VARVOGLI, ALIKI. "Radical Motherhood: Narcissism and Empathy in Russell Banks's The Darling and Dana Spiotta's Eat the Document." Journal of American Studies 44, no. 4 (July 19, 2010): 657–73. http://dx.doi.org/10.1017/s0021875810001313.

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This article discusses constructions and representations of motherhood in Russell Banks's The Darling and Dana Spiotta's Eat the Document. It argues that the theme of motherhood has a long, if often overlooked, presence in American literature, and that the two novelists use the figure of the mother in order to engage with the themes of empathy and community. The novels participate in familiar postmodernist practices, such as multiple, fragmented viewpoints and narratives, unreliable narrators, non-chronological storytelling and the mingling of fact and fiction. However, they do not wholeheartedly embrace two key postmodern issues: irony and loss of affect. Instead, they seek to move away from some of the postmodern novel's more excessive decathecting tendencies, and they achieve that through their representations of mothers who, in not acquiescing to society's norms, challenge gender roles and cultural assumptions. The two fictional mothers under discussion share a past as Weather Underground activists, and in giving voice to them and refusing to demonize them as “bad” mothers, their creators also seek to expose other American narratives that reinforce dominant ideology and suppress the margins.

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3

Durán Manso, Valeriano. "The construction and the representation of the mother figure in the film production of Tennessee Williams: Typology and case studies | A construção e a representação da figura da mãe na produção do filme de Tennessee Williams: tipologia e estudos de caso." Pós-Limiar 1, no. 1 (November 28, 2018): 34. http://dx.doi.org/10.24220/2595-9557v1n1a4059.

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The maternal figure has an important presence in the literary and film works of the American playwright Tennessee Williams (1911–1983). This writer, who grew up in a southern environment marked by the religion and social conservatism, had in his own family a source of inspiration to build their characters. In this sense, the influence of his mother, the absence of his father and his sister’s disability, were determinants for the author to develop a special sensitivity to understand personal relationships. The person who exerted a great influence on his development was his mother, Edwina, who was first portrayed in “The Glass Menagerie”, and, subsequently, reflected his character and personality traits that were evident in some of his major works and adaptations. With the aim of reflecting on the important influence of Williams’ mother for the development and representation of their mothers in fiction, the aim of this article was to propose a typology of the parent that are present in his work. To do this, and with reference to Edwina, the article addresses mother-protagonists of some of his most relevant film adaptations, which were adapted in Hollywood between 1950 and 1968, such as “The Rose Tattoo” of Daniel Mann of the year of 1955, “Suddenly, Last Summer” of Joseph L. Mankiewicz of the year of 1959, and “This Property Is Condemned” of Sydney Pollack of the year of 1966, the latter being one of the most important film adaptations of the playwright.

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4

Lacalle, Charo, and Beatriz Gómez. "The representation of workingwomen in Spanish television fiction." Comunicar 24, no. 47 (April 1, 2016): 59–67. http://dx.doi.org/10.3916/c47-2016-06.

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During the sixties and seventies the limited presence of women in the public sphere was reflected in the restricted repertoire of roles played by female characters in television fiction (mainly those of mothers and wives). The strengthening of the feminist movement in the following decades increased and diversified the portrayals of women in the workplace, and further encouraged academic research on the social construction of working women. Despite the relevance of female professionals in current TV shows, the importance of romantic relationships and sexuality has led to a decreasing number of studies on the subject. This article summarizes the results of a study on working women in Spanish TV fiction, part of a larger project on the construction of female identities. The research uses an original methodology that combines quantitative techniques and qualitative methods (socio-semiotics) to analyse the sample of 709 female characters. The results show a coexistence of the traditional stereotypes of working women in customer service and care-giving positions with those of highly skilled female professionals. However, the empowerment of women in positions of responsibility is often associated with a negative portrayal of the character, while the problems of reconciling family and work are systematically avoided. La reducida presencia de la mujer en la esfera pública durante los años sesenta y setenta se reflejaba en el limitado repertorio de roles (madre y esposa principalmente) que le atribuía la ficción televisiva. El impulso feminista de las décadas sucesivas estimuló las representaciones de los personajes femeninos en el ámbito laboral y la reflexión académica sobre la construcción social de la mujer trabajadora. Pero, a pesar de la relevancia del rol profesional en las protagonistas de la ficción actual, la relevancia de las relaciones sentimentales y de la sexualidad ha revertido en el reducido número de estudios sobre el tema. Este artículo sintetiza los resultados de un análisis de la mujer trabajadora en la ficción televisiva española, integrado en un proyecto sobre construcción de identidades femeninas. La investigación propone una metodología original, que combina métodos cuantitativos y cualitativos (socio-semiótica) para afrontar el estudio de 709 personajes femeninos. La investigación revela la convivencia de estereotipos ligados a las representaciones tradicionales de los empleos de las mujeres (trabajos relacionados con la atención al público y el cuidado de las personas) con otras profesiones altamente cualificadas. Sin embargo, el empoderamiento de las mujeres con cargos de responsabilidad se asocia frecuentemente con una caracterización negativa del personaje, al tiempo que los problemas de conciliación de los roles familiares y profesionales se eluden sistemáticamente.

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5

Mohanty, Sulagna. "NATIVE, NATURE AND NEGOTIATION: AN ECO-LITERAL STUDY OF CONCILIATION OF PAST AND PRESENT WITH REFERENCE TO LESLIE SILKO’S NATIVE AMERICAN FICTION GARDENS IN THE DUNES." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 41–45. http://dx.doi.org/10.26524/krj174.

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The indigenous cultures all over the world are strongly interwoven with a range of natural components. All these indigenous and aboriginal worlds including Native Americans are known for their holistic tradition as they love and revere a variety of ecological elements such as the Mother Earth, foliage, waterway, deep marine, and downpour. In the Native American fiction Gardens in the Dunes by Leslie Marmon Silko, the author weaves a spectacular narrative to convey the story of nature, home, mother, memory, exile, and return. Silko portrays this strong bonding while depicting the close relationship between Nature andvarious Native American characters. As the Native American culture believes in the deep bonding between its nature and its community members, their varied forms of farming and gardening become integral to their cultural identity. The recurrent recollections of Indigo’s mother, her Grandmother Fleet, Sister Salt, and above all, the image of the Old Garden represent the recreation and reconstruction of her cultural memory and its association with the Mother Nature. The protagonist Indigo’s love for gardens brings back the mythical memory of the Biblical ‘Garden of Eden’ which is the ‘Garden of God’ as described in the Book of the Genesis. The displacement of Indigo from her indigenous garden becomes a representation of the man’s dissociation from nature and Indigo’s homecoming to her native garden denotes man’s perpetual longing to reconcile with Mother Earth. Thus, this paper seeks to analyze the re-establishment of a negotiation between old and new, past and present and most importantly the man and the nature in the backdrop of colonization with reference to Gardens in the Dunes by Leslie Marmon Silko.

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Rahimova, U. "Status of Femininity and Motherhood in the Work of Anne Enright." Bulletin of Science and Practice 7, no. 3 (March 15, 2021): 380–83. http://dx.doi.org/10.33619/2414-2948/64/51.

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The aim of this work is to identify the ways of image representations and to reveal authorial positioning in Irish literature. As the image of mother and the topic of the family are inextricably linked, and they have become crosscutting themes in foreign writers’ fiction as well as in the works of Anne Enright’s unusual interpretation of this key image in Irish literature is of great interest for the researchers.

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7

Péneau, Emilie. "“Don't ever ask for the true story”: versions of reality and life stories in Atwood’s short fiction." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2010 (January 1, 2010): 140–43. http://dx.doi.org/10.33178/boolean.2010.32.

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My research focuses on Margaret Atwood’s short fiction and intends to explore how Atwood uses this particular genre in order to challenge ideological discourses. It highlights the use of this genre in order to convey or subvert ideas and considers its place in literature. It then explores the function of storytelling in Atwood’s short stories. Finally, it examines the representation of gender, Canadian identity and global issues in these stories. Storytelling has a key role in my thesis, as Atwood draws attention to the subjectivity of any narrative in order to emphasise the ideological aspect of these narratives. Therefore, this article considers the politics of storytelling in Atwood’s short stories and uses two stories to illustrate how Atwood’s writing is self-reflexive: “Giving Birth” and “Significant Moments in the Life of my Mother”. Much of Atwood’s work is concerned with the fact that any writing, even those claiming to truth such ...

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8

Rorato, Laura. "Narratives of Displacement: The Challenges of Motherhood and Mothering in semi-fictional works by Laura Pariani, Mary Melfi, and Donatella Di Pierantonio." International Journal of Comparative Literature and Translation Studies 6, no. 1 (January 31, 2018): 75. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.1p.75.

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This article analyses the representation of the impact of migration on family dynamics in three autobiographical works: Laura Pariani’s Il piatto dell’angelo (2013), Mary Melfi’s Italy Revisited. Conversations with my Mother (2009), and Antonella Di Pietrantonio’s Mia madre è un fiume (2011). All three authors were directly or indirectly affected by the wave of emigration that took place in Italy between the end of the 19th century and the first half of the 20th century. Pariani extends her observations to the present by focusing also on those South American women who are currently moving to Italy to work as cares for old people, often leaving their families behind. Motherhood and mothering are central themes in all three books. These works problematise the patriarchal notion of motherhood and highlight the need to move towards alternative concepts of motherhood that do not imply the subordination of women. Additionally, this article offers a reflection on the role that creative writing can play in challenging some of the most engrained stereotypes, such as those of the good mother versus the bad mother, partially related to our Christian tradition. Building on Podnieks and O’Reilly’s notion of “maternal texts” (1-2), this article argues that through fiction women are less inhibited in exploring the thornier aspects of motherhood as a social construction than they seem to be in everyday life.

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9

Ostalska, Katarzyna. "“A right kind of rogue”: Lisa McInerney’s "The Glorious Heresies" (2015) and "The Blood Miracles" (2017)." Text Matters, no. 9 (December 30, 2019): 237–58. http://dx.doi.org/10.18778/2083-2931.09.15.

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The following article analyzes two novels, published recently by a new, powerful voice in Irish fiction, Lisa McInerney: her critically acclaimed debut The Glorious Heresies (2015) and its continuation The Blood Miracles (2017). McInerney’s works can be distinguished by the crucial qualities of the Irish Noir genre. The Glorious Heresies and The Blood Miracles are presented from the perspective of a middle-aged “right-rogue” heroine, Maureen Phelan. Due to her violent and law-breaking revenge activities, such as burning down the institutions signifying Irishwomen’s oppression (i.e. the church and a former brothel) and committing an involuntary murder, Maureen remains a multi-dimensional rogue character, not easily definable or even identifiable. The focal character’s narrative operates around the abuse of unmarried, young Irish mothers of previous generations who were coerced to give up their “illegitimate” children for adoption and led a solitary existence away from them. The article examines other “options” available to “fallen women” (especially unmarried mothers) in Ireland in the mid-twenty century, such as the Magdalene Laundries based on female slave work, and sending children born “out of wedlock” abroad, or to Mother and Baby Homes with high death-rates. Maureen’s rage and her need for retaliation speak for Irish women who, due to the Church-governed moral code, were held in contempt both by their families and religious authorities. As a representative of the Irish noir genre, McInerney’s fiction depicts the narrative of “rogue” Irish motherhood in a non-apologetic, ironic, irreverent and vengeful manner.

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10

Avanzas Álvarez, Elena. "Form and Diversity in American Crime Fiction:The Southern Forensic Thriller." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 309–19. http://dx.doi.org/10.7311/pjas.13/2/2019.11.

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The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too. Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.

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11

Arens, Sarah. "Killer Stories: 'Globalizing' the Grotesque in Alain Mabanckou's African Psycho and Leïla Slimani's Chanson douce." Irish Journal of French Studies 20, no. 1 (November 1, 2020): 143–72. http://dx.doi.org/10.7173/164913320830841692.

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Focusing on Leïla Slimani's Chanson douce (2016) and Alain Mabanckou's African Psycho (2003), this article traces a grotesque aesthetics that draws on other globally circulated texts, such as North American crime fiction, the literary trope of the serial killer and the 'evil mother', as well as on the recognition value of the city of Paris to appeal to a global, and in particular Western readership. While this new aesthetics is clearly informed by previous generations of African literature, such as the texts that have served to illustrate Achille Mbembe's articulation of the grotesque, the 'commandement' in Slimani and Mabanckou's novels is exercised by less tangible dynamics of transnational capitalism, class differentiation, gender stereotypes, and social marginalisation. The article considers the ways in which both Slimani and Mabanckou's narratives place a new importance on, and instrumentalize the role of the audience — as readership — by making them a central element of their representation of the grotesque. The writers' public performance of their identities as celebrity literary authors then serves to better understand how their re-configuration of the grotesque as a 'globalized' aesthetic extends to a re-thinking of what African literature in French and its authors are today on the world literary market.

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12

Qutait, Tasnim. "“Qabbani versus Qur’an”: Arabism and the Umma in Robin Yassin-Kassab’s The Road from Damascus." Open Cultural Studies 2, no. 1 (May 1, 2018): 73–83. http://dx.doi.org/10.1515/culture-2018-0008.

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Abstract In The Road from Damascus (2008), Syrian-British writer Robin Yassin-Kassab’s debut novel, the protagonist describes “the opposing camps of [his] childhood,” as narratives of “Qabbani versus Qur’an” (56). While Sami’s father idolises the pan-Arabist poet Nizar Qabbani and supports the Syrian regime despite its repressive policies, Sami’s mother, disillusioned with nationalist ideology, turns instead to faith, offering her son a “different mythology” based on “the adventures of God’s messengers” (53). Tracing Sami’s negotiations of these seemingly opposed inherited narratives, Yassin-Kassab’s novel examines the lingering impact of pan-Arabism and the alternatives offered by Islamic frameworks. While critics have previously approached this novel as part of a growing corpus of British Muslim fiction, in this essay, I focus more closely on the novel’s interrogation of Arab nationalism. As I will show, Yassin-Kassab’s novel unfolds as a series of ideological disillusionments that chart the protagonist’s confrontation with the failure of nationalist politics. Inviting the reader to follow the protagonist’s successive conversions and de-conversion from various forms of nationalism, Yassin-Kassab’s representation of the polarisation between “Qabbani versus Qur’an” poses the question of how one might find alternatives beyond such restrictive dichotomies, dramatizing the inadequacies of political vision in the Arab world today.

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Rodgers, Julie. "In Defence of Shopping: A Consideration of the Pleasurable, Playful and Empowering Potential of Consumerism in Selected Works by Gabrielle Roy." Nottingham French Studies 52, no. 1 (March 2013): 97–112. http://dx.doi.org/10.3366/nfs.2013.0042.

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This article examines the representation of shopping in selected fictional and autobiographical works by French-Canadian author Gabrielle Roy (Bonheur d'occasion, Rue Deschambault and La Détresse et l'enchantement) It argues that, in the case of Roy, the activity of shopping can be seen to constitute not only a playful and pleasurable pursuit for women, but also one that has the potential to be empowering. Shopping in Royan works offers female characters the opportunity to dream, to create, to escape the everyday, to explore and, perhaps most importantly, it facilitates female bonding, particularly between mother and daughter.

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DeLisle, Giulia Po. "Representing postpartum depression in contemporary cinema: Cristina Comencini’s Quando la notte and Alina Marazzi’s Tutto parla di te." Forum Italicum: A Journal of Italian Studies 52, no. 1 (March 15, 2018): 130–52. http://dx.doi.org/10.1177/0014585818764868.

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This article aims to analyze Quando la notte, Cristina Comencini’s 2011 film, and Tutto parla di te, Alina Marazzi’s 2012 first fictional film. Both directors explore some of the problematic emotions that characterize motherhood, and challenge the traditional way of thinking about maternity by offering a reflection on identity, solitude, and solidarity, and by representing how the conflict between fear of the unknown and knowledge can be unraveled by the disclosure of the past into the present. Comencini develops a female stance that hints at a re-appropriation of identity and the assertion of female pleasure. Marazzi builds a choral representation of a female symbolic order, intertwining personal and public spaces and fulfilling the director’s desire to redeem the figure of her own mother.

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15

MESSENT, PETER. "Discipline and Punishment in The Adventures of Tom Sawyer." Journal of American Studies 32, no. 2 (August 1998): 219–35. http://dx.doi.org/10.1017/s0021875898005854.

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Beltings and beatings play a prominent role in Twain's boy fictions. In “The Story of the Bad Little Boy” (1865), Jim is “always spanked…to sleep” by his mother and, instead of a good-night kiss, “she boxed his ears when she was ready to leave him.” While in Adventures of Huckleberry Finn (1884–85), when Huck stays with pap in the cabin in the woods, “by-and-by pap got too handy with his hick'ry, and I couldn't stand it. I was all over welts.” It is the prevalence of such punishments, and attempted punishments, in Tom Sawyer's young life that provides the starting-point for my present analysis of childhood discipline and its fictional representation in The Adventures of Tom Sawyer (1876). For to focus on the different types of punishment Tom undergoes, the supervisory controls which are placed over him, and the way he responds to them, is to suggest a reading of Twain's novel as illustrative both of the changing forms of domestic discipline being introduced in America in the 1830s and 40s, and the spaces in which that discipline functions. In pursuing this line of inquiry, I build on previous work on the development of modern American social regulation in the antebellum period, and particularly that by G. M. Goshgarian and Richard H. Brodhead.

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Karpukhina, T. P. "AESTHETIC ASPECTS OF EKPHRASIS IN GUY DE MAUPASSANT’S SHORT STORY «UN PORTRAIT» («A PORTRAIT»)." Bulletin of Kemerovo State University, no. 1 (April 25, 2018): 193–200. http://dx.doi.org/10.21603/2078-8975-2018-1-193-200.

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The current article features the phenomenon of ekphrasis, i.e. a verbal representation of a work of fine arts in fiction, as presented in Guy de Maupassant’s short story "Un portrait". Aesthetic aspects of ekphrasis alongside the linguistic means of its expression are subjected to analysis. The leitmotif of the short story is the thematic motive of an enigmatic, inexplicable mystery that is unraveled at the end of the story. The firstperson narration begins with the description of a gentleman whose indescribable charm fascinates everyone he meets. Being invited to his house, the narrator notices a portrait of an extremely charming lady that happens to be the host’s mother, who died very young. That is how the mystery of the irresistible and captivating charm of the gentleman is solved. The portrait turns out to be a doppelganger of the host, and thus the archetypal ekphrastic motif of an image coming to life is realized. Both the main character of the story as a human being in the flesh and the image in the picture as a still, non-living work of art, manifest themselves as equally significant aesthetic objects, united by one common inherent quality, i.e. the magic and charm of beauty. The beauty does not ensue from the well-bred manners of the son or from a spell-binding expression of the mother’s eyes; the beauty lies in their capability of being absolutely natural, in harmony with their own selves. Aesthetic aspects of the ekphrastic description find their expression in a variety of linguistic means (epithets, metaphor, personification, simile, syntactic parallelism, etc.). Particular significance belongs to a big number of lexical units pertaining to visual perception, which is a specific feature of the archetypal scheme of ekphrasis. Equally important are the words and phrases characterizing the vitality of the image portrayed.

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17

Monteiro, Marlène. "The Body as Interstitial Space between Media in Leçons de Ténèbres by Vincent Dieutre and Histoire d’un Secret by Mariana Otero." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 111–26. http://dx.doi.org/10.2478/ausfm-2014-0018.

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Abstract This essay examines the ways in which the representation of the body in painting is the starting point of a broader reflection on the plasticity of the medium in two French autobiographical films. In Histoire d’un secret (Story of a Secret, 2003) by Mariana Otero and Leçons de ténèbres (Tenebrae Lessons, 2000) by Vincent Dieutre, the body is indeed at the centre, albeit in very different ways. The first is a documentary about the director’s mother who died of the consequences of an illegal abortion in the late sixties. She was an artist and her paintings, many of which depict lascivious female nudes, pervade the film. The second is a self-fictional essay that weaves together narrated episodes of the film-maker’s story as a homosexual and drug addict with close-ups of Caravaggist paintings which tend to focus on bodies in pain. Whether prefiguring death and embodying the absent body through the latent evocation of maternity in the first case, or looking back into figural art in the second, both films point to the plasticity of the medium through the representation of matter, that is, paint and, ultimately, the body. The way in which both film-makers resort to light, the close-up, and, as far as Dieutre is concerned, the diversity of film formats, embodies what Deleuze defines as the haptic gaze to explore cinema’s own materiality. In addition, the presence of the paintings introduces the issue of intermediality which modestly points to a mise en abyme of the broader question of cinema’s shifting ontology.

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Likuchova, S. "MOTHER – DAUTHER RELATIONSHIP IN FICTION." International Humanitarian University Herald. Philology 2, no. 49 (2021): 90–92. http://dx.doi.org/10.32841/2409-1154.2021.49-2.20.

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19

Cuklanz, Lisa M. "Fact, fiction, presentation, representation." Critical Studies in Mass Communication 15, no. 4 (December 1998): 468–71. http://dx.doi.org/10.1080/15295039809367064.

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20

Ziporyn, Terra. "Mother-Infant Bonding: A Scientific Fiction." JAMA: The Journal of the American Medical Association 269, no. 16 (April 28, 1993): 2146. http://dx.doi.org/10.1001/jama.1993.03500160116047.

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21

Graf, Linda A. "Mother-infant Bonding: A Scientific Fiction." Journal of Human Lactation 10, no. 2 (June 1994): 133–34. http://dx.doi.org/10.1177/089033449401000231.

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22

Pelletier, Vincent D., and Dina Sherzer. "Representation in Contemporary French Fiction." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 269. http://dx.doi.org/10.2307/1347308.

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23

Jefferson, Ann, and Dina Sherzer. "Representation in Contemporary French Fiction." Modern Language Review 83, no. 3 (July 1988): 743. http://dx.doi.org/10.2307/3731362.

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24

Brewer, Maria Minich, and Dina Sherzer. "Representation in Contemporary French Fiction." SubStance 16, no. 3 (1987): 99. http://dx.doi.org/10.2307/3685206.

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25

Sherzer, Dina. "Representation in Contemporary French Fiction." Poetics Today 7, no. 3 (1986): 597. http://dx.doi.org/10.2307/1772530.

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26

Praeger, Michele, and Dina Sherzer. "Representation in Contemporary French Fiction." Poetics Today 8, no. 3/4 (1987): 704. http://dx.doi.org/10.2307/1772581.

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27

Petit, Susan, and Dina Sherzer. "Representation in Contemporary French Fiction." South Atlantic Review 52, no. 4 (November 1987): 160. http://dx.doi.org/10.2307/3200392.

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28

Wilkins, Ruth. "Mother-Infant Bonding. A Scientific Fiction (Book)." Sociology of Health and Illness 15, no. 4 (September 1993): 555–57. http://dx.doi.org/10.1111/1467-9566.ep11373757.

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29

Warner, Marina. "Mother Goose Tales: Female Fiction, Female Fact?" Folklore 101, no. 1 (January 1990): 3–25. http://dx.doi.org/10.1080/0015587x.1990.9715774.

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30

de Bruin-Molé, Megen. "‘Hail, Mary, the Mother of Science Fiction’." Science Fiction Film & Television 11, no. 2 (June 2018): 233–55. http://dx.doi.org/10.3828/sfftv.2018.17.

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31

Hasumi, Shigehiko. "Fiction and the `Unrepresentable'." Theory, Culture & Society 26, no. 2-3 (March 2009): 316–29. http://dx.doi.org/10.1177/0263276409103110.

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In this article I argue that basic characteristics of the medium of cinema formed during the relatively brief era of silent movies continued to characterize film throughout the 20th century. Despite the development of talkies in the 1920s, sound was never truly integrated into the composition of cinema in the sense implied by the term `audiovisual'. This is a reflection not only of technological constraints but also of a fundamental ideological orientation that prohibited the direct representation of the voice. This `prohibition' of the voice is not a phenomenon confined entirely to cinema. Through a critique of the debate begun by Godard and Lanzmann on representation of the Auschwitz gas chambers in film, I consider how the issue of the `unrepresentable' must be extended beyond the issue of visual representation so as to also include the matter of representation in sound. It is only now that we have entered the 21st century that the `visibility' of this larger issue of representation is presented to us.

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ATENCIA-LINARES, PALOMA. "Fiction, Nonfiction, and Deceptive Photographic Representation." Journal of Aesthetics and Art Criticism 70, no. 1 (January 2012): 19–30. http://dx.doi.org/10.1111/j.1540-6245.2011.01495.x.

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Oppenheimer, Yochai. "Representation of Space in Mizrahi Fiction." Hebrew Studies 53, no. 1 (2012): 335–64. http://dx.doi.org/10.1353/hbr.2012.0039.

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Zdolska-Wawrzkiewicz, Anna, Magdalena Chrzan-Dętkoś, Daria Pizuńska, and Mariola Bidzan. "Attachment Styles, Various Maternal Representations and a Bond to a Baby." International Journal of Environmental Research and Public Health 17, no. 10 (May 12, 2020): 3363. http://dx.doi.org/10.3390/ijerph17103363.

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(1) Background: The aim of this study was to assess the relationship between: (a) new mothers’ styles of attachment to their own mothers with their representation of self as a mother as well as with their representation of one’s mother as a mother, (b) new mothers’ representation of self as a mother with their representation of one’s own mother as a mother, and (c) their bonds with their children and their styles of attachment to their own mothers. (2) Methods: A total of 86 mothers were interviewed approximately six months postpartum. The Adjective Checklist, a modified version of the Experiences in Close Relationships, and the Postpartum Bonding Questionnaire were used in the study. (3) Results: Analysis revealed a statistically significant relationship between the new mothers’ styles of attachment to their own mothers and both their representation of self as a mother and their representation of one’s mother as a mother. The relationship between representation of self as a mother and representation of one’s mother as a mother was also statistically significant. No statistically significant relationship was observed between the style of attachment to one’s mother and the bond with one’s child six months postpartum. (4) Conclusions: A deeper understanding of the relationship between these variables may improve the help system directed at young mothers.

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Murphy, Robin R. "Robot mothers in science fiction." Science Robotics 6, no. 54 (May 12, 2021): eabi9220. http://dx.doi.org/10.1126/scirobotics.abi9220.

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36

Ghosh, Ritwik. "Fictional and Non-fictional Narrative Representations of State Repression and Terror in the Dirty Wars in Argentina (1976-1983) and Chile (1973-1990)." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 42–55. http://dx.doi.org/10.47631/ijecls.v2i4.258.

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I argue that fictional representations of the Dirty Wars in Argentina (1976-1983) and Chile (1973-1990) allow for the possibility of forgiveness and healing, while non-fictional representations such as testimonies and conversations do not. Focusing on a variety of fictional and non-fictional texts, I analyze why and how state repression inflicts trauma and violence upon its victims and survivors. The novels I analyze are no place for heroes by Laura Restrepo, El Angel’s Last Conquest by Elvira Orphée and Bedside manners by Luisa Valenzuela. The non–fictional works I analyze are Nunca Mas: A Report By Argentina’s National Commission on Disappeared People, That Inferno: Conversations of Five Women Survivors of an Argentine Torture Camp, Circle Over Death: Testimonies of the Mothers of the Plaza de Mayo and We, Chile: Personal Testimonies of the Chilean Arpilleristas. The theoretical underpinnings of my arguments are Paul Ricouer’s Memory, History, Forgetting (2004) and Avishai Margalit’s The Ethics of Memory (2002), both of which attempt to think through the relationship between forgetting and forgiving.

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Myers, Brian. "Mother Russia: Soviet Characters in North Korean Fiction." Korean Studies 16, no. 1 (1992): 82–93. http://dx.doi.org/10.1353/ks.1992.0008.

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38

Ferrer, Ada, and Lorna Valerie Williams. "The Representation of Slavery in Cuban Fiction." Hispanic American Historical Review 75, no. 4 (November 1995): 673. http://dx.doi.org/10.2307/2518061.

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Rodriguez-Luis, Julio, and Lorna Valerie Williams. "The Representation of Slavery in Cuban Fiction." Hispanic Review 64, no. 2 (1996): 295. http://dx.doi.org/10.2307/474669.

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Jimenez, Luis A., and Lorna Valerie Williams. "The Representation of Slavery in Cuban Fiction." Hispania 78, no. 4 (December 1995): 811. http://dx.doi.org/10.2307/345148.

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41

Smith, M. "Rhetoric and Representation in Non-fiction Film." British Journal of Aesthetics 41, no. 2 (April 1, 2001): 222–25. http://dx.doi.org/10.1093/bjaesthetics/41.2.222.

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Ferrer, Ada. "The Representation of Slavery in Cuban Fiction." Hispanic American Historical Review 75, no. 4 (November 1, 1995): 673–74. http://dx.doi.org/10.1215/00182168-75.4.673.

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Byun, Jai-Ran. "Woman, Grand-mother, and Representation of Aging." Journal of the Korea Contents Association 12, no. 4 (April 28, 2012): 108–18. http://dx.doi.org/10.5392/jkca.2012.12.04.108.

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Ashraf, Rabia. "“…Aspects of My Life that I am trying to Understand better”: Reinterpreting the Misinterpreted Mother in Doris Lessing’s under My Skin and the Grass is Singing." Khazar Journal of Humanities and Social Sciences 20, no. 4 (December 2017): 56–70. http://dx.doi.org/10.5782/2223-2621.2017.20.4.56.

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With the application of psychoanalytic and feminist tradition, the psychotherapeutic aspect of interpreting the mother, concept of motherhood and the phenomenon of mothering using feminist tradition is analyzed in this paper. Doris Lessing, through her self-representational writing, fictive protagonists (based on herself and her mother) and by declaring in the later part of her life that her mother was a personality that demanded more thinking, understanding and empathy on her part instead of repulsion, hatred and fear to be like her which is called matrophobia, it can be stated that this psychotherapy of matrophobia (Ashraf 77) is Lessing’s predominant concern in both her novels and autobiographies. However, there are means through which the works emerges out to be psychotherapeutic and tracing out those modes and exploration of the therapy of matrophobia is the primary concern of this research paper.

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Lee, Sonia. "Changes in the mother image in West African fiction." Neohelicon 14, no. 2 (September 1987): 139–50. http://dx.doi.org/10.1007/bf02094679.

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Jang, Soo-Hee. "The Student soldiers and the Mother ―The Representation of Soldiers’ mother in 1940s―." Journal of Next-Generation Humanities and Social Sciences ll, no. 9 (March 2013): 59–73. http://dx.doi.org/10.22538/jnghss.2013..9.59.

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Bauer, Beth Wietelmann, and Lou Charnon-Deutsch. "Gender and Representation: Women in Spanish Realist Fiction." Hispanic Review 61, no. 1 (1993): 106. http://dx.doi.org/10.2307/473299.

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Saleem, Ali Usman. "De-doxified Representation of History in Manto’s Fiction." Pakistan Social Sciences Review 4, no. I (March 31, 2020): 918–29. http://dx.doi.org/10.35484/pssr.2020(4-i)70.

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Fernandez, James D., and Lou Charnon-Deutsch. "Gender and Representation: Women in Spanish Realist Fiction." Tulsa Studies in Women's Literature 11, no. 2 (1992): 371. http://dx.doi.org/10.2307/464312.

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Sinclair, Alison, and Lou Charnon-Deutsch. "Gender and Representation: Women in Spanish Realist Fiction." Modern Language Review 87, no. 4 (October 1992): 1012. http://dx.doi.org/10.2307/3731526.

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