Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666) . Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären-, Vogel-, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs- und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary : Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666) . Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear-men, bird-men, worm-men, and the like are far from utopian truth-seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this-worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology.     

Oxen Can Plow,But Women Can Ruminate: Animal Classification and the Helper in Genesis 2,18-24

ABSTRACT

In describing the finding of a helper for the newly created man in Gen 2,18-24, the author established a contrast between the woman, who is suitable for the role, and various types of animals, which are unsuitable for the role. The author did this to use the characteristics which the Israelites associated with each type of animal, and which disqualified them from being the helper, as a foil to draw the reader's attention to the various characteristics of the woman which qualified her to be the helper. These qualifying characteristics were the woman's terrestrial existence, her physical and helpful association with the man, and her intelligence. In particular, it was intelligence which set the woman apart from the animals and most definitively characterized her as the one who, unlike the animals, was qualified to be the corresponding helper to the man.     

The Feasibility of Teaching Scientific and Technical Russian without the Prerequisite of a General Russian Language Course

The plot of the short novel La mano en la trampa (Beatriz Guido, 1961) is about a young woman who becomes a heroine while trying to find out the truth about a family secret known as “El Opa.” Her work as a spy needs to be done in complete secrecy. Her family is behind her and she needs to escape from censorship. Her family story is similar to Argentina's context at that time when many people had to avoid the control and excessive power of Peron's government. Everything seems to be double in this novel: spaces, characters, life stories, ghosts, vampires, haunting and repressive atmospheres. All of these elements contribute to the gothic spirit in La mano en la trampa that I explore in this article.     

The elusive ‘je’: Language and female subjectivity in Simone de Beauvoir's Les Belles Images

The most striking feature of the narrative of Simone de Beauvoir's novel Les Belles Images (1966) is the constant shift between the third‐person pronoun ‘elle’ (or ‘Laurence') and the first‐person pronoun ‘je’. The pattern produced by this shift in narrative voice within the text has important implications for the construction of female subjectivity in the narrative, primarily in relation to its central character, Laurence. This article examines the nature of Laurence's relationship with language using arguments offered by the feminist psychoanalyst Luce Irigaray pertaining to the relationship of exclusion binding women to language in patriarchal culture. My reading of the novel examines how far Laurence's problematic relationship with language might be read in terms of a quest to articulate her ‘je’ and make her ‘marginal’ voice heard. Further, it engages with, but ultimately problematises, Toril Moi's notion of an ‘authorial’ reading at work in Beauvoir's fictional texts.     

Embodying the Colonial Encounter: Explaining New Zealand's ‘Grace Darling’, Huria Matenga

Focusing on the heroine of an 1863 New Zealand sea rescue, this article is concerned with gender, race and the colonial encounter. The rescue became an example of harmonious race relations, advocating Maori service as part of settler society governance. The article analyses Huria Matenga's place in the rescue as white settlers endorsed, rewarded and constructed her in relation to the imperial reference point of British heroine Grace Darling. It is argued that the gendered imperial narrative of Grace Darling combined with transcultural representations of women and the sea to accord Huria Matenga a central place in the rescue. While in the early twentieth century Grace Darling's memory was more entrenched in mainstream New Zealand society than Huria Matenga's, by the beginning of the twenty‐first century, Grace Darling as imperial signifier had disappeared, and the legend of Huria Matenga existed alone in a state of postcolonial irony. The article demonstrates that mythologies of and commemoration for heroines are constantly recast and operate across a complex network of local, national and transnational levels.     

A Japanese “Girl's Reading” of Dostoevsky's Poor Folk: Senuma Kayô and the Origins of Japanese “Girls' Literature”

Senuma Kayô (1875–1915) was Japan's first woman translator from Russian. She is now remembered mainly for her translations from Chekhov. This paper examines one of Kayô's early works, Mazushiki shôjo (A Poor Girl, 1904), translated from Dostoevsky's Poor Folk, which was one of the first Japanese translations of a work by Dostoevsky to be made directly from the Russian original. Kayô chose to translate only a part of Dostoevsky's work, focusing on the memoir of the character Varvara, in which her first love and its tragic end are recounted. While the central theme of Dostoevsky's work is poverty and its impact on human relationships, in Kayô's translation the central theme is Varvara's misfortune in love. In this emphasis Kayô found a “girl's story” in Dostoevsky's novel, and Mazushiki shôjo foreshadowed a new wave of Japanese girls' literature, which attracted many new female readers. Kayô's translation style is examined to see how it contributed to the development of a style appropriate to girls' story writing.     

Telling Stories about the Colonies: British and French Women in Algeria in the Nineteenth Century

This article recounts the stories told about Véronique Eugénie Allix‐Luce and her school for Muslim girls founded in Algiers in 1845. Drawing on English feminist writings, including correspondence and travel narratives, it explores how women, such as Barbara Bodichon and Bessie Rayner Parkes, constructed this French schoolteacher as a modern day heroine. French colonial authorities and women's travel narratives provide a more complicated portrait and reveal the weight of cultural and gender politics within the French ‘civilising mission’ that ultimately erased the memory of this initiative. By retelling the story of Mme Luce's school through the double perspective of British and French contemporaries, the article offers insight into the disappearance of women's roles in the French story of Algerian colonisation.     

Imagining Heloise as Abbess of the Paraclete

This article argues that traditional presentations of Heloise focus on her image as a heroine of love rather than giving sufficient attention to her status as abbess of the Paraclete. In particular, there has been unjustified neglect of the final dossier in her exchange, known as the Institutiones nostre, written in response to Peter Abelard's Institutio, or Rule for the Paraclete. These observances were formulated to establish uniform practices at both the Paraclete and its first daughter-house at Trainel, dedicated to Mary Magdalen. This neglect of Heloise's role as an abbess encouraged a tendency in the late seventeenth and eighteenth centuries to focus on themes of erotic rather than religious longing, as well as a subsequent tendency to question the authenticity of the letters of Heloise, without full appreciation of her role as abbess of the Paraclete. A translation of the Institutiones nostre is included as an appendix.     

‘White as Cheese’: A Discussion of ‘Jbene’, the Palestinian Oicotype of ATU 403

This article examines the oral versions of the Palestinian tale ‘Jbene’, an oicotype of ATU 403, focusing on the relationships between two plot details that neutralize each other: whitening the heroine, as an act of creation/blessing; and blackening her in an attempt to ruin/destroy her. Socio-cultural aspects are examined, taking into consideration the status of female sexuality in Palestinian society, as well as the Palestinian–Israeli conflict. The oicotype is viewed as both strengthening Palestinian collective identity and at the same time conveying messages to young women on how to handle their sexuality within a patriarchal society.     

Samuel Butler's Sheep

Alice Stopford Green, widow of proto-social and Teutonic nationalist historian J.R. Green, who went on to become an Irish nationalist historian and campaigner, complicates our view of fin-de-siècle women writers. Surprisingly for an amateur historian in an age of professionalization, she took a consciously separatist position, privileging the particular over the general, and defining her writing as both female and Irish.

This article focuses on Stopford Green's 1915 epilogue to her husband's Short History of the English People (1874), and her startlingly anguished periodical article of 1897 from Nineteenth Century, to demonstrate a separatism both bold and self-aware.‘Woman's Place in the World of Letters’ (1897) prefigures Cixous in its call for an écriture feminine. It views women as utterly alien to the established order of this world. Stopford Green at once acquiesces with female essentialisation – ‘woman’ comes in the singular – and undermines it by insisting that woman's true nature is almost never seen. In the ‘Epilogue’ (1915), which updates her husband's narrative to her war-torn present, Stopford Green voices jingoistic rhetoric, but employs unobtrusive asides to distance herself from these calls to imperialism. Through such surreptitious means, she uses her late-husband's popular textbook as the conduit of subversive ideas, both voicing and subverting his English nationalism.     

La Quintrala's Confessions: The Contesting of Female Agency and Indigeneity in Two Popular Chilean Visual Narratives

Doña Catalina de los Ríos y Lisperguer, known as ‘La Quintrala,’ a seventeenth-century aristocratic woman of mixed ancestry accused of torture, witchcraft, and murder, has persisted as a recurring figure in the Chilean imaginary. While literary representations of this figure have been well explored, this article contributes an examination of two visual narratives, paying particular attention to the manner in which genre and context influence the repurposing of this violent woman: the 1986 teleserie La Quintrala, produced by Chile's state-owned television station (TVN), and the Chilean newspaper Las últimas noticias's 2008 comic ‘La Quintrala y el Cristo de Mayo.’ The teleserie, a product of the Pinochet era, positions her as an antithesis to the ideal Chilean woman, simultaneously denying her agency and condemning her. The comic echoes the rhetoric of the Concertación governments as it prominently links La Quintrala's downfall and redemption to the genesis of modern Chile at the cost of her distinctive racial and gendered characteristics. Ultimately, each work employs the structure of confession to recall her crimes while rejecting the female agency and racially mixed heritage La Quintrala represents.     

Beyond the stereotypes: Mary Lavin's Irish women

This paper discusses Mary Lavin's place within the Irish literary tradition by means of an analysis of her representations of female characters. It argues, first, that Lavin's short stories depart from the short story tradition in general and the Irish short story tradition in particular by failing to subscribe to the cultivation of the romantic outsider and focusing instead on family relations and social responsibilities. Second, Mary Lavin's marginal position in a feminist or female literary tradition is explained through her unwillingness to portray women as victims and through the absence of a clear critique of patriarchy in her work. The paper then tries to characterise the relationship between individual and society in Lavin's short fiction in a more positive way, by focusing on the notions of individual fate and personal responsibility, which turn out to be crucial to Mary Lavin's philosophy. This philosophy is first discussed explicitly in a reading of the story ‘Happiness’ and ‘The Widow's Son’ and subsequently shown to lie behind the oppositions and dilemmas in several other stories. Finally, the article demonstrates how Lavin manages to realise her Nietzschean belief in an Amor Fati in some of her most positive female characters through a clever use of imagery and point of view, without thereby succumbing to sentimentality or cliché.     

¿Hacia una literatura de compromiso? Cohesión social desde el individuo en La muerte de Kurt Cobain de Care Santos

Socially committed writing in contemporary Spanish narrative scene sometimes eliminates the possibilities of depicting individual realities. Care Santos's novel La muerte de Kurt Cobain (1997) develops the case of a unique young girl who goes through a life-changing experience during a summer when she has to overcome personal issues in order to form her persona. The novel is half crime-fiction since there is a mystery to solve and half bildungsroman due to the formation of the personality of the female lead character. Coming of age by becoming a human being, a friend, a sister, and a woman is the main focus of this text, which rejects generalizations regarding youth as a reckless period of life and embraces adulthood as a natural process of growth. Young Spanish girls represented in Santos's work are portrayed through the protagonist who contributes to build a human and cohesive society that stems from the level of commitment of the individual.     

The Case of Beatrice Brooke: Fictions of Law and Marriage in Caroline Norton's Lost and Saved (1863)

In comparison with her influential political essays on matters of child custody, divorce and marital property settlements, the novels of Caroline Norton remain relatively under-studied. The purpose of this article is to revisit one of these novels, Lost and Saved, published in 1863, and to do so more particularly as an exercise in literary jurisprudence. It argues that the story of Beatrice Brooke, the unfortunate heroine of the novel, is shaped in considerable part by the law; first, by the peculiar terms of a probate settlement which serves to preclude her marriage to her ultimately duplicitous lover Montagu Treherne, and then second, by the broader terms of matrimonial law in nineteenth-century England, the construction of which serves to delude Beatrice into thinking that an ‘irregular’ marriage to Treherne enjoys some residual legal force. Though the medium is very different, the critique of marriage presented in Lost and Saved is just as urgent as that engaged in Norton's more famous political essays.     

Classical Biography: An Ancient Literary Art

The contradictory and distorted portrayal of certain female attributes in Pablo Neruda's Veinte poemas de amor y una canción desesperada is an attempt to understand and unveil, from an adolescent's point of view, the mystery of the "beloved." The lack of knowledge about the female explains the ambivalence and insecurity in the representation of the woman, which resolves itself through a strategy of metamorphosis and textual dissection. Nevertheless, to discover and possess these female attributes is an illusion, a mirage created by masculine desire that only succeeds in approaching the beloved through a series of metamorphoses and fragmentation that actually obscures her further. But the effort is not in vain. The desire to understand (and love) makes possible the pursuit of the female who always is the same, although somehow different: the unknown stranger.     

A Feminine Atlas? Sacagewea,the Suffragettes and the Commemorative Landscape in the American West, 1904-1910

This article examines how American suffragettes sought to reinscribe women's lives and experiences into the canon of American historical narratives about the 'conquest' of the West as part of their wider campaign for an enhanced female role in public life in the early years of the twentieth century. The analysis focuses on the centenary of Lewis and Clark's early nineteenth-century explorations into the Pacific North-west. The renewed interest in the exploration of the West during this centenary gave women activists an opportunity to develop a modified, and more explicitly female, version of events in which the previously obscure figure of Sacagewea, the young Native American women who had guided Lewis and Clark, assumed a more central position. The idea of Sacagewea as a historical role model for modern American womanhood was assiduously cultivated in several historical and literary texts that have been explored in detail elsewhere. This article is primarily concerned with the hitherto unexamined, but closely related, campaign to commemorate Sacagewea's achievements by physically reinserting her image into the emerging cultural landscape of the West in a series of statues erected to her memory at various points on her epic journey. The article concludes by considering some of the ironies associated with this new emphasis on the female contribution to the Lewis and Clark narrative. Though a necessary corrective to earlier masculine accounts, the cultivation of Sacagewea by white, educated and well-to-do American women served only to underscore the persistence of other divisions within early twentieth-century American society, particularly surrounding the vexed question of 'race'.     

Voices from the Margins: Gendered images of ‘Otherness’ in colonial Morocco

The main goal of this essay is to study a book- El Marroc sensual i fanatic - of travel writings written by a Catalan woman traveller, and to put it within the context of the recent scholarship that relates, on the one hand, travel narrative with Orientalism and gender and, on the other, geography and colonialism. The contradictory nature of the contents of the book leads us to challenge the notion of simple 'Othering' as presented in Said's works where the heterogeneity of colonial power is neglected in a totalising dichotomy between the colonising Self and the colonising Other. The contemporary Spanish official discourse was indeed pro-colonial and paternalistic and often drew on notions of shared history and geographical proximity in order to legitimise an 'altruistic' colonial presence. The author's position is very different from this official discourse, but is deeply ambivalent. Her ambivalence arises from her gender which allows her to live the last Spanish colonial adventure as an outsider, and also from her positioning in Spanish politics. The confrontation between different cultures and traditions is sharply delineated in her accounts on Moroccan women, the primary aim of her travel. The (cultural) impermeability of the Others, with whom she would like to identify deeply, yet with whom she cannot really communicate, forces her to construct her own vision of the identity of these Others, projecting her own view of (Western) feminism. The essay demonstrates the importance of focusing on narratives that come from the margins (and particularly from female authors). These provide new perspectives which can destabilise established conceptions of the colonial relationship and, at the same time they can broaden the conceptual and factual history of our disciplines.     

Carlylean Sentiment and the Platonic Triad in Anne of Green Gables

Humor in Anne of Green Gables serves the novel’s realism, establishing the perspective of a child. The humanistic humor and overblown, imaginative realism in Montgomery’s work is both a burlesque on Romantic attitudes and a vehicle for her social outlook, an outlook which is decidedly conservative. Like Thomas Carlyle in Past and Present, Montgomery creates in Avonlea an idealized past that serves (in part) as a moral standard from which she can gauge modernity. Anne’s optimism, her “ambitions,” humanizes Marilla’s Calvinism, Marilla’s tendency toward emotional austerity. But from the mid-point of the novel onwards, the humor is made increasingly at Anne’s expense as Montgomery satirizes Romantic pretensions and steers her heroine away from the extremes of childhood into an adult sense of individual balance and duty.