(names of the store in Gilead: Milk and Honey, All Flesh, Lilies; Red
Center, the Wall, Birth Center; rituals: Salvaging, Prayvaganza (285),
Particicution,
subjects: Serena Joy 60-61)
Michael: p. 144 "a feminist version of freedom cannot be an either/or
choice between "freedom to" and "freedom from."
-
Post-Gilead World: 12th Symposeum of Gilead Studies in 2195.
University of "Denay¡§("deny¡§; native
group in The Northwest Territories); Canada criticized.
Explains the source of the tale (30 something tapes), their inability
to identify Offred, the Gilead¡¦s ways of arresting women
and possible reasons for infertility.
Similarities between Pre-Gilead period and Gilead period: birth services;
polygamy, totalitarianism (e.g. KGB) p. 386- 87
Gender structure unchanged:
Professor Pieixoto flirting with Crescent Moon ¡V"enjoy" her;
"Underground Femaleroad" --> "The Underground Frailroad" 381
His distrust of the narrator.
"Our job is not to censure, but to understand." 383
-
Sociology of sex roles: Pamela Hewitt (from Teaching Approaches
p. 110)
sexual objectification (e.g. Jezebel's, an underground nightclub,
where women serve as sexual playthings), patriarchy (e.g. the use
of Bible), Gender stratification (differential access to cultural
resources such as prestige, respect, self-esteem, money and goods)
the other concepts: androgyny, gender stereotyping, homophobia, the
Cult of true Womanhood, pornography, rape, etc.
-
surveillance of Eye and the characters' look / Power' and its
reversal
the guardian's look 30; Nick's 30; 302-03; the handmaids' mutual gaze 217;
Serena and Offred 264
"We watch him, every inch, every flicker" 113
power to forgive, temptation to forgive 174
-
the narrator's and other people's resistance
a. the narrator--
-
her keen senses: smell 1, touch 4; heart beating with the womb 190
-
empathy and connections 29, the previous girl, protected 275; talk
13-14; look 24; enjoys the power of a dog bone 30; her idea of freedom
38;
-
her use of language: food (date rap 50 ); correcting Aunt's lessons in
her head 60; "Nolite te bastardes carborundorum": "Don't let the bastard
grind you down." p. 117; 241
-
her memory 16, nightmares 96-98; remembering as filling up a space-time
35; her focuses -on Luke, his whereabout pp. 133-35
mother and daughter relationships--on her daughter 52; 139;
her with ice-cream 213; 82; her mother 152-54;
-
her composition and writing: 86; 123; 166; 173: reconstruction: two-fold:
in the mind and writing ; 181the kiss scene; 185: her need of perspective
and depth ; made-up stories: with Nick 338-40
on flowers 10, 16; 59; Serena's garden 196; different flowers 347,
drier
on words'"chair" 140; "job" 224; body marked with J 259;
-
her stories: about the daughter 82-84, about Luke 44,
-
her story-telling 52'having control; a story is like a letter to you 53
-- "you will have to forgive me" 294
--hatred "no longer pure and simple" 207
-
her challenge of the Lord's Prayer251-53
-
Nick 24;
-
Moira 73; her escape, 166-72; her story 317-
-
Mayday 58; words left in the room 69, 242, Ofglen and "Us" 218; grapevine
261; 376?
2. fairy-tale motif & a child's desire
/language
Intertextuality: Bible, The Little Red Riding Hood, p. 11; garden
p. 16; red tulips 44;
Scarlet Letter, etc.
Biblical Allusions ¡V
Martha, devoted herself to housework while her
sister Mary sat and listened to Jesus.
Jezebel -- tried to kill the Lord's prophets and encouraged Ahab
to do evil. the dogs would devour Queen Jezebel's body
(Kathleen E.B. Manley TA 135) the use of folkore'as product (e.g.
a traditional house described; often to provide verisimilitude) , situation
(context; e.g. storytelling or building of a traditional house included),
medium (the language or style used)
fairy-tale elements'fragments reconstructed,
the garden, the wolf, the grandmother, the Little Red Riding
Hood. "In the novel she explores the relationship of character traits to
flowers to the subtext of sensuality she sees in the original tale" (TA
137,
Cf Sharon Wilson for discussion of the connection between flowers and sensuality.)
garden images: 23; 31; Serena's garden 196; baskets carrying strawberries
240; the last walk 368
other images of sensuality and desire: 3 the gym and dance
Offred like a child 29; 32;
children's language-- dolls 43; the red of the smile = the red of tulips
44; child 178; candy 180; Commander "indulging a child's wish for bubble
gum" 203
eggs'with life inside, incubated by women140-141
3. novel and film:
-
film as the "metaphoric art" (Stuart McDougal, qut in TA 111)
-
five concepts differentiate the novel from the film adaptation: sexualization,
plot smoothing, simplification, thrill seeking, and resolution (TA
111)
-
Differences: the novel: More thinking, remembering, narrating creativity
and feeling on the narrator's part.
e.g. after the 1st ceremony
the film --
Memory¡Xescape scene, quiet
The woman as still an object of gaze. e.g. after the 1st ceremony.
The ending: killed the commander, rescued by Nick--no ambiguity.
Reference:
Stein,Karen F. Margaret Atwood revisited. New York
: Twayne Publishers, c1999.
Wilson, Sharon Rose, Thomas B. Friedman; Shannon. Hengen. Approaches
to teaching Atwood's The handmaid's tale and other works. New York
: Modern Language Association of America, 1996.
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