Generations of Canadian Women Alone Together in Margaret Atwood's the Blind Assassin
Notice bibliographique
Résumé
In The Blind Assassin (NY: Anchor Books, 2004), Margaret Atwood tells the story of five generations of Canadian women who find alternatives to the oppressive rules imposed by their husbands and fathers. Constrained by a patriarchal mentality, which reduces women to mere puppets, Atwood's protagonists imitate patriarchal discourses and submit themselves to patriarchal laws to expose the contestable nature of these laws. Their parody of masculine models results as an effect of the strong relationships with the other women in their family. It is through these connections among women that female characters are successful at subverting patriarchal models. When Iris looks at her grandparents' portrait taken shortly after their wedding, she sees the tension and discomfort of their marriage. Although she never meets her grandmother, Iris understands the difficulties of arranged marriages and the status of her grandmother as hostess, household manager, and obedient wife with no money of her own (60). While assuming the patriarchal role of the submissive wife, grandmother Adelia found an outlet in architecture, interior design, and art. She decorates the house in an artistic fashion and expresses her individuality. Not only are her sculptures, decorations, and poems on Christmas cards Adelia's means of self-expression, but they also mediate her communication with future generations. Although their grandmother dies before they were born, Iris and Laura are the products of her silent but decisive education and are modeled after their grandmother's taste and subtle messages about marriage. The marble Medusa over the fireplace suggests a dangerous femininity that can disturb patriarchal structures. Iris's narrative about her parents' marriage portrays her mother, Liliana, as submissive, silent, and blind to her husband's infidelities. Yet Liliana's moment of affirmation as a married woman occurs during her husband's absence when she unofficially takes over the family business. While she allows the patriarch of the house, her father-in-law, to believe in his sovereignty, she turns the situation into her advantage. Liliana makes decisions in Norval's name and under his signature and exposes the patriarchal original as contestable. Iris and Laura being taught to conform and strive to become proper ladies translates both into well-behaved and submissive future wives. Mr. Erskine, a rigid tutor and a pedophile, teaches them lessons about the ruling power of patriarchy. His lessons include: Virgil's Aeneid (in which Dido, betrayed by Aeneas and encouraged by Iris, kills herself), sexual episodes from Ovid's Metamorphoses, the life of Phaedra (the daughter of Pasiphae and wife of Theseus who killed herself after accusing her stepson Hippolytus of rape), and stories about the rape of Europa by a bull, of Leda by a swan, and of Danae by a shower of gold. Despite his teachings of patriarchal paradigms, his beatings, and his sexual abuse, the girls eventually find a way to subvert his methods: What we really learned from him was how to cheat (164). Laura and Iris copy flawless Latin translations from books, insert a few mistakes, and turn in decent homework. They also learn how to conceal their forgeries by mastering the art of mimicry and manipulation of emotions. While they mime the patriarchal model imposed by Mr. Erskine, the two sisters demonstrate its questionable effectiveness. After Iris's arranged marriage with the wealthy industrialist, Richard Griffen, the sisters' relationship changes but does not diminish in intensity. Although both Iris and Laura mime patriarchal models and deconstruct them, they do so separately. While Iris perturbs the patriarchal sacrament of marriage with an extramarital affair, Laura is perturbed by Richard's adulterous and perverse inclinations. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».