Please use this identifier to cite or link to this item:

Extravagant Fabrics of Myth: The Language of Ideology in The Lover

File SizeFormat 
Fujikane_Candance.PDF1.02 MBAdobe PDFView/Open

Item Summary

Title: Extravagant Fabrics of Myth: The Language of Ideology in The Lover
Authors: Fujikane, Candace
Advisor: Bacchilega, Cristina
Issue Date: 15 Jan 2014
Publisher: University of Hawaii at Manoa
Abstract: A central obstacle to a feminist project seeking social change lies within ourselves and our collusion with the very structures that oppress us. As Catherine Belsey points out, collusion is a problem that must be investigated in the larger structures of subject production based on the subject's assumption of ideological representations. This concern necessitates a reexamination of the material conditions that shape women's perceptions of their subjectivities and the processes of subject production in our culture. Marguerite Duras's portrayal of mythified images of women has been a site of controversy for many women. While several feminists valorize her presentation of the "absent woman" as revolutionary, both a representation of women's history of oppression and a refusal to participate in patriarchal structures, others argue that her images of women reaffirm a male representation of the world, and they maintain that Duras's work lacks political significance. I would like to argue that, on the contrary, Duras addresses the problem of ideological interpellation and construction of women in a culture based on a specular economy. Patriarchy interpellates women in mythified positions outside of society, dematerializing women and thus diverting a full understanding of real oppressive structures. While acknowledging that these myths provide a means for women to endure cultural pressures, Duras counters this mythifying tendency by returning the mythified figure of woman to specific experiences and contexts. A woman's perception of her subjectivity as shaped by her imaginary relations with the real conditions of existence is a central concern of her recent text L 'Amant (1984; translated as The Lover in 1985).
Pages/Duration: 69 pages
Rights: All UHM Honors Projects are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission from the copyright owner.
Appears in Collections:Honors Projects for English

Items in ScholarSpace are protected by copyright, with all rights reserved, unless otherwise indicated.