English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The aim of this paper is to show how Atwood’s reformulations of myths contain hidden political messages from ancient and modern history and can be interpreted from Fredric Jameson’s views on ‘symbolic acts,’ discourse and the ideology of form . Several scholars have explored the symbolic relationship between the three major protagonists in The Robber Bride and fragments of the omnipotent image of the Neolithic deity the White Goddess. As the symbolic counterparts of Diana, Venus and Hecate in the novel, Tony, Roz and Charis demonstrate how women’s integrity has been crippled and how the restoration of female principle is just a utopian idea. However, our analysis has revealed that the younger generation of “goddesses” does not bring hope to the female gender in either the present or the future. Augusta, Paula and Erin symbolize oversimplified and parodied versions of the destructive Hecate in an unpromising world and “the not-good place” that resembles a dystopia.

The Robber Bride: a Dystopian Female World in Margaret Atwood’s Mythology