Titlebook: Margaret Atwood; Coral Ann Howells Textbook 1996Latest edition Macmillan Publishers Limited 1996 body.corpus.fiction.gothic.identity.Inuit

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Textbook 1996Latest editionay in order to indicate the significant continuities beneath her constant shifts of emphasis. Noted for her strong awareness of her own cultural identity as Canadian and a woman, Atwood‘s fiction nevertheless challenges the limits of such categories.

aspect

present day in order to indicate the significant continuities beneath her constant shifts of emphasis. Noted for her strong awareness of her own cultural identity as Canadian and a woman, Atwood‘s fiction nevertheless challenges the limits of such categories.

grandiose

commensurate

Panacea

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,‘Feminine, Female, Feminist’: From , to ‘The Female Body’,ared in 1969 at the beginning of ‘second wave’ feminism, whereas the savage little fable ‘The Female Body’ written 20 years later (after . and a woman artist’s paintings of the female body in .) belongs to the explicitly political context of feminism in the early 1990s, laying out the implications o

congenial

Lost Worlds: ,onto’s multiculturalism. Yet the appearance of this fantasy monster with its ravenous desires intruding into the civilised urban world from the margins of prehistory introduces a principle of heterogeneity into this novel which operates far more radically than the discontinuities signalled by its na

nerve-sparing

Science Fiction in the Feminine: ,me extent, operating’.. Like ., this is another eye-witness account by another ‘ignorant, peripherally involved woman’, this time interpolated within the grand patriarchal narratives of the Bible and of history, just as Offred’s Tale is enclosed within an elaborate structure of prefatory materials a

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,Atwood’s Retrospective Art: ,al references here. There are figures and events and modes of imagery which chime with resonances from Atwood’s earlier works, but I do not want to pursue those explorations here, fascinating as they are.