Resilience and the Muttered Voice in Dalcher’s Vox
The present chapter discusses that after three decades after Mar-garet Atwood’s The Handmaid’s Tale (1985) and more than four deca-des of Ursula K. Le Guin’s The Left Hand of Darkness (1969), or Joanna Russ’s The Female Man (1975), dystopia is still a fashionable literary genre to vindicate women’s...
| Autores: | , |
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| Formato: | capítulo de livro |
| Fecha de publicación: | 2024 |
| País: | España |
| Recursos: | Universidad Camilo José Cela (UCJC) |
| Repositorio: | Depósito Digital e-UCJC |
| OAI Identifier: | oai:repositorio.ucjc.edu:20.500.12020/1926 |
| Acesso em linha: | https://www.dykinson.com/libros/travesia-por-los-limites-de-la-literatura-entre-cultura-critica-y-la-innovacion-docente-mas-alla-de-la-inteligencia-artificial/9788411709224 http://hdl.handle.net/20.500.12020/1926 |
| Access Level: | acceso abierto |
| Palavra-chave: | Filosofía, Filología y Lingüística Utopia Dystopia Gender Silenced women voices Postmodernism 6202 Teoría, Análisis y Crítica Literarias |
| Resumo: | The present chapter discusses that after three decades after Mar-garet Atwood’s The Handmaid’s Tale (1985) and more than four deca-des of Ursula K. Le Guin’s The Left Hand of Darkness (1969), or Joanna Russ’s The Female Man (1975), dystopia is still a fashionable literary genre to vindicate women’s voice and gender identity in imagi-ned societies such as Atwood’s Gilead, Le Guin’s Gueden, Russ’s Womanland or even in transformed modern American societies as shown in Vox, in order to claim their more than necessary presence in public life. And, in this case, not only is it essential to vindicate women’s voice, but also to talk about their physical silence in what we can somehow call the psycholinguistics of silence. |
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