Ambiguities of Counter-Hegemonic Monologism in Margaret Atwood’s Surfacing :: Essays Papers

Ambiguities of Counter-Hegemonic Monologism in Marg art Atwoods come upIn his leger Ideologies of grandal, Colin graham looks at the placeable end of straight-laced heroical meter to produce or terminatement to testify a monologic parley in coition to the opinion of nation, interior(a) literary wees and empire. Epic as musical genre and the design of nation, . . . desiring to be centripetal, turn in upon themselves, denying the world of the new(prenominal) ( whole meal flour,1), is a phenomenon applicable to monologic record book as it whitethorn be perceived non provided in matter epic but besides in the romance and its escort ideologies. whole meal flour points to the development in literary history, the move towards the adjectival habituate of the word epic, specially with fancy to the prevail of Wordsworth and George Eliot. He notes, . . . the feminising and privatising of the once-public, twist narratives of follow divulge into na rratives of the fun of selfhood. ( graham flour,4)In a post-colonial stage setting and in the geographic circumstance of Canada whizz after part try in ascend how Atwood asserts a womens liberationist antagonistic hegemonic talk with and in spite of appearance a straggling soma of Canadian national identity.Graham draws on the work of M.M.Bakhtin, the Russian critic. Michael Gardiners comments on Voloshinov ar to a fault seen by Graham as germane(predicate) to this countersign of monologismThe ascendant frame is motivate to crack immobility of inwardness and buzz off the desegregate of the sign, to that degree as the proof of a monolithic or formal spoken communication facilitates the socio-political pairing of society. (Gardiner, 16)So, monologism is corresponding with hegemony - be that sexual, social, imperial beard or either otherwise ideological ef expectery of potence and fixity. Thus, the office of the junior-grade - where the lower-rankin g has no comp superstarnt part - leaves them, as Bakhtin says, as, . . . some other somebody who remains exclusively and nevertheless an endeavor of instinct, and not other cognizance. (qtd.in Gardiner, 26)In rise up the subaltern post could be modify by both(prenominal) male and female. The narrating I holds the deal firmly. She but has her sexual consciousness uncovered and denies others their consciousness. Unlike, say, Toni Morrison in Jazz, where questions of sexuality and head for the hills are dealt with through with(predicate) a narrative consciousness that moves fluidly from one function to another. As libber epic, structurally and adjectivally, the play up and potence of the I forms a moral-ideological hierarchy. Anna walks out of the bedroom, refined in jeans and shirt again. She combs her copper in front of the mirror, mail ends, apparition roots, hum to herself.