Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This essay will compare Margaret Atwood´s dystopian novel The Handmaid’s Tale to the tv-adaptation of the novel by Bruce Miller. In the original work, the protagonist Offred narrates the story of her life in a patriarchal society called Gilead. In contrast, the viewers are guided by different sound and visual strategies in the series. One sound strategy is the use of voice-overs as the viewers can hear Offred´s thoughts in situations where she is being mistreated. In addition, visual strategies include the viewers watching the ceremony from a bird-view angle and reviewing the scene as outsiders looking in. I argue that the novel provides a deeper understanding of how it is to live in Gilead as a handmaid, as Offred, because of how the novel is told through first-person narration. Also, in both versions, Offred is objectified by the Gilead society, but in the tv-version, I believe that she is also objectified by specifics of the adaptation. The essay will focus on the objectifying treatment of Offred by comparing the novel and the series and the use of these strategies and discuss relevant terms from the story through the narrative of Offred. The analysis is divided into three passages from the novel and corresponding episodes from the series’ first season. They are chosen since the objectifying treatment of Offred is demonstrated within them. The theoretical framework is feminist theories of objectification to help me compare the novel and the series regarding this aspect, primarily, the objectification theory established by Barbara Fredrickson and Tomi-Ann Roberts. The essay, all in all, shows that the handmaids, as fertile women, in the patriarchal society of the Gilead are treated as mere objects whether through their sexuality or their reproductive function.

This thesis examines how patriarchal dystopian societies attempt to control their citizenry through the homogenization of discourse and the employment of Foucauldian panopticons. In the context of these power structures, I argue that nonviolent storytelling and restorative memory are more effective in resisting oppression than violent, openly subversive forms of rebellion. In my discussion of The Handmaid’s Tale, I examine how Gilead’s manipulation of public discourse through religious hegemony and restrictions on literacy suppresses the efficacy of individually heroic acts by characters such as Ofglen and Moira. I assert that Offred’s playful deconstruction of language, defiant remembering of her past experiences, and insistence on bearing witness to Gilead’s atrocities without the promise of a listener allows her to successfully resist power and maintain a distinct self. In the analysis of Salt Fish Girl that follows, I study how the Big Six employ a series of cooperative hegemonies to promote neoliberal policies, dehumanize Othered bodies, and rob people in diaspora of cultural memory. Though protagonist Miranda fails in a conventional sense, I conclude that she succeeds due to her remixing of Western texts, hybridization of histories and values, and role in birthing a new, more hopeful future. / Thesis / Master of Arts (MA)

The developing knowledge of life sciences is at the crux of Margaret Atwood's Oryx and Crake as she examines human promise gone awry in a near-future dystopia. This thesis examines aspects of posthumanism, ecocriticism, and feminism in the novel's scientific, cultural, and environmental projections. Through the trope of extinction, Atwood's text foregrounds the effects of human exceptionalism and instrumentalism in relation to the natural world, and engenders an analysis of human identity through its biological and cultural aspects. Extinction thus serves as a metaphor for both human development and human excesses, redefining the idea of human within the context of vulnerable species. Oryx and Crake reveals humanity's organic connections with non-human others through interspecies gene-splicing and the ensuing hybridity. In this perspective, Atwood's text provides a dialogue on humankind's alienation from the natural world and synchronic connections to the animal other, and poses timely questions for twenty-first century consumerism, globalism, and humanist approaches to nature. The loss of balance provoked by the apocalyptic situation in Oryx and Crake challenges commonplace attitudes toward beneficial progress. This imbalance signals the need for a new narrative: A consilient reimagining of humanity's role on earth as an integrated organism rather than an intellectual singularity.

In her 2007 essay “Slow Death (Sovereignty, Obesity, Lateral Agency),” Lauren Berlant asserts that “in the scene of slow death, a condition of being worn out by the activity of reproducing life, agency can be an activity of maintenance” (759). This concept emphasizes the difficulty of maintaining one’s agency while experiencing chronic exhaustion, or what can be referred to as the “wearied state.” Utilizing Berlant’s theoretical framework, this thesis investigates the concept of weariness in two dystopic texts: Margaret Atwood’s The Handmaid’s Tale (1985) and Oryx and Crake (2003). The respective protagonists of The Handmaid’s Tale and Oryx and Crake, Offred and Oryx, each struggle to maintain their agency in the dystopic societies that work to oppress them. Offred, by utilizing wordplay, locates a way to successfully navigate her weariness while simultaneously subverting these who hold power over her. Oryx, oppositely, fails to recognize the sexual power dynamics of her position as a sex slave. Oryx fails to locate her agency, which causes her to normalize her sexually traumatic past. Overall, this thesis argues that weariness need not be final if one makes no attempt to normalize traumatic experiences, remains privy to oppressive ideologies, and retains the ability to cope.

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The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace. / English Studies / M.A. (English)

The central tenet of the study is that language and madness are bound together, language both including madness and perpetuating the exclusion of madness as 'other'. The first chapter considers the representation of madness in Atwood's novels The Edible Woman, Surfacing and Alias Grace from the perspective ofFoucauldian and Kristevan theories oflanguage and madness. Alias Grace becomes the focus in the second chapter. Here the syntax of madness is traced during Grace's stay in the mental asylum. Language, madness and sexuality are revealed as a palimpsest written on Grace's body. The final chapter looks at Grace's incarceration in the penitentiary and her dealings with the psychologist Dr. Simon Jordan where Grace's narrative tightly threads language and madness together. Underlying each chapter is a concern with how language and madness are in permanent interaction and opposition writing themselves onto society and onto Grace. / English Studies / M.A. (English)

This thesis explores the role and representation of the natural world in a selection of Canadian dystopian novels: After the Fact (1986) by Hélène Holden, Voices in Time (1986) by Hugh MacLennan, Oryx and Crake (2004) and The Handmaid's Taie (1985) by Margaret Atwood. In order to argue that Canadian dystopian fiction varies from conventional literary dystopias because of its predominant use of nature, this thesis first examines the influence that archetypal images and symbols of nature have on specific dystopian conventions in Holden's and MacLennan's respective novels. Then, this study looks at how Atwood's critique of nature as a victim in Oryx and Crake and The Handmaid's Taie engages with ecocritic and ecofeminist ideas causing a breakdown in the generic conventions of Atwood's dystopian novels. / Cette thèse explore le rôle et la représentation de la nature dans les romans dystopiques canadiens suivants: After the Fact (1986) d'Hélène Holden, Voices in Time (1986) de Hugh MacLennan, Oryx andCrake (2004) et The Handmaid's Taie (1985) de Margaret Atwood. Ayant pour objectif de démontrer que la fiction canadienne dystopique se distingue de la littérature dystopique traditionnelle en fonction de son utilisation dominante de la nature, cette thèse examine l'influence des images, des symboles et des archétypes de la nature sur les conventions dystopiques spécifiques à After the Fact de Holden et Voices in Time de MacLennan. Ensuite, cette étude analyse la représentation de la nature comme victime dans Oryx and Crake et dans The Handmaid's Taie de Atwood qui diffère des conventions traditionnelles du roman dystopique en s'inspirant des idées découlant de l'écoféminisme et de l'écocritique.