Examensarbeit, 2007
51 Seiten, Note: 2,0
1. Introduction
2. Origin and studies of gender
2.1. The Christian construction of gender: the Fall
2.1.1. Analysis of Genesis 2–3
2.1.2. Affirmative implications of Genesis 2–3
2.2. Scientific investigations: gender studies
2.2.1. About gender studies
2.2.2. Gender studies and fantasy fiction
2.2.3. The protagonists’ names
3. Gendered worlds
3.1. Familiar cultures
3.1.1. Lyra’s Oxford: medieval patriarchy
3.1.2. Witches and bears: single-sex societies
3.2. Other worlds
3.2.1. Cittàgazze: dystopia
3.2.2. The Mulefa: utopia
4. Biblical allegories: Protagonists in HDM
4.1. Mary Malone
4.1.1. Mary’s life: science versus religion
4.1.2. The serpent and the saint
4.2. Mrs Marisa Coulter
4.2.1. Femme fatale, Lilith or vicious stepmother
4.2.2. Mother fatale or loving mother?
4.3. Lyra Belacqua / Silvertongue
4.3.1. Lyra’s childhood: missing role models
4.3.2. Lyra as female hero
5. The Fall in HDM
5.1. Prerequisites
5.1.1. Eve and Adam
5.1.2. The Church
5.2. The Fall
5.2.1. Two antipodal versions
5.2.2. Lyra and Will
6. Conclusion
This academic work explores the representation of gender roles and the re-interpretation of the biblical "Fall of Man" within Philip Pullman's "His Dark Materials" trilogy. The research investigates how Pullman utilizes alternative worlds and non-traditional character archetypes to challenge patriarchal social structures, religious dogmas, and standard perceptions of gender.
2.2.3. The protagonists’ names
To begin with the Bible again: how did Adam and Eve get their names? Eve receives a name only after the Fall – it signifies the completion of her development, the perfection of her character: “What existed before was an earth creature, then a woman, next an actant, then a mother, and, finally, a being named ‘Eve’” (Bal 2001: 152). In Adam’s case, the name marks his origin, his background (‘made of soil’); in Eve’s it refers to character traits and/or her function (‘the living one’, ‘mother of all living’). He represents affiliation and provenience; she stands for fertility and procreation. Adam’s name refers to the past, Eve’s name to the future. Together they form the present; their names imply functions necessary for life: Adam is to till the ground and get nourishment; Eve is responsible for childbearing and care.
We have seen now just how much is in a name, what it tells about a person’s background, character, function, past and future. The same is intended in a book: the first thing a reader (whether young or old, male or female, experienced or inexperienced) remembers when reading a book is the name of the protagonist. In most cases, the name and therefore the character the reader meets at the beginning of a book will accompany the reader throughout the story and will be there at the end. This character is the reader’s guideline, (often) a figure the reader can identify with and is interested in. Thus, “the proper name is the shortest and the most definite sign of a character. It is its textual marker, embodying its stability and its continuity” (Bal 2001: 151). The name is, therefore, the first indication of the protagonist’s character. Another effect of having a name is that “it provides the illusion of fullness” (Bal 2001: 152). Often authors use names for their figures that already tell the reader something about their personality without any further explanations.
1. Introduction: Presents the relevance of the Fall of Man in literature and defines the essay's focus on gender perspectives within the "His Dark Materials" trilogy.
2. Origin and studies of gender: Examines the biblical roots of gender roles and introduces academic gender studies as the analytical framework for the work.
3. Gendered worlds: Explores how societal structures in Pullman's fictional universes, from Oxford to the Mulefa world, reflect and challenge gender norms.
4. Biblical allegories: Protagonists in HDM: Provides a deep-dive into the characters Mary Malone, Mrs. Coulter, and Lyra Belacqua, analyzing their archetypal roles.
5. The Fall in HDM: Discusses the central allegory of the Fall of Man as it is presented and re-imagined throughout the trilogy.
6. Conclusion: Synthesizes the findings, confirming Pullman's advocacy for equality, humanism, and the critical questioning of established religious and gender narratives.
Gender Studies, Philip Pullman, His Dark Materials, Fall of Man, Biblical Allegory, Feminism, Patriarchy, Literary Hero, Dæmons, Lyra Belacqua, Mrs. Coulter, Mary Malone, Utopian Fiction, Narratology, Free Will
The paper provides a gender-oriented literary analysis of Philip Pullman’s "His Dark Materials" trilogy, specifically focusing on how the author reinterprets traditional biblical themes and gender roles.
The study covers the construction of gender in Christian traditions, the application of gender studies to fantasy fiction, the analysis of character archetypes, and the representation of utopian versus dystopian societal structures.
The goal is to demonstrate that Pullman uses his fictional worlds to critique gender stereotypes and to advocate for a humanistic understanding of the "Fall," framing it as an advancement toward maturity and free will.
The author uses a gender-oriented narratological approach, which emphasizes content, character interpretation, and the interaction between the literary text and social reality, as opposed to purely structuralist analysis.
The main section analyzes specific female characters like Lyra, Mary Malone, and Mrs. Coulter, compares different versions of the "Fall" found in the books, and evaluates the critical representation of the Church.
Key terms include Gender Studies, Fall of Man, Biblical Allegory, Feminism, Literary Hero, Dæmons, and Utopian Fiction.
The author views Mrs. Coulter as a complex, many-faceted figure whose development from a self-serving individual to a selfless protector illustrates the humanizing power of maternal love and the transition from innocence to moral experience.
The author argues that names in the trilogy function as textual markers that embody a character’s stability, past, and potential future, often serving as deliberate allusions to historical, biblical, or mythological figures.
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