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All Journal Proceeding of Undergraduate Conference on Literature, Linguistic, and Cultural Studies
Adelie Grace Marianne litaay
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Humanities Education Languange, Linguistic, Communication & Media

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Portraying Son Preference Through Family Dynamics in Elif Shafak's Honour Hilman Maulana Ibrahim; Adelie Grace Marianne litaay
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7028

Abstract

This study examines the representation of son preference in Elif Shafak's novel Honour (2012), which traces three generations of a Turkish immigrant family across rural Turkey and London. "Son preference the systematic cultural valuing of sons over daughters remains deeply entrenched in Turkish and Kurdish patriarchal structures". The study addresses two research questions: how Shafak depicts son preference in the novel, and how son preference influences the experiences of female characters. A qualitative literary approach is applied through close reading of narratives, characters, and family dynamics, guided by two theoretical frameworks: Amartya Sen's (1990) son preference theory, which identifies the structural and cultural dimensions within which son preference operates, and Deniz Kandiyoti's (1988) concept of the patriarchal bargain, which explains how women navigate and reproduce patriarchal systems across generations. The findings reveal that Shafak depicts son preference through three interrelated dimensions of family life: parental behavior and reproductive choices, naming and symbolic treatment of children, and gender inequality in everyday family settings. Son preference affects the four main female characters in distinct ways: Naze accepts the patriarchal bargain completely at the cost of her life, Pembe perpetuates it while suffering under it, Esma recognizes inequality without being able to escape it, and Jamila rejects it but pays a genuine personal price. Together, these positions confirm that son preference in the novel operates not through external forces but from within the relationships that are supposed to protect women.
ELLA DURRAN'S SELF-FORMATION IN JULIA WHELAN'S MY OXFORD YEAR Rafi Husain; Adelie Grace Marianne litaay
Proceeding of Conference on Literature, Linguistic, and Cultural Studies Vol. 6 No. 1 (2026): Vol. 6 No. 1 (2026): UNCOLLCS: PROCEEDING RESEARCH ON LITERARY, LINGUISTIC, AND
Publisher : Fakultas Ilmu Budaya Universitas 17 Agustus 1945 Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30996/pcllcs.v6i1.7057

Abstract

This article analyzes the self-formation of Ella Durran in Julia Whelan's My Oxford Year (2018) through Anthony Giddens' Reflexive Project of the Self. Using Giddens' framework from Modernity and Self-Identity (2020), the study examines how Ella constructs, disrupts, and revises her self-narrative through romantic experience. The study addresses three research questions: (1) How does romantic love initiate Ella Durran's self-formation? (2) How does suffering through love deepen Ella's personal growth? (3) How does love's loss complete Ella's transformation into a fully formed self? Giddens argues that in late modernity the self is not a fixed entity but an ongoing reflexive project, sustained through a continuously revised biographical narrative. The qualitative close reading and thematic coding of the primary text reveal that Ella's trajectory follows three interlocking phases of self-formation. In the first phase, her encounter with Jamie Davenport functions as a fateful moment that disrupts her defended, future-oriented identity. In the second phase, loving Jamie through his terminal illness generates existential confrontation with risk and mortality, producing the forms of self-knowledge that Giddens identifies as products of genuine reflexivity. In the third phase, her confrontation with the certainty of loss and her active decision to stay in Oxford constitute the reconstruction of a new self-narrative grounded in lived experience rather than inherited planning. The findings demonstrate that My Oxford Year enacts Giddens' reflexive model with formal coherence.
Co-Authors Hilman Maulana Ibrahim Rafi Husain