FROM MARGINS TO CENTER: THE EMERGENCE OF FEMALE SUBJECTIVITY THROUGH RESISTANCE AND ARTISTIC EXPRESSION IN JASMIN DARZNIK'S SONG OF A CAPTIVE BIRD

Aminova Nilufar Bahriddinovna

Authors

Aminova Nilufar Bahriddinovna Bukhara State University Phd student

Keywords:

female subjectivity, subaltern theory, écriture féminine, postcolonial feminism, Song of a Captive Bird, Forough Farrokhzad, resistance, artistic expression, historiographic metafiction, hybridity.

Abstract

This article examines the emergence of female subjectivity in Jasmin Darznik's biographical novel Song of a Captive Bird (2018) through the intersecting lenses of postcolonial feminist theory, écriture féminine, and postmodern narrative analysis. Drawing on Gayatri Chakravorty Spivak's subaltern theory, Homi Bhabha's concept of hybridity, Hélène Cixous's notion of feminine writing, and Linda Hutcheon's historiographic metafiction, this study argues that the protagonist Forough Farrokhzad's trajectory from social marginalization to artistic centrality constitutes a multi-layered model of female subject formation. The article demonstrates how Darznik constructs subjectivity through three interlocking mechanisms: the deconstruction of patriarchal confinement, the articulation of a distinctly feminine literary voice, and the transformation of personal resistance into collective social expression. The analysis reveals that the novel's symbolic architecture — particularly the cage metaphor — functions not merely as a spatial image of oppression, but as a dialectical site where subjugation and creative liberation are mutually constitutive.

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