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Journal articles on the topic 'American literature – Women writers'

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Published: 25 July 2024

Last updated: 26 July 2024

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1

Sherly. H, Ms Monica, and Dr Aseda Fatima.R. "Patriarchal Oppression in Pearl S Buck’s Novel The Good Earth." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 5. http://dx.doi.org/10.24113/ijellh.v8i2.10406.

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The story of American literature begins in the early 1600’s, long before there were any “Americans”. American literature blossomed with the skillful and brilliant writer during 1900s. Pearl S Buck was born to the family of Presbyterian missionary in 1892 in West Virginia. Being a successful writer in nineteenth century, she published various novels and she was the first female laureate in America and fourth woman writer to receive Nobel Prize in Literature. Oppression is an element that is common in patriarchal society where the women are always subjugated by the men in the family. This paper is to depict the men’s oppression in the novel through the character Wang Lang and how the female character O-Lan is surviving from all the struggles that she faces from her own family members. Literature always anticipates life. It does not copy it, but moulds it to its purpose. Literature is the reflection of mind. It is the great creative and universal means of communicating to the humankind. This creativity shows the difference between the writers and the people who simply write their views, ideas and thoughts. American literature began with the discovery of America. American literature begins with the orally transmitted myths, legends, tales and lyrics of Indian cultures. Native American oral literature is quite diverse. The story of American literature begins in the early 1600’s, long before there were any “Americans”. The earliest writers were Englishmen describing the English exploration and colonization of the New World.

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2

Shankar, Lavina Dhingra, and Harold Bloom. "Asian-American Women Writers." MELUS 24, no. 4 (1999): 183. http://dx.doi.org/10.2307/468183.

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Alzate, Carolina. "Latin American Women Writers." Tulsa Studies in Women's Literature 38, no. 1 (2019): 13–15. http://dx.doi.org/10.1353/tsw.2019.0001.

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4

Winter, Kari J., Sharon M. Harris, Myra Jehlen, and Michael Warner. "American Women Writers to 1800." American Literature 69, no. 4 (December 1997): 842. http://dx.doi.org/10.2307/2928346.

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5

Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (October 2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.

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James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.

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6

Ammons, Elizabeth, and Sharon M. Harris. "American Women Writers to 1800." MELUS 24, no. 3 (1999): 188. http://dx.doi.org/10.2307/468053.

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7

Jacobs, Rita D., Catherine Rainwater, and William J. Scheick. "Contemporary American Women Writers: Narrative Strategies." World Literature Today 61, no. 1 (1987): 105. http://dx.doi.org/10.2307/40142565.

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8

Parr, Susan Resneck, Catherine Rainwater, William J. Scheick, and Minrose G. Gwin. "Contemporary American Women Writers: Narrative Strategies." Tulsa Studies in Women's Literature 6, no. 1 (1987): 123. http://dx.doi.org/10.2307/464168.

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9

KEVANE, BRIDGET. "The Hispanic Absence in the North American Literary Canon." Journal of American Studies 35, no. 1 (April 2001): 95–109. http://dx.doi.org/10.1017/s0021875801006545.

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I recently completed a book of interviews (Latina Self-Portraits: Interviews with Contemporary Women Writers, co-edited with Juanita Heredia, University of New Mexico Press, 2000) with ten of the most prominent Latina writers in the US; Julia Alvarez, Denise Chávez, Sandra Cisneros, Rosario Ferré, Cristina García, Nicholasa Mohr, Cherríe Moraga, Judith Ortiz Cofer, Esmeralda Santiago and Helena María Viramontes. These women, Cuban, Dominican, Mexican and Puerto Rican Americans, raised issues that ranged from the craft of writing to the inherent problems of national identities. The themes generated in our conversations with these women – their doubled ethnic identities, their complicated relationship to their communities, their difficulties in representing their communities and, finally, their work as part of the larger American canon – revealed a powerful discourse about what it means to be Latina American in the United States. After spending two years talking with these women, it is evident to me that Latina literature is a vital part of American literature and should be included in any study of comparative American literatures.

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10

Gabaccia, D. R. "Claiming a Tradition: Italian American Women Writers." American Literature 72, no. 4 (December 1, 2000): 889–90. http://dx.doi.org/10.1215/00029831-72-4-889.

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11

Tamburri, Anthony Julian, and Mary Jo Bona. "Claiming a Tradition: Italian American Women Writers." MELUS 28, no. 3 (2003): 199. http://dx.doi.org/10.2307/3595268.

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12

Petry, Alice Hall. "SOFT CANONS: AMERICAN WOMEN WRITERS AND MASCULINE TRADITION." Resources for American Literary Study 28, no. 1 (January 1, 2002): 174–76. http://dx.doi.org/10.2307/26366942.

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13

Lawton, Courtney. "WOMEN WRITERS OF THE AMERICAN WEST, 1833–1927." Resources for American Literary Study 37 (January 1, 2014): 322–26. http://dx.doi.org/10.2307/26367701.

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Petry, Alice Hall. "SOFT CANONS: AMERICAN WOMEN WRITERS AND MASCULINE TRADITION." Resources for American Literary Study 28, no. 1 (January 1, 2002): 174–76. http://dx.doi.org/10.2307/resoamerlitestud.28.2002.0174.

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Lawton, Courtney. "WOMEN WRITERS OF THE AMERICAN WEST, 1833–1927." Resources for American Literary Study 37 (January 1, 2014): 322–26. http://dx.doi.org/10.5325/resoamerlitestud.37.2014.0322.

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16

Karcher, Carolyn L. "Reconceiving Nineteenth-Century American Literature: The Challenge of Women Writers." American Literature 66, no. 4 (December 1994): 781. http://dx.doi.org/10.2307/2927700.

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17

BAYM, NINA. "Eleven More Western Women Writers." Resources for American Literary Study 36 (January 1, 2011): 67–82. http://dx.doi.org/10.2307/26367525.

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Abstract Following Women Writers of the American West, 1833–1927 (2011), this essay surveys eleven neglected western women writers from all regions except California. In Texas, Maude Mason Austin wrote a borderlands novel and poetry, Gertrude Beasley described growing up poor, and Esther Darbyshire MacCallum recounted a church's history. In the plains, Mary A. Cragin (pseud. Joy Allison) and Lorna Doone Beers (Mrs. C. R. Chambers) published novels. In the Pacific Northwest, Sidona V. Johnson and Georgiana Mitchell Blankenship brought out regional histories. Regarding the Southwest, Harriet S. Kellogg memorialized Emily J. Harwood, Julia H. Johnston focused on Indians and Mexicans without having lived in the West, and Katharine Roney Crowell published religious school texts. Finally, Katharine Coman attempted to encapsulate the progress of the entire West. This survey concludes with commentary on Willa Cather, who shared these writers' sense that (white) women had allowed the West to fulfill its destiny.

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BAYM, NINA. "Eleven More Western Women Writers." Resources for American Literary Study 36 (January 1, 2011): 67–82. http://dx.doi.org/10.5325/resoamerlitestud.36.2011.0067.

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Abstract Following Women Writers of the American West, 1833–1927 (2011), this essay surveys eleven neglected western women writers from all regions except California. In Texas, Maude Mason Austin wrote a borderlands novel and poetry, Gertrude Beasley described growing up poor, and Esther Darbyshire MacCallum recounted a church's history. In the plains, Mary A. Cragin (pseud. Joy Allison) and Lorna Doone Beers (Mrs. C. R. Chambers) published novels. In the Pacific Northwest, Sidona V. Johnson and Georgiana Mitchell Blankenship brought out regional histories. Regarding the Southwest, Harriet S. Kellogg memorialized Emily J. Harwood, Julia H. Johnston focused on Indians and Mexicans without having lived in the West, and Katharine Roney Crowell published religious school texts. Finally, Katharine Coman attempted to encapsulate the progress of the entire West. This survey concludes with commentary on Willa Cather, who shared these writers' sense that (white) women had allowed the West to fulfill its destiny.

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19

Beer, Janet, and Jeanne Campbell Reesman. "Speaking the Other Self: American Women Writers." Modern Language Review 95, no. 1 (January 2000): 205. http://dx.doi.org/10.2307/3736408.

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20

Klingenberg, Patricia N., and Lynn Ellen Rice Cortina. "Spanish-American Women Writers: A Bibliographical Research Checklist." Tulsa Studies in Women's Literature 4, no. 1 (1985): 151. http://dx.doi.org/10.2307/463815.

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21

Powers, Peter Kerry, Jay L. Halio, and Ben Siegel. "Daughters of Valor: Contemporary Jewish American Women Writers." MELUS 25, no. 1 (2000): 250. http://dx.doi.org/10.2307/468165.

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22

Bibi, Nadia, and Ole Doering. "Missing themes of manhood and childhood: an analysis of Pakistani and American women writings." Liberal Arts and Social Sciences International Journal (LASSIJ) 8, no. 1 (May 31, 2024): 88–101. http://dx.doi.org/10.47264/idea.lassij/8.1.5.

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This article aims to discover the element of partiality and political representation in women's writings, focusing on authors from the United States and Pakistan. Its goal is the identification of recurring and negligent themes in a profound assessment covering four centuries of women’s narratives and compelling anthologies. The woman literature revolves around women's challenges and their rights. It seems to be chauvinism to ignore other vital themes in literature. Though man is also abused sexually, morally and psychologically in a society being part of a marginalised member of the patriarchal society, women were felt to be inferior and unwise to men. Therefore, they have self-centred themselves in literature. This analysis aims to expand the circle of the themes outside feminism so that female literature might grow intellectually and universally and cover essential literary theories beyond discrimination. This quest will assist in finding out the neglected themes in literature by the women writers on each side. For the collection of data, qualitative research methodology has been adopted. This research helps women writers reflect all humans' emotions without showing women's literature as the theory of political representation. This article helps to draw expected creative conclusions about neglected themes by women writers.

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23

Harris, Trudier. "Christianity’s Last Stand: Visions of Spirituality in Post-1970 African American Women’s Literature." Religions 11, no. 7 (July 18, 2020): 369. http://dx.doi.org/10.3390/rel11070369.

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Christianity appealed to writers of African descent from the moment they set foot on New World soil. That attraction, perhaps as a result of the professed mission of slaveholders to “Christianize the heathen African,” held sway in African American letters well into the twentieth century. While African American male writers joined their female counterparts in expressing an attraction to Christianity, black women writers, beginning in the mid-twentieth century, consistently began to express doubts about the assumed altruistic nature of a religion that had been used as justification for enslaving their ancestors. Lorraine Hansberry’s Beneatha Younger in A Raisin in the Sun (1959) initiated a questioning mode in relation to Christianity that continues into the present day. It was especially after 1970 that black women writers turned their attention to other ways of knowing, other kinds of spirituality, other ways of being in the world. Consequently, they enable their characters to find divinity within themselves or within communities of extra-natural individuals of which they are a part, such as vampires. As this questioning and re-conceptualization of spirituality and divinity continue into the twenty-first century, African American women writers make it clear that their characters, in pushing against traditional renderings of religion and spirituality, envision worlds that their contemporary historical counterparts cannot begin to imagine.

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24

Scura, Dorothy M., and Elizabeth Jane Harrison. "Female Pastoral: Women Writers Re-Visioning the American South." American Literature 65, no. 1 (March 1993): 180. http://dx.doi.org/10.2307/2928113.

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25

Larsen (book editor), Anne R., Colette H. Winn (book editor), and Hélène Lucuix (review author). "Renaissance Women Writers: French Texts / American Contexts." Renaissance and Reformation 34, no. 2 (April 1, 1998): 83–86. http://dx.doi.org/10.33137/rr.v34i2.10838.

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26

Bah, Adama, and Fatoumata Keïta. "The Portrayal of African-American Women in Art and Literature during the Harlem Renaissance." Shanlax International Journal of Arts, Science and Humanities 11, no. 4 (April 1, 2024): 57–71. http://dx.doi.org/10.34293/sijash.v11i4.7116.

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The portrayal of African-American women in art and literature during the Harlem Renaissance was groundbreaking and empowering. Artists and writers sought to challenge stereotypes and present a more nuanced and authentic representation of black women’s experiences. The Harlem Renaissance, a cultural and artistic movement that occurred in the 1920s and 1930s, was a pivotal period in shaping the portrayal of African-American women in art and literature. Artists and writers sought to challenge stereotypes and present a more nuanced representation of black women’s experiences. Their work celebrated the strength, resilience, and beauty of African- American women, highlighting their contributions to society and their struggles for equality. This shift in representation not only profoundly impacted the perception of African-American women within society but also inspired future generations to embrace their identities and fight for social justice. The present article examines the dynamic ways in which African-American women weredepicted during this transformative period, exploring key artists and writers who challenged stereotypes, celebrated identity, and contributed to a rich cultural tapestry. The art and literature produced during the Harlem Renaissance served as a catalyst for change, encouraging African- American women to assert their voices and demand recognition for their unique perspectives and experiences. Their works not only celebrated their heritage and individuality but also shed light on the intersectionality of race, gender, and class in their experiences. This newfound empowerment allowed African-American women to become agents of change, sparking conversations about racial equality and paving the way for future movements such as the Civil Rights Movement. The Harlem Renaissance provided African-American women with a platform to express their unique perspectives and experiences, breaking free from societal constraints and challengingstereotypes. They faced numerous challenges, including navigating racial and gender biases within the art world, combating stereotypes perpetuated by mainstream media, and contending with the double marginalization of being both African-American and female. Their accomplishments and contributions continue to resonate today, reminding us of the importance of amplifying marginalized voices in shaping a more equitable society. This article delves into the portrayal of African-American women in art and literature during the Harlem Renaissance, exploring the challenges they faced, the power of their artistic expressions, and their enduring legacy in shaping the cultural landscape.

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Jorgensen, Beth E., and Myriam Yvonne Jehenson. "Latin-American Women Writers: Class, Race, and Gender." Hispanic Review 65, no. 1 (1997): 130. http://dx.doi.org/10.2307/474847.

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28

Boriçi, Florinda. "Three Important Female Voices of the Fin de Siècle American Literature." Interdisciplinary Journal of Research and Development 9, no. 1. S1 (March 30, 2022): 1. http://dx.doi.org/10.56345/ijrdv9n1s101.

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The aim of this study is to emphasize the importance of three women writers in the fin de siècle American Literature, specifically Kate Chopin, Edith Wharton and Charlotte Perkins Gilman. Women writers in the 1890s made great use of the short story as a suitable form for the new feminist themes of the decade such as the assertion of female sexuality and fantasy, the development of a woman’s voice and the critique of male aestheticism. Kate Chopin, Edith Wharton and Charlotte Perkins Gilman were prolific and innovative short-story writers experimenting during the decade and beyond with both subject and technique. While Kate Chopin wrote about female sexuality and desire with a frankness rarely seen before, Charlotte Perkins Gilman and Edith Wharton tried to renew the subject and structure of fiction in order to reflect the wider cultural dislocations of the fin de siècle. All three writers felt the constraints of what was considered acceptable by the magazine editors of the late nineteenth century and they tried to find ways and means to work with the restrictions while still remaining in control of their own art. Received: 10 January 2022 / Accepted: 21 March 2022 / Published: 30 March 2022

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29

Marinšek, Darja. "Female genital mutilation in African and African American women's literature." Acta Neophilologica 40, no. 1-2 (December 15, 2007): 129–46. http://dx.doi.org/10.4312/an.40.1-2.129-146.

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The article builds on the existing dispute between African and African American women writers on the competence of writing about female genital mutilation (FGM), and tries to determine the existence and nature of the differences between the writings of these two groups. The author uses comparative analysis of two popular African and African American novels, comparing their ways of describing FGM, its causes and consequences, the level ob objectivity and the style of the narrations.This is followed by a discussion on the reasons for such differences, incorporating a larger circle of both African and African American women authors, at the same time analysing the deviance within the two groups. While the differences between African American writers are not that great, as they mostly fail to present the issue from different points of view, which is often the result of their lack of direct knowledge of the topic, African authors' writing is in itself discovered to be ambivalent and not at all invariable. The reasons for such ambivalence are then discussed in greater context, focusing on the effect of the authors' personal contact with circumcision as well as their knowledge and acceptance of Western values. The author concludes by establishing the African ambivalent attitude towards FGM, which includes different aspects of the issue, as the most significant difference between their and African American writers' description of this practice.

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30

Łobodziec, Agnieszka. "Intersections of African-American Womanist Literary Approaches and Paradigms of Ethical Literary Criticism." Interlitteraria 22, no. 2 (January 16, 2018): 297. http://dx.doi.org/10.12697/il.2017.22.2.8.

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Although black American womanist literary perspectives and ethical literary criticism theory emerged from different socio-cultural contexts, a number of intersections between the two can be discerned. One of the objectives of this paper is to analyze the reasons for which some Chinese scholars and African-American women literary theoreticians are skeptical of mainstream Western literary criticism schools, which they view as insufficient for exploring works of literature derived from fusions of non-Western and Western cultural contexts. Secondly, the paper elucidates the particular value systems exhibited by fictional characters portrayed by the African-American women writers under survey. At this juncture, the means by which the writers challenge value systems based upon Western essentialist racial conceptualizations will be given primary attention. Also, the historical context of the development of womanist ethics and literary practice, particularly the manifestation of original social ethics in response to historical oppression, will be focused upon. Lastly, the didactic function of womanist literature will be considered because, more often than not, black American woman writers have endeavored to produce fiction that serves as guideposts towards conflict resolutions, involving, to a great extent, revaluation of mainstream values.

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31

Klingenberg, Patricia, Marta Ester Sanchez, Carmelo Virgillo, Naomi Lindstrom, Sharon Magnarelli, and Evelyn Picon Garfield. "Latin American Women Writers: Into the Mainstream (At Last)." Tulsa Studies in Women's Literature 6, no. 1 (1987): 97. http://dx.doi.org/10.2307/464162.

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Karsen, Sonja, and Lucía Guerra Cunningham. "Splintering Darkness: Latin American Women Writers in Search of Themselves." World Literature Today 65, no. 2 (1991): 278. http://dx.doi.org/10.2307/40147146.

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33

Kribbs, Jayne K., and Janet Todd. "A Dictionary of British and American Women Writers 1660-1800." American Literature 58, no. 1 (March 1986): 122. http://dx.doi.org/10.2307/2925953.

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34

Singley, Carol J., Susan Coultrap-McQuinn, and Susan Goodman. "Doing Literary Business: American Women Writers in the Nineteenth Century." American Literature 66, no. 1 (March 1994): 177. http://dx.doi.org/10.2307/2927459.

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Harris, Sharon M., and Nina Baym. "American Women Writers and the Work of History, 1790-1860." American Literature 68, no. 1 (March 1996): 231. http://dx.doi.org/10.2307/2927551.

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36

Zagarell, Sandra A. "NINETEENTH-CENTURY AMERICAN WOMEN WRITERS: A BIO-BIBLIOGRAPHICAL CRITICAL SOURCEBOOK." Resources for American Literary Study 26, no. 2 (January 1, 2000): 279–82. http://dx.doi.org/10.5325/resoamerlitestud.26.2.0279.

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Zagarell, Sandra A. "Nineteenth-Century American Women Writers: A Biobibliographical Critical Sourcebook (review)." Resources for American Literary Study 26, no. 2 (2000): 279–82. http://dx.doi.org/10.1353/rals.2000.0033.

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38

Burstein, Janet Handler. "Recalling Home: American Jewish Women Writers of the New Wave." Contemporary Literature 42, no. 4 (2001): 800. http://dx.doi.org/10.2307/1209054.

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Armbruster, Elif S. "Middlebrow Moderns: Popular American Women Writers of the 1920s." Journal of Popular Culture 38, no. 1 (August 2004): 207–9. http://dx.doi.org/10.1111/j.0022-3840.2004.107_1.x.

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40

Corkin, Stanley, and Phyllis Frus. "An Ex-centric Approach to American Cultural Studies: The Interesting Case of Zora Neale Hurston as a Noncanonical Writer." Prospects 21 (October 1996): 193–228. http://dx.doi.org/10.1017/s0361233300006530.

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The authors of these passages share more than a belief in the efficacy of the category of “race” and a need to assert pride in their African-American heritage. Both have, of late, experienced notable recognition and affirmation from constituencies that typically evince little interest in black Americans and their culture. Zora Neale Hurston is one of only three or four 20th-century writers who have achieved canonical status, with the result that her works invariably appear in courses offered in American literature or American Studies, not just in more narrowly de-fined courses, such as African-American Writers or American Women Writers. Clarence Thomas, as the second black Supreme Court Justice, holds the highest position in government ever held by an African American. Arguably, his judicial position and her supreme reputation are the result of the affirmative action and desegregation programs (and in his case, the “multicultural” mandate) they oppose. Perhaps their opposition to these programs is what fits them for this crossover appeal. In effect, they deny the reality of the effects of segregation – unequal funding, and therefore poorer education and continuing secondary employment, housing, and so on – on most black Americans.

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Wenxian, WANG. "A Study of Helen Oyeyemi’s Novels from the Perspective of Diaspora." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 4 (December 30, 2022): 021–27. http://dx.doi.org/10.53789/j.1653-0465.2022.0204.004.p.

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Helen Oyeyemi’s novels are rich in connotation and profound in meaning. Written by a writer with a cross-cultural background, her works not only show a robust African personality but also reflect a profound European and American literary attainment. As an African diaspora writer, Oyeyemi vividly expresses a complex state of mind in the cultural gaps. As a female writer, she focuses on the vigoroso power of women under the barriers of male discourse, showing the world the spiritual outlook of women writers in the third world. As a writer of children’s literature, her works also revisit various issues about race, gender, culture from the perspective of children. The diversity and comprehensiveness of Oyeyemi’s works show the unique feature of African literature in terms of plots, writing techniques, and aesthetic style.

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Tiryak, Mary, and Nina Baym. "American Women Writers and the Work of History, 1790-1860." Tulsa Studies in Women's Literature 16, no. 1 (1997): 145. http://dx.doi.org/10.2307/464044.

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Ahmad, Mumtaz, and Kaneez Fatima. "FEMALE IDENTITY AND MAGICAL REALISM IN NATIVE AMERICAN AND AFRO AMERICAN WOMEN WRITING: A COMPARATIVE ANALYSIS OF LOUISE ERDRICH’S TRACKS AND TONY MORRISON’S BELOVED." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 4, no. 11 (November 29, 2017): 108. http://dx.doi.org/10.19085/journal.sijmas041102.

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<p>This research article is an attempt to evaluate the Native and Afro American women writers ‘sustained efforts to articulate a continuous and internal cultural female identity by constructing re evaluative narratives that deconstruct institutionally supported universal female images inflicted upon the third and fourth world women by the first world feminist intelligentsia. To do so these women writers radically depart from the conventions of Euro American stylistic, formal and structural modalities of the narrative and use instead a stylistic mosaic allowing the native and black oral traditions to imbricate with the white normative models. Since literature and arts have always been an effective medium, an expansive domain, and a discursive field where writers have been voicing the aureate human feelings, conflicting passions and the continuous struggles of the different societal segments, especially of deprived strata against those who maintain and perpetuate their cultural and political hegemony by suppressing the subalterns, the women writers from the fourth world ethnic communities have expressed whole range of the intensely personal and communal human emotions that radiate from the springboard of social, cultural, historic and political practices One of the significant features that the Native American and Afro American women writers often demonstrate include the use of magical realist strategies that express, on one hand, their efforts to indigenize narrative and, on the other hand, help them construct female identity from their own perspective since, within main concerns of contemporary fourth world feminist criticism, the (re) construction of female identity merits special attention and analysis. The stereotypical discursive construction of the Native and Afro American women by the dominant Euro American discourses bracketed them into essentialist categories glossing over the medley of vital differences that these women reveal in their social, cultural, anthropological and sexual strictures. Tackling the issue of the discursive construction of female identity that involves conceptual and perspectival problems, both Native American and Afro American women writers deconstruct the sweeping generalization of the fourth world women by challenging and subverting the clichéd images replacing them with empowered and agentive subjects who are no more subjected to, what Gyatri Spivk conceptualizes, subalternity and “epistemic violence”.</p>

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Lindstrom, Naomi, and Kathy S. Leonard. "Cruel Fictions, Cruel Realities: Short Stories by Latin American Women Writers." World Literature Today 72, no. 2 (1998): 345. http://dx.doi.org/10.2307/40153799.

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Esposito, Dawn. "Book Review: Claiming a Tradition. Italian American Women Writers." Forum Italicum: A Journal of Italian Studies 34, no. 1 (March 2000): 335–37. http://dx.doi.org/10.1177/001458580003400138.

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Ahmad, Mumtaz, Fatima Saleem, and Ali Usman Saleem. "Black Bodies White Culture: A Black Feminist [Re]Construction of Race and Gender in Morrison's Paradise." Global Social Sciences Review V, no. IV (December 30, 2020): 60–66. http://dx.doi.org/10.31703/gssr.2020(v-iv).07.

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'This article intends to explore and expose through the analysis of Morrison's Paradise how the Afro American female writers [re]construct the potential of Afro American ecriture feminine to seek the true freedom and empowerment of black women by appealing them to 'write-through bodies'. To achieve this purpose, this article articulates its theoretical agenda, through the exploration of the work of the outstanding, widely acknowledged award-winning, English speaking Afro American female writer: Toni Morrison. Though it aims to highlight the significance and contribution of the Afro American female novelists towards broadening the frontiers of 'ecriture feminine', it does not aim to offer the generalized history of women writing in Afro American literature. It seeks to propose alternative ways of informed analysis, grounded in discourse and Feminist theories, to evaluate Toni Morrison's contribution to 'ecriture feminine'.

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Walter, Roland. "Women writing the Americas: literature, ecology, and decolonization." Revista Ártemis 29, no. 1 (July 17, 2020): 122–38. http://dx.doi.org/10.22478/ufpb.1807-8214.2020v29n1.54000.

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This essay analyzes how multiethnic women writers of the Americas draw a map of a critical geography by delineating the interrelated brutalization of human beings and the environment at the colonial-decolonial interface. Its theoretical approach is comparative, interdisciplinary, and intersectional and embedded in Cultural/ Post-Colonial Studies and Ecocriticism with the objective to problematize the issue of identity, ethnicity, and gender in correlation with the land qua place and style of life within a capitalist system. The objective is to reveal and examine the decolonial attitude in texts by multiethnic women writers of the Americas: what is decolonization and how is it translated into the narrative structure, style and theme?

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Jiménez, Francisca Noguerol, and Christopher Winks. "Driven up the Wall: Maternity and Literature in Contemporary Latin American Women Writers." Review: Literature and Arts of the Americas 46, no. 1 (May 2013): 13–19. http://dx.doi.org/10.1080/08905762.2013.780893.

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Glazer, Miriyam, and Diane Lichtenstein. "Writing their Nations: The Tradition of Nineteenth-Century American Jewish Women Writers." American Literature 66, no. 1 (March 1994): 176. http://dx.doi.org/10.2307/2927458.

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Ian, Marcia, and Elizabeth Ammons. "Conflicting Stories: American Women Writers at the Turn into the Twentieth Century." American Literature 64, no. 4 (December 1992): 829. http://dx.doi.org/10.2307/2927658.

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