Relevant bibliographies by topics / English fiction Women writers History and criticism

Academic literature on the topic 'English fiction Women writers History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "English fiction Women writers History and criticism"

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Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.

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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.
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Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.

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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.

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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.
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Dozio, Cristina. "Video as a Canonization Channel for Contemporary Arabic Fiction." Journal of Arabic and Islamic Studies 20 (March 22, 2021): 105–24. http://dx.doi.org/10.5617/jais.8710.

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With the media transition from the paper to the digital, Arab writers’ interaction on the social media and book-related videos have become a central strategy of promotion. Besides book trailers produced by the publishers and the readers, the international literary prizes produce their own videos. One of the most important examples is the International Prize for Arabic Fiction (IPAF) which releases videos with English subtitles for the shortlisted authors every year. Moreover, some writers and journalists have started TV programs or YouTube channels recommending books and interviewing their fellow authors. Engaging with literary history, politics of translation, and media studies, this paper discusses the contribution of videos to the contemporary Arabic novel’s canonization: how do the videos make the canon and its mechanisms visible? Which image of the intellectual do they shape globally and locally? Which linguistic varieties do they adopt? This paper compares two kinds of videos to encompass the global and local scale, with their respective canonizing institutions and mechanisms. On the one hand, it examines how IPAF videos (2012-2019) promote a very recent canon of novels on the global scale through the representation of space, language, and the Arab intellectual. On the other hand, it looks at two book-related TV programs by the Egyptian writers Bilāl Faḍl and ʿUmar Ṭāhir, selecting three episodes (Faḍl 2011, Faḍl 2018, and Ṭāhir 2018) featuring or devoted to Aḥmad Khālid Tawfīq (1962-2018), a successful author of science-fiction and thrillers. Debating non-canonical writings, these TV programs contribute to redefine the national canon focusing on the reading practices and literary criticism. Keywords: Canon building, contemporary Arabic literature, literary prizes, IPAF, TV programs, Aḥmad Khālid Tawfīq
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Saint-Loubert, Laëtitia. "Variable Frames: Women Translating Cuban and (Afro-) Brazilian Women Writers for the French Literary Market." Mutatis Mutandis. Revista Latinoamericana de Traducción 13, no. 2 (August 24, 2020): 401–20. http://dx.doi.org/10.17533/udea.mut.v13n2a10.

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This article seeks to examine how contemporary works of fiction and non-fiction by women from Cuba and Brazil are translated and marketed for Francophone readers. It will focus on Wendy Guer­ra’s novels, translated into French by Marianne Millon, and on contemporary Brazilian (non) fic­tion translated into French by Paula Anacaona, the head of Anacaona Éditions, a publishing outlet specialized in Brazilian literature for Francophone readers. The contribution will start with a brief presentation of the French publishing sector and some of the recurring patterns observed in what is often labeled as littérature étrangère or littérature monde (foreign literature and world literature, respec­tively), exploring various layers of intervention that appear in translated fiction. The article will then further explore the role of paratext in the marketing of Caribbean literatures for (non-)metropolitan French audiences, before it examines the translations of Todos se van and Domingo de Revolución by Cuban writer Wendy Guerra. Paratextual matter in Marianne Millon’s Tout le monde s’en va and Un dimanche de révolution will be analyzed as a site of feminine co-production, in which the author and the translator’s voices at times collide in unison and at others create dissonance. In the case of Do­mingo de revolución, the French translator’s practices will be compared to Cuban-American Achy Obe­jas’s English translation (Revolution Sunday), in the hope of highlighting varying degrees of cultural appropriation and/or acculturation, depending on the translator’s habitus and trajectory (Bourdieu) and her own background. These reflections will lead to a broader analysis of paratext as a site of further agency and potential redress as (Afro-) Brazilian history and literature are examined in works circulated by writer/translator/publisher Paula Anacaona. Ultimately, figures traditionally sidelined from hegemonic and patriarchal (his)stories, whose voices are restored in Anacaona’s paratextual practices, will serve as illustrations of feminine publishing practices that challenge (phallo-)centric models from the metropolis.
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Mũrĩithi, Wairimũ. "Fragments Towards an Impossible (Domestic) Genre of the Human in Kenyan Crime Fiction." English in Africa 47, no. 3 (February 10, 2021): 99–119. http://dx.doi.org/10.4314/eia.v47i3.6s.

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Extrajudicial executions and other forms of police violence in Kenya have always been an issue of significant concern in local and international media and human rights organisations. Reflective of this, scholarly interest in crime fiction in Kenya has grown significantly in recent years. However, the gendered implications of criminality – from sex work to errant motherhood to alternative modes of investigation – are still largely overlooked in postcolonial literary fiction and criticism. As part of a larger study on how women writers and characters shape crime fiction in Kenya, this paper critically engages with stories that the criminalised woman knows, tells, forgets, incarnates, discards or hides about the city. It does so by examining the history of urban sex workers in Kenya, the representation of ‘urban women’ in postcolonial Kenyan novels and contemporary mainstream media, and the various (post) colonial laws that criminalise sex work. Through Justina, an elusive character in Yvonne Adhiambo Owuor’s Dust, I consider how (post)colonial legislative frameworks and social life attempt to manage “impossible domesticity” (Saidiya Hartman) inside and against the geo-history of gendered and classed criminality in urban Kenyan spaces. My purpose is to interrogate hegemonic constructions of the citizen – and by extension, of the human – in Kenyan law and public morality Keywords: crime fiction, feminism, sex work, human, homo narrans
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Sheets, Robin Ann. ""The Farcical History of Richard Greenow": Aldous Huxley and the Anxieties of Male Authorship." Keeping Ourselves Alive 3, no. 2-3 (January 1, 1993): 197–208. http://dx.doi.org/10.1075/jnlh.3.2-3.06far.

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Abstract Aldous Huxley's first piece of published fiction, "The Farcical History of Richard Greenow" (1920), reveals anxieties about authorship and sexual iden-tity that were typical of modernist male writers. This article situates this nou-vella in two contexts. The first concerns Huxley's relationship with his aunt, novelist and social activist Mary Augusta Arnold Ward; the second centers on medical theories of homosexuality presented by Havelock Ellis in Sexual Inversion (1897). The protagonist calls himself a spiritual hermaphrodite because his body is inhabited by two personalities: a male intellectual and an increasingly aggressive female novelist and war propagandist named Pearl Bellairs. As a caricature of Mrs. Humphrey Ward, Pearl reveals Huxley's antagonism toward powerful and popular women novelists. But she also provides a way for protag-onist and author to defend themselves against same-sex eroticism. Ideology does not determine desire. Rather, in the story, as in Sexual Inversion, fears aroused by certain desires seek expression in specific cultural forms. (Literary criticism, psychological approach; gender studies)
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Berman, Anna A. "The Family Novel (and Its Curious Disappearance)." Comparative Literature 72, no. 1 (March 1, 2020): 1–18. http://dx.doi.org/10.1215/00104124-7909939.

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Abstract What is a family novel? Russian literary scholars—who use the term frequently—claim that it is originally an English genre, yet in English scholarship the term has virtually disappeared. This article recovers the lost history of the family novel, tracing two separate strands: usage of the term and form/content of the novels. The genre began in England with Richardsonian domestic fiction and spread to Russia, where it evolved along different lines, shaped by the different social and political context. In England, the fate of the term turns out to be tied up with the fate of women writers in the nineteenth century, and then with the rise of feminist studies in the late twentieth that, in validating the importance of the domestic sphere, caused family novel to be superseded by domestic fiction. In Russia, by contrast, the great family novels of the nineteenth century were not associated with women or the domestic sphere, nor—as it turns out—were they considered to be family novels at the time they were written. Only in twentieth-century scholarship, as the original meaning of the term was lost, did they become family novels. In recovering the lost history of the term, this article illustrates the way later ideology and theoretical emphases that shape the language of scholarship ultimately reshape our understanding of the past.
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Mozammel Haque, Mohammad. "Sunil Gangopaddhaya’s ‘An Unsent Letter’: A Harrowing Outburst of Long Smothered Wail of a Lacerated Psyche." International Journal of Applied Linguistics and English Literature 9, no. 1 (January 31, 2020): 24. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.1p.24.

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The statement that the poets are born after their death is universally known. There is hardly any writer who writes the criticism of his writings. They are the critics who criticize their works. It can be said that the writer himself may have only a single idea or message when he produces his piece of writings, but the critics have different views on the same work. Even one critic sometimes innovates miscellaneous ideas and messages from the same poetry, play, novel, short story, fiction, non-fiction etc. Furthermore, a post- colonial critic always tries to find the message of his area of study even in the writers of Anglo Saxon, Middle English, Romantic or Victorian era. A romanticist finds his theme in the writings of other periods. Similarly, a fan of feminism attempts to discover the messages related to females in the writings he studies. In the same way, the author of this paper, because of his being a writer for those who find themselves trapped in the social four walls, and who have no control over the situations around them, focuses on how Sunil Gangopaddhaya, in his short lyric titled ‘An Unsent Letter’, has picturesquely delineated the indescribable plight, predicament and quandary of a sub-continental girl who has been sold to a brothel for six thousand rupees. The paper also, besides showing how the women are neglected, abandoned, deserted and ignored in the male-chauvinistic society, emphasizes to show the real backdrop of the women in the society the poet lives.
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Sankar, G., and L. Kamaraj. "SOCIAL REALISM AND PSYCHOLOGICAL TRANSFORMATION OF WOMEN PROTAGONIST IN NAYANTARA SAHGAL’S STORM IN CHANDIGARH AND A SITUATION IN NEW DELHI-A STUDY." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 5, no. 2 (February 28, 2018): 17. http://dx.doi.org/10.19085/journal.sijmas050201.

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The Research paper aims to focus on Nayantara Sahgal’s position in it as a novelist. It also discusses in detail a critical study of the social realism and Psychological Transformation with survival strategies of the woman protagonist in Nayantara Sahgal’s Storm in Chandigarh and A Situation in New Delhi. How Nayanara Sahgal’s writing was different from other Indian writers. During almost six decades of post-colonial history of Indian English fiction, a wide variety of novelists have emerged focusing attention on a multitude of social, economic, political, religious and spiritual issues faced by three conceding periods of human experience. With the turn of the century the Indian English novelists have surpassed their male counterparts outnumbering hem quantitatively as well as maintaining a high standard of literary writing, equally applauded in India and abroad, experimenting boldly with not only technique but also incorporating tabooed subject matters in their novels and short stories.
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Dissertations / Theses on the topic "English fiction Women writers History and criticism"

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Gantzert, Patricia L. "Throwing voices, dialogism in the novels of three contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq23313.pdf.

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Chung, Wing-yu, and 鍾詠儒. "British women writers and the city in the early twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2702409X.

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Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.

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Wallace, Linda M. "Negotiating place, explorations of identity and nature in select novels by contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ49460.pdf.

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Shea, Maureen Elizabeth. "Latin American women writers and the growing potential of political consciousness." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184310.

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This dissertation provides a feminist reading of the works of Latin American women writers since the decade of the sixties to the present who focus on the particular historical moment of their times from a political perspective. A systematic study of the narrative figure in novels by Dora Alonso, Elena Poniatowska, Claribel Alegria and Darwin Flakoll, and Isabel Allende, reveals an awareness of the undercurrents of oppression existent in their societies based on racial and class stereotypes with a growing understanding of oppression based on sex. From the perspective of the female narrator in Tierra Inerme by the Cuban writer Dora Alonso, the Cuban social structure before 1959 is condemned for its inequality on the basis of class, race, and sex. However, the perspective of the narrator reveals that she has not entirely escaped the prejudices that permeate her society concerning women. Hasta no verte Jesus mio, by the Mexican writer Elena Poniatowska concentrates on the testimony of Jesusa Palancares who condemns the structural inequality existent in Mexican society. Although Palancares' perspective reveals an awareness of the unequal treatment of women, because of her underprivileged status she concentrates on oppression based on class. In Cenizas de Izalco by Darwin Flakoll from the United States and the Salvadoran Claribel Alegria, the 1931 massacre of the peasants in El Salvador is condemned. However, through the contrasting perspectives of the male and female narrators, oppression on the basis of sex is most emphasized. La casa de los espiritus by the Chilean Isabel Allende depicts brutal class, racial and sexual oppression in Chile from the 1920's to 1973. It is in this novel that sexual oppression is portrayed most vividly, again through the contrasting perspectives of the male and female narrators. Although a growing awareness of sexual oppression emerges in the novels studied becoming most emphatic in this decade through an awakening feminist consciousness, the perspective of the narrators emphasize to varying degrees the importance of solidarity among women to combat injustice of every form to achieve a more equitable existence for all oppressed people.
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李仕芬 and Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.

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Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.

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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.
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Johnston, Susan 1964. "Calling the question : women and domestic experience in British political fictions, 1787-1869." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39928.

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This work challenges common arguments as to the division of the political from other fictional genres and, in treatments of nineteenth-century fiction and culture, the private from the public sphere. Through an examination of works by Mary Wollstonecraft, Amelia Opie, Maria Edgeworth, and Elizabeth Gaskell, I uncover a common concern with the preconditions of liberal selfhood which posits the household as the space in which the political rights-bearer, defined by interiority and mental qualities, comes to be. This rights-bearer is not, as has been argued, defined by purely formal and abstract procedural reason, but in terms of a capacity for reason which includes the capacity for emotion. This work therefore shows domestic space to be the foundation of, rather than the occluded counterpart to, the liberal polity, and argues that an account of the household, in which the liberal self is disclosed, is likewise at the centre of Victorian political fiction.
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Jakobsen, Pernille. "Touring strange lands, women travel writers in western Canada, 1876 to 1914." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20791.pdf.

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LeStage, Gregory. "Forces in the development of the British short story, 1930-1970 : some writers, editors, and periodicals." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670227.

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Books on the topic "English fiction Women writers History and criticism"

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Nelson, Carolyn Christensen. British women fiction writers of the 1890s. New York: Twayne Publishers, 1996.

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Nelson, Carolyn Christensen. British women fiction writers of the 1890s. New York: G. K. Hall & Co., 1999.

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Kenyon, Olga. Women writers talk: Interviews with 10 women writers. New York: Carroll & Graf Publishers, 1990.

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Ali, Farzana S., and Bipasha Ghoshal. Women writers in English: New perspectives. Nagpur: Dattsons, 2013.

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Kay, Boardman, and Jones Shirley, eds. Popular Victorian women writers. Manchester: Manchester University Press, 2004.

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Middleton, Victoria. Elektra in exile: Women writers and political fiction. New York: Garland Pub., 1988.

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Pathak, Vandana, Urmila Dabir, and Shubha Mishra. Contemporary fiction: An anthology of female writers. New Delhi: Sarup & Sons, 2008.

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Watson, Daphne. Their own worst enemies: Women writers of women's fiction. London: Pluto Press, 1995.

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Their own worst enemies: Women writers of women's fiction. London: Pluto Press, 1994.

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Fictions of authority: Women writers and narrative voice. Ithaca: Cornell U.P., 1992.

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Book chapters on the topic "English fiction Women writers History and criticism"

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Clay, Catherine. "‘The Enjoyment of Literature’: Women Writers and the ‘Battle of the Brows’." In Time and Tide, 177–208. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418188.003.0007.

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This chapter picks up and extends arguments advanced earlier in the book regarding the status of women’s writing and criticism during the years of modernism’s cultural ascendancy and academic institutionalisation. In the contexts of (1) a newly configured ‘University English’ which took an authoritative new role in the cultural field against an earlier belle-lettres tradition, and (2) the unprecedented prestige of middlebrow fiction in the 1930s, the chapter explores how Time and Tide navigated increasing tensions between ‘highbrow’ and ‘middlebrow’ spheres and succeeded in straddling both. First the chapter discusses the introduction in 1927 of a new ‘Miscellany’ section of the paper – home to E. M. Delafield’s popular serial ‘The Diary of a Provincial Lady’ – and argues that these columns created and legitimised a place for the ‘feminine middlebrow’ and amateur writer as the periodical increased its orientation towards the highbrow sphere. Second, with reference to the appointment of Time and Tide’s first two literary editors, the chapter discusses how the periodical negotiated a widening gap in this period between intellectual and general readers, and between amateur and professional modes of criticism.
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