Journal articles: 'Women’s writing'

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Lipperini. "Teaching Women’s Writing." Transformations: The Journal of Inclusive Scholarship and Pedagogy 28, no. 2 (2018): 148. http://dx.doi.org/10.5325/trajincschped.28.2.0148.

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Pirbhai, Mariam. "Contemporary Indian Women’s Writing." Contemporary Women's Writing 10, no. 2 (March 11, 2016): 296–97. http://dx.doi.org/10.1093/cww/vpw005.

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Watanabe, Kazuko. "Writing as political strategy: Asian women’s writing." Feminist Issues 6, no. 2 (June 1986): 41–52. http://dx.doi.org/10.1007/bf02685642.

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Shcherbak, Nina F. "Contemporary Scottish and Irish Women’s Writing: Tradition and Innovation." Studia Litterarum 6, no. 4 (2021): 68–87. http://dx.doi.org/10.22455/2500-4247-2021-6-4-68-87.

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The work examines the development of contemporary Scottish and Irish women’s writing and explores what unites contemporary Scottish and Irish woman writing with other types of narrative and what makes it special. The theoretical basis and methodology for the study is the attention to the vector of women’s prose development, including postcolonial literature and contemporary feminist critical theories. Postmodernist and meta-modernist theories (including the rhizome concept and “oscillation” principle) are also considered. Contemporary Scottish women’s writing (the example of Carol Ann Duffy) provides insights into the development of the Scottish woman writer image; works by Jenny Fagan allow to trace controlling practices of contemporary society. Kate Clanchy’s writing reveals the interconnection between cultures incorporated into the social problem of migration. Contemporary Irish women’s prose is characterized by addressing the issue of religion and Catholicism as well as the concept of home, which is well revealed in the writings of most authors who are rebelling against the tradition and, at the same time, associate themselves with it.

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Agarwal, Sugandha. "Re-writing history." Stream: Interdisciplinary Journal of Communication 12, no. 1 (December 14, 2020): 6–30. http://dx.doi.org/10.21810/strm.v12i1.279.

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Feminist historians (Kelly, 1984; Scott, 1998) have argued that documented History is inherently ‘masculine’ and marginalizes women’s life experiences. In order to bridge this gap in History, feminist oral historians in the 1970s began collecting women’s oral testimonies to highlight their subjective experiences (Patai and Gluck, 1990). Building on existing scholarship, this paper argues that oral history as a methodology is indispensable in a feminist re-writing of history. It analyzes oral histories conducted by Indian feminist historians with women survivors of India’s Partition. The first section uses a gendered historical lens to argue that feminist oral history is crucial to writing a women’s history. The second section outlines what constitutes as a feminist methodology to envision what women’s history should look like. The final section examines the difficulties of working with oral testimonies. The objective of this study is two-fold: examining non-hierarchical ways of researching through feminist oral history and drawing attention to oral narratives in the global south.

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Dewi Ningrum, Siti Utami. "Perempuan Bicara dalam Majalah Dunia Wanita: Kesetaraan Gender dalam Rumah Tangga di Indonesia, 1950-an." Lembaran Sejarah 14, no. 2 (May 7, 2019): 194. http://dx.doi.org/10.22146/lembaran-sejarah.45439.

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Women’s voices have emerged since the colonial era through writing. Kartini became the most heard through her radical letters at the time, published with the title Door Duisternis tot Licht, voicing the fulfillment of women’s education. Women’s writings were increasingly seen in women’s magazines from colonial times to independence of Indonesia, which published by women’s organizations although commercial magazines. Each of them has a very unique and diverse idea.Dunia Wanita has become one of the popular women’s magazines after Indonesian independence. Presenting various women’s issues from the social, political and economic fields to provide information and progress for women. Under the leadership of Ani Idrus, this magazine also voiced the importance of the involvement of men in the household, a theme that was faintly heard among the frenzied Indonesian political conditions at the beginning of its independence.What is equality in the household voiced by women in Indonesia through the 1950s in Dunia Wanita? This will be discussed in historical writings with gender perspective analysis. In addition to using articles in Dunia Wanita, this paper also uses other magazines as a comparison. In addition, books and papers that are relevant to the theme of the writing are also used.

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Yongming, Zhai. "Women’s writing: Illuminating the darkness." UNESCO Courier 2020, no. 3 (July 31, 2020): 34–35. http://dx.doi.org/10.18356/49d501ab-en.

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Zharkova, Roksolana. "Жіноче письмо, авторка, героїня в українському літературознавстві часів незалежності." Przegląd Wschodnioeuropejski 13, no. 2 (January 8, 2023): 249–60. http://dx.doi.org/10.31648/pw.8462.

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The article is devoted to an analysis of women's writing in the literary theory and criticism of independent Ukraine. A general overview of the formation of feminist critique and gender approach in Ukrainian literary criticism is made based on the principles of American and French literary schools. Researchers’ concepts concerning the features of women’s writing, themes, stylistics and poetics of texts created by women are analyzed. The achievements of Ukrainian scholars in the study of women's literature, in particular, the works of modernist and postmodernist women authors, are shown. The leading research themes of the period of Independence are determined, namely: representation and reception of a woman author, features of a text written by a woman, types of heroines in modern Ukrainian women’s prose.

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Kraskowska, Ewa. "Polskie pisarstwo kobiet w wieku XX – projekt syntezy." Ruch Literacki 53, no. 2 (November 8, 2012): 137–54. http://dx.doi.org/10.2478/v10273-012-0008-0.

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Summary This article deals with the methodological problems involved in constructing a history of women’s writing. It also presents an outline history of women’s writing in Poland and a review of the state of research in that field. Although women’s writing is an integral part of Polish literature, the author argues that its development is influenced by specific factors which determine the cultural and social condition of women in a given historical time. Consequently, the periodization of women’s writing should take into account criteria and divisions which do not always coincide with the customary reference points of the mainstream literary history. The author also compiles a list of some specific problems of the historiography of Polish women’s writing which require more focused attention on the part of researchers, ie. the phenomenon of the second-rank female writer, subgenres of women’s writing, and the work of female writers from the interwar period, who continued to write in the post-war Poland.

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Zhang, Xia. "Resistance to Phallogocentrism in The Storm by Women’s Writing." International Journal of Education and Humanities 4, no. 3 (September 20, 2022): 102–3. http://dx.doi.org/10.54097/ijeh.v4i3.1680.

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The Storm is one of the most representative works by Kate Chopin, who is best known for her stories about the inner lives of sensitive daring women, for which she is considered as a forerunner to focus on feminist literary in the 20th century. The Storm unfolds a story about a moment of a woman’s passionate sex, reminding that Hélène Cixous compares Medusa’s laugh as the outpour of women’s writing and declares women are “stormy”. Thus, it is a typical work bearing the properties of women’s writing claimed by Cixous, and reveals resistance to the oppression of women’s body by phallogocentrism by writing through women’s body with mother’s quality. The Storm can be accepted as women’s writing for its stressing on the liberation of women’s body and women’s sexual desire as resistance to phallocentric tradition.

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Molnar, Angelika. "WOMEN’S WRITING AND WOMEN’S FREEDOM: ABOUT TOLSTOY’S NOVEL “FAMILY HAPPINESS”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (September 1, 2021): 114–24. http://dx.doi.org/10.18522/2415-8852-2021-3-114-124.

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The article is devoted to aspects of women’s writing and women’s freedom in Leo Tolstoy’s novel “Family Happiness” (1859), which is studied by researchers widely, including the context of the “women’s freedom”, despite the fact that it is not solved in it “progressively”. Tolstoy does not justify the feminist expectations of the reader, whose attention is attracted not so much by the question of the social status of women in a patriarchal society or in the big world (although this topic is also being significantly rethought), as by the path of self-knowledge that runs through experience and understanding the essence of love, flirt, and happiness. Each of the spouses must go this way by oneself; only then will the broken bonds of marriage be sealed again, and the spouses will find unity in real “family happiness” – children. Such a result contradicts what the gender approach, sometimes attributed to the works of the classics. The main subject of the narrative – the question of happiness – is considered ambiguously, in the conflict of male and female writing: both ideologically (in reasoning) and metaphorically (in so-called “lyrical digressions”). The narrative, ideological layers, and the layer of imagery of Tolstoy’s novella cannot be distinguished: the plot twists turn out to be in relation to the images of nature and demonstrate the evolution of the heroine’s understanding of happiness.

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Honsalies-Munis, Svitlana. "BODY IMAGES IN THE POETRY BY ANNE SEXTON, SYLVIA PLATH, ADRIENNE RICH." English and American Studies 1, no. 16 (September 7, 2019): 143–50. http://dx.doi.org/10.15421/381920.

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The research is an attempt to analyze female body images in the poetry by Anne Sexton, Sylvia Plath and Adrienne Rich. Special attention is paid to the concept of women’s writing, modern theories of corporeality, sexuality and the problems of the body and the language, which have been considered as major features of women’s poetry in the second half of the 20th century. The theoretical background of the article is based on the works of Hélène Cixous, Luce Irigaray, Julia Kristeva, Jane Gallop, Alicia Ostriker, Christina Britzolakis, Jacqueline Rose, in which they defined the concepts of women's writing and language, women's subject, bodiness and corporality. The article analyzes a number of related issues: firstly, it determines how well-known theories of women's writing are consistent with the peculiarities of the female experience and its realization in a poetic text, especially on the level of the themes and motifs; secondly, it studies how the female body images are expressed in the poetry by Anne Sexton, Sylvia Plath and Adrienne Rich, what are the similarities between their corporeal imagery and what are the differences. The article analyses modern feminist works as well as gender studies.

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Györke, Ágnes. "Contemporary Hungarian Women’s Writing and Cosmopolitanism." Porównania 27, no. 2 (December 15, 2020): 235–46. http://dx.doi.org/10.14746/por.2020.2.12.

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This article investigates contemporary Hungarian women’s writing in the context of cosmopolitan feminism. The literary works explored are Noémi Szécsi’s The Finno-Ugrian Vampire, Noémi Kiss’s Trans and Virág Erdős’s Luminous Bodies: 100 Little Budapest, which I read as examples of a cosmopolitan feminist engagement with urban space. As opposed to the Kantian concept of cosmopolitanism, which has been critiqued for failing to take the experiences of particular social groups and geographical regions into account, cosmopolitan feminism focuses on the local and the embodied. The discussed texts thematise border crossing both on the level of form and content, while they engage with the mundane, affective aspects of everyday life in an emphatically urban setting. This cosmopolitan feminism challenges parochial, heavy, national literary traditions and points towards a distinct feministaesthetics in contemporary Hungarian literature.

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Cain, Stephen. "Women’s Writing in Canada. Patricia Demers." Canadian Historical Review 102, no. 1 (March 2021): 196–99. http://dx.doi.org/10.3138/chr.102.1.br13.

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Jordan, Shirley, and Judith Still. "Disorderly eating in contemporary women’s writing." Journal of Romance Studies 20, no. 2 (June 2020): 193–223. http://dx.doi.org/10.3828/jrs.2020.13.

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Hojabri, Afsaneh. "Iranian Women’s Food Writing in Diaspora." Anthropology of the Middle East 15, no. 2 (December 1, 2020): 179–93. http://dx.doi.org/10.3167/ame.2020.150213.

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Abstract: In light of the recent surge of Iranians’ autobiographies and fictions in the West, this article will examine ‘food writing’ as an emerging genre of diasporic narrative dominated by Iranian women. It will explore the multiple avenues through which these cookbooks/food memoirs seek not only to make accessible the highly sophisticated Persian culinary tradition but also to ameliorate the image of Iran. Such attempts are partly in response to the challenges of exilic life, namely, the stereotypical portrayal of Iranians in the Western media. Three books with strong memoir components will be further discussed in order to demonstrate how the experiences of the 1979 revolution, displacement, and nostalgia for prerevolutionary Iran are interwoven with the presentation of Iranian food and home cooking abroad.Résumé : À la lumière de la vague récente d’autobiographies et de fictions d’Iraniens dans l’ouest cet article examinera “l’écriture culinaire” en tant que genre émergent de récit diasporique dominé par les femmes iraniennes. Il explorera les multiples voies pas lesquelles ces livres de cuisine / mémoires culinaires cherchent non seulement à rendre accessible la tradition culinaire persane très sophistiquée, mais aussi à améliorer l’image de l’Iran. Une telle tentative est une réponse aux défis de la vie en exil, à savoir la représentation stéréotypée des Iraniens dans les médias occidentaux. Trois livres avec de fortes composantes de mémoire seront discutés plus en détail afin de démontrer comment les expériences de la révolution de 1979, le déplacement et la nostalgie de l’Iran pré-révolutionnaire sont entrelacés avec la présentation de la cuisine iranienne et de la cuisine maison à l’étranger.

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Opara, Chioma. "Women’s Perennial Quest in African Writing." Dialogue and Universalism 27, no. 2 (2017): 119–28. http://dx.doi.org/10.5840/du201727230.

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Oksun Kang. "Women’s Writing and Their Cultural Subjection." Studies in English Language & Literature 36, no. 4 (November 2010): 1–16. http://dx.doi.org/10.21559/aellk.2010.36.4.001.

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Barnsley, Veronica. "Feminism and Contemporary Indian Women’s Writing." Women: A Cultural Review 23, no. 1 (March 2012): 111–13. http://dx.doi.org/10.1080/09574042.2012.644492.

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Covan, Eleanor Krassen. "Writing about global women’s health issues." Health Care for Women International 40, no. 12 (December 2, 2019): 1299–301. http://dx.doi.org/10.1080/07399332.2019.1696042.

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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.

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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.

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Coolahan, Marie-Louise. "Women’s Writing in Seventeenth-Century Ireland." Literature Compass 7, no. 12 (December 2010): 1049–61. http://dx.doi.org/10.1111/j.1741-4113.2010.00761.x.

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Gwynne, Joel. "Feminism and contemporary Indian women’s writing." Journal of Postcolonial Writing 48, no. 1 (February 2012): 105–6. http://dx.doi.org/10.1080/17449855.2011.611337.

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Blew, Mary Clearman, Susanne George Bloomfield, Melody Graulich, and Judy Nolte Temple. "Writing Women’s Biographies: Processes, Challenges, Rewards." Western American Literature 43, no. 2 (2008): 179–203. http://dx.doi.org/10.1353/wal.2008.0074.

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Mallette, Jennifer C. "Writing and Women’s Retention in Engineering." Journal of Business and Technical Communication 31, no. 4 (June 14, 2017): 417–42. http://dx.doi.org/10.1177/1050651917713253.

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Kataoka, Kuniyoshi. "Affect in Japanese women’s letter writing." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 5, no. 4 (December 1, 1995): 427–53. http://dx.doi.org/10.1075/prag.5.4.02kat.

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Ahmed, Leila. "Arab culture and writing women’s bodies." Feminist Issues 9, no. 1 (March 1989): 41–55. http://dx.doi.org/10.1007/bf02685602.

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Hermawati, Yessy. "KENANGA: WOMEN’S CULTURE (AN ANALYSIS OF NOVEL, A WORK OF FEMALE AUTHOR WITH PRESPECTIVE ELAINE SHOWALTER CULTURE MODEL)." AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 1, no. 1 (April 17, 2018): 176–86. http://dx.doi.org/10.30743/aicll.v1i1.25.

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In understanding the women’s culture, historians see and distinguish various aspects of identity, roles, relationships, attitudes and pictures of women's lives formed in the culture of society in general. Female writers also express and present the women’s culture in their works. This study discusses how the women’s culture is represented in a novel written by a woman. A work that is written with attention to the cultural elements of women that presents women's lives through experience and narration. The object analyzed in this study is Oka Rusmini's novel entitled "Kenanga" which tells the women’s lives with Balinese cultural background. Oka Rusmini, the author is also a Balinese woman. The novel is analyzed by using the approach of Subjectivity (Spivak,1994) and Elaine Showalter cultural model (Showalter,1982) especially women's writing and women's culture model. This study shows that women authors represent experiences and women's issues in their works. Women authors also write down their responses and perspectives on the patriarchal culture that surrounds their lives with a Balinese cultural setting. Oka Rusmini also conveys resistance of social and cultural constructions which make women become subordinate through the attitude and life of the characters in her novel.

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Leuner, Kirstyn J. "Locating Women’s Book History in The Stainforth Library of Women’s Writing." SEL Studies in English Literature 1500-1900 60, no. 4 (2020): 651–71. http://dx.doi.org/10.1353/sel.2020.0026.

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Hartanto, Erika Citra Sari, and Miftahur Roifah. "Madurese Women and Binding Culture in Muna Masyari’s Martabat Kematian: Gynocriticism Analysis." HUMANIKA 27, no. 2 (December 15, 2020): 155–69. http://dx.doi.org/10.14710/humanika.v27i2.33531.

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Muna Masyari is a famous female author from Pamekasan, Madura, whose one of her short stories, Sortana, won an award from Kompas, a national newspaper, as the best short story in 2017. Through her short stories, she consistent in depicting the social problems, particularly, related to Madurese women. This article discusses the portrayal of Madurese women in four short stories, namely Kembang Pengantin, Rumah Hantaran, Are’ Lancor, and Topeng Gelur. This article focuses on Madurese women as daughter and mother and their relation to nature and oppressed culture. This study uses descriptive approach with close reading method. Data collection is in the form of words and the data analysis is done by interpreting the data based on Elaine Showalter’s Gynocriticism which concerns with women as writer as well as the producer of literary texts. Gynocriticism mostly deals with four models; they are women’s writing and women’s body, women’s writing and women’s language, women’s writing and women’s psyche, and women’s writing and women’s culture. The results show Masyari reveals many problems attached to Madurese women through women’s body, language, psyche and culture. Madurese early arranged marriage and myths has placed Madurese women in oppressive and unfortunate conditions due to the binding culture that has dominated women. Muna Masyari, yet, places her female characters who are daring to speak their voice to have their own authority in searching their destiny in the future.

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Connell, Sarah, and Julia Flanders. "Writing, Reception, Intertextuality." Journal of Medieval and Early Modern Studies 50, no. 1 (January 1, 2020): 161–80. http://dx.doi.org/10.1215/10829636-7986649.

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Reading has received renewed scrutiny in the digital age, a result of the defamiliarization of the medium that has also brought about a rethinking of what is meant by “text,” “book,” and “author.” Fascination with large-scale data analysis has shifted attention toward modes of reading that sample the source to produce a statistical artifact from which we can in turn read clusterings of words, shifts in topic or register, or changing orthographic habits. These remote reading practices, however, fail to capitalize on valuable modeling of the individual text, but more recently researchers have been exploring ways of bringing these two ends of the digital spectrum into closer conversation. This article explores the study of readership and reception of pre-Victorian women’s writing through these emerging digital methods, examining two collections (Women Writers Online and Women Writers in Review) related to early women’s writing with large-scale analytical methods that engage with the detailed textual models in these collections’ metadata and markup.

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Kołodziejska-Smagała, Zuzanna. "Polish-Jewish Female Writers and the Women’s Emancipation Movements in the Late Nineteenth and Early Twentieth Centuries." Aspasia 16, no. 1 (June 1, 2022): 110–29. http://dx.doi.org/10.3167/asp.2022.160108.

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Between 1880 and 1914, a small group of Jewish female authors writing in Polish approached the vital-at-the-time woman question from different angles. Although they incorporated discussions of women’s sexuality, for these Polish supporters of women’s emancipation, access to education remained the focal point. This article explores the writings of seven Jewish women authors in the historical context of the emerging women’s emancipation movements in the Polish lands, demonstrating that their educational aspirations were not always identical to those expressed by Polish emancipationists. By examining the involvement of Polish-Jewish women writers in Polish women’s organizations, the article complicates the picture of the Polish suffrage movement and highlights the interconnectedness of Polish and Jewish social history.

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Jesús, Amarilis Hidalgo de. "Reading-Speaking-Writing the Mother Text: Essays on Caribbean Women’s Writing." Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades 46, no. 1-2 (May 1, 2020): 301–4. http://dx.doi.org/10.14321/jgendsexustud.46.1-2.0301.

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Antonioli, Kathleen. "Colette française (et fille de zouave)." French Politics, Culture & Society 38, no. 1 (March 1, 2020): 113–28. http://dx.doi.org/10.3167/fpcs.2020.380106.

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This article argues that French novelist Sidonie-Gabrielle Colette occupies a central position in the canon of French women’s writing, and that from this position her reception was deeply influential in the development of the myth of French singularity. After World War I, a style of femininity associated with Colette (natural, instinctive, antirational) became more largely synonymous with good French women’s writing, and writers who did not correspond to the “genre Colette” were excluded from narratives of the history of French women’s writing. Characteristics associated with Colette’s writing did not shift drastically before and after the war, but, in the wake of the Great War, these characteristics were nationalized and became French.

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Kedzierska, Aleksandra. "Women’s Writing of The First World War." Armenian Folia Anglistika 3, no. 1 (3) (April 16, 2007): 130–40. http://dx.doi.org/10.46991/afa/2007.3.1.130.

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The article aims to withdraw the works of women writers from years of oblivion and neglect. These are the writers who depicted the dire consequence of war and its impact on women. The article draws parallels between the dedication, commitment of female factory workers, their readiness to sacrifice their own health for the common sacred cause and the heroic deeds of the soldiers fighting in the battlefield. The article also includes a number of works by women writers together with their interpretations which come to confirm the creative skills of the latter.

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Heffernan, Valerie. "Dementia narratives in contemporary German women’s writing." Journal of Romance Studies 17, no. 3 (December 2017): 361–78. http://dx.doi.org/10.3828/jrs.2017.27.

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Leech, Muireann. "Women’s Life Writing and Early Modern Ireland." a/b: Auto/Biography Studies 36, no. 2 (May 4, 2021): 505–9. http://dx.doi.org/10.1080/08989575.2021.1999688.

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Nutsukpo, Margaret Fafa. "Feminism in Africa and African Women’s Writing." African Research Review 14, no. 1 (April 28, 2020): 84–94. http://dx.doi.org/10.4314/afrrev.v14i1.8.

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Feminism developed out of the discontents of women in the West. Although African women, over the ages, have always been sensitive to all forms of discrimination within the African society, the emergence of feminism and feminist consciousness-raising awakened in them a new awareness of their oppression through the inequalities in society, reinforced by patriarchal tradition and culture. Many African women have aligned themselves with feminism and the feminist cause and, despite all odds have made remarkable progress in their lives and society and gained respectable acceptance and recognition from even the most stubborn reluctance of male domination. This trend has been captured by African women writers in their literary works which reflect the progress African women have made in transitioning from the margin to the centre and their contributions to social change. Key Words: Feminism, Africa, patriarchy, African women, consciousness-raising, change

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Booth, Marilyn. "Locating Women’s Autobiographical Writing in Colonial Egypt." Journal of Women's History 25, no. 2 (2013): 36–60. http://dx.doi.org/10.1353/jowh.2013.0019.

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Keeney, Patricia. "Women’s Writing in Canada by Patricia Demers." Tulsa Studies in Women's Literature 39, no. 2 (2020): 366–69. http://dx.doi.org/10.1353/tsw.2020.0031.

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Busia, Abena P. A. "Creating the Archive of African Women’s Writing." Meridians 17, no. 2 (November 1, 2018): 233–45. http://dx.doi.org/10.1215/15366936-7176406.

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Thierauf, Doreen, and Lauren Pinkerton. "Generational Exchange and Transition in Women’s Writing." Women's Writing 26, no. 2 (March 4, 2019): 125–31. http://dx.doi.org/10.1080/09699082.2019.1534644.

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Arora, Anupama, and Rajender Kaur. "Writing India in Early American Women’s Fiction." Early American Literature 52, no. 2 (2017): 363–88. http://dx.doi.org/10.1353/eal.2017.0029.

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Moore-Gilbert, Bart. "“Baleful Postcoloniality” and Palestinian Women’s Life Writing." Biography 36, no. 1 (2013): 51–70. http://dx.doi.org/10.1353/bio.2013.0007.

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Seymour-Jorn, Caroline. "Etidal Osman: Egyptian Women’s Writing and Creativity." Journal of Middle East Women's Studies 2, no. 1 (2006): 95–121. http://dx.doi.org/10.1215/15525864-2006-1004.

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Russell, Anne-Louise. "The Cambridge Companion to Victorian Women’s Writing." Journal of Victorian Culture 21, no. 2 (April 2, 2016): 273–76. http://dx.doi.org/10.1080/13555502.2016.1170434.

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Brumitt, Eileen. "Heroics of Teaching and Writing Women’s History." Civil War History 61, no. 4 (2015): 440–41. http://dx.doi.org/10.1353/cwh.2015.0074.

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Wray, Rebecca. "The F-Word in Contemporary Women’s Writing." PsyPag Quarterly 1, no. 89 (December 2013): 45–47. http://dx.doi.org/10.53841/bpspag.2013.1.89.45.

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Geer, Jennifer. "Women’s Writing and Women’s Literacy in Two “Beauty and the Beast” Tales." Asian Women 32, no. 2 (June 30, 2016): 67. http://dx.doi.org/10.14431/aw.2016.06.32.2.67.

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Fama, Katherine. "‘Home Feeling in the Heart’: Domestic Feeling and Institutional Space in the American Progressive Era." Emotions: History, Culture, Society 6, no. 1 (June 22, 2022): 78–95. http://dx.doi.org/10.1163/2208522x-02010147.

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Abstract:

Abstract Writing on either side of the emotional watershed of the 1920s, Jane Addams and Anzia Yezierska documented and fictionalised the domestic institutional spaces of the American Progressive Era, from settlements to charity homes. Writing from the perspectives of settlement administrator and immigrant resident, each found emotions central to the era’s crossing of domestic and public spheres, professionalisation of charity and social work, and encounters between middle-class and labouring-immigrant cultures. Their writings portrayed the institutional home as host to the conflicting expressions of middle-class workers and immigrant occupants, a crucible of emotional cultures. Each argued for the importance of emotional encounters and empathy in institutional domestic space, writing back to the dominant professional constraints on women’s emotional expression in the era. Addams and Yezierska advocated for emotional knowledge and drive, challenging the exile of emotional logic and language from women’s emerging public roles. The value and expression of public emotions – as Yezierska’s fictions suggest – proved possible unevenly, along lines of institutional power.

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Journal articles on the topic 'Women’s writing'

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