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Journal articles on the topic 'Women writers'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Jamal Fadhil, Dhafar, and May Stephan Rezq Allah. "A Feminist Discourse Analysis of Writer's Gender Biases about Violence Against Women." Journal of the College of languages, no. 44 (June 1, 2021): 21–45. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0021.

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The present study is concerned with the writer's ideologies towards violence against women. The study focuses on analyzing violence against women in English novel to see the extent the writers are being affected and influenced by their genders. It also focuses on showing to what extent the writer's ideologies are reflected in their works. Gender influences social groups ideologies; therefore, when a writer discusses an issue that concerns the other gender, they will be either subjective or objective depending on the degree of influence, i.e., gender has influenced their thoughts as well as behaviors. A single fact may be presented differently by different writers depending on the range of affectedness by ideologies. The study aims to uncover the hidden gender-based ideologies by analyzing the discursive structure of a novel based on Van Dijk's model (2000) of ideology and racism. The selected novel is based on discussing violence against women. The study will later on reveal the real writer’s gender-based ideologies and whether the writer is a feminist or an anti-feminist? Or Is he prejudiced? Or Is he biased?

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2

Fadhil, Dhafar Jamal, and May Stephan Rezq-Allah. "Authorial Stance in Black and Blue Novel by Anna Quindlin." Al-Adab Journal 2, no. 141 (June 15, 2022): 49–62. http://dx.doi.org/10.31973/aj.v2i141.1108.

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The present study is concerned with the writer's ideologies towards violence against women. The study will focus on analyzing an English novel about violence against women so as to see to what extent writers are being affected and influenced by their genders. It also focuses on showing to what extent writer's ideologies are reflected in their works. Gender influence social groups ideologies; therefore, when a writer discusses an issue that concerns the other gender, they will be either subjective or objective depending on the degree of influence, i.e., gender has influenced their thoughts as well as behaviours. A single fact may be presented differently by different writers depending on the range of affectedness by ideologies. The study aims to uncover and reveal the hidden gender-based ideologies, by analyzing the discursive structure of a novel based on Van Dijk's model (2000) of ideology and racism. The selected novel is based on discussing violence against women. The study will later on reveal what the real writer’s gender-based ideologies is. Is the writer feminist or anti-feminist? Is he prejudiced? Is he biased?.

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3

O'Toole, Mary, Eva Figes, and Adele King. "Women Writers." Tulsa Studies in Women's Literature 7, no. 1 (1988): 133. http://dx.doi.org/10.2307/464065.

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4

G.M.D. "Women Writers." Americas 44, no. 4 (April 1988): 505–6. http://dx.doi.org/10.1017/s0003161500074642.

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5

Yang, Gladys. "Women Writers." China Quarterly 103 (September 1985): 510–17. http://dx.doi.org/10.1017/s0305741000030733.

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The number of Chinese women writers has increased considerably in the past few years. Some write poetry, essays, children's stories, reportage and television scripts. But since the majority write fiction, and they are the most influential, I will talk today about some middle-aged and younger women who have introduced new themes or written controversial work in recent years.

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6

G.M.D. "Women Writers." Americas 49, no. 1 (July 1992): 83. http://dx.doi.org/10.1017/s0003161500018861.

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7

Henderson, Mae G., Marjorie Pryse, and Hortense J. Spillers. "Black Women Writers' Right to Write." Callaloo, no. 34 (1988): 188. http://dx.doi.org/10.2307/2931122.

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8

Staves, Susan. "Women Writers ≠ Women Novelists." Tulsa Studies in Women's Literature 26, no. 1 (March 2007): 87–95. http://dx.doi.org/10.1353/tsw.2007.a220827.

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9

Larsen, Anne, and Katharina M. Wilson. "Medieval Women Writers." Tulsa Studies in Women's Literature 4, no. 2 (1985): 293. http://dx.doi.org/10.2307/463704.

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10

Wileman, Margaret. "Medieval Women Writers." Moreana 22 (Number 87-8, no. 3-4 (November 1985): 95–96. http://dx.doi.org/10.3366/more.1985.22.3-4.29.

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11

Terras, Victor, and Christine D. Tomei. "Russian Women Writers." World Literature Today 73, no. 3 (1999): 555. http://dx.doi.org/10.2307/40154978.

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12

Rosenthal, Charlotte, and Christine D. Tomei. "Russian Women Writers." Slavic and East European Journal 44, no. 2 (2000): 287. http://dx.doi.org/10.2307/309954.

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13

McDermott, Annella. "Hispanic Women Writers." Women: A Cultural Review 11, no. 3 (January 2000): 298–300. http://dx.doi.org/10.1080/09574040050505565.

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14

Fan, Benjamin. "Women writers project." XRDS: Crossroads, The ACM Magazine for Students 6, no. 2 (November 1999): 19–23. http://dx.doi.org/10.1145/333104.333112.

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15

Kemp, Theresa D. "Early Women Writers." Feminist Teacher 18, no. 3 (2008): 234–39. http://dx.doi.org/10.1353/ftr.0.0015.

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16

Velasco, Lovella G. "Relocating the Ilokano Women Writers of Nueva Vizcaya." Proceedings Journal of Education, Psychology and Social Science Research 2, no. 1 (May 23, 2015): 8–12. http://dx.doi.org/10.21016/icepss.2015.fe11wf48.

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The study attempts to empower ordinary women writers from the region who are considered to be in the peripheries. The bibliographic building of the foremost Ilokano women writers of Nueva Vizcaya who remain unaccounted and missing in Philippine literature will promote the woman presence in the nation and their place in Philippine literature, while the criticism of their retrieved and collected published short stories written in the vernacular, Iluko, will intensify the relevance of Iluko as regional literature and as a language. Consequently, the study will contribute to the growing body of feminist studies and literary criticism in the Philippines today. Results of the study showed that these four Ilokano women writers who are unknown and neglected in the region and in Philippine literature have a significant socio-cultural impact and contributed to the refinement, enrichment, and general development of their language and literature; literature being the grandeur of language and language the carrier of culture. The short stories of the Ilokano women writers present the unique Ilokano ways, traditions and cultures and the concepts of Ilokano woman and womanhood embedded with their traditional images and representations but also claim the idea of equality between man and woman. It might be construed that Ilokano women and the women writers were not fully contaminated at all with the patriarchal ideology and don’t adhere and have bent and even dismantled patriarchy, or even the attempt to overcome and change this ideology. The Ilokano women writers showed through their short stories, that they have sustained their unique cultural identity despite the impact of colonization. The general awareness and recognition of these regional women writers and their literary pieces would bring a ripple effect to the younger women of the region who would continue to change and overcome the tainted image of the third world regional women writer and women in general, and bringing them no longer to the peripheries but to the center.

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17

Dr. Gajendra Dutt Sharma. "Delineation of Male Characters and Sensibilities in the Novels of Manju Kapur: A Critical Analysis." Creative Launcher 7, no. 1 (February 28, 2022): 51–62. http://dx.doi.org/10.53032/tcl.2022.7.1.09.

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The research article aims to analyse the delineation of male characters in the novels of Manju Kapur. It tries to highlight the image of male characters from the perspective of a woman writer, who happens to be a feminist. In contemporary Indian English fiction dominated by women writers the primary focus is on the representation of women characters and addressing their sensibilities, their plight and place in patriarchal setting. As such, the male characters have been presented either with less vigour or as typical chauvinistic individual, responsible for the ordeals of women in society. In very few novels by women novelists in modern scenario do we find the sympathetic treatment given to the male characters. Considering this aspect of modern Indo-Anglian fiction, the article endeavours to examine the portrayal of male characters in women centric novels, by a woman writer. The qualitative method has been used to deduce how much and how sympathetic treatment has been given to the male characters by the novelist. In order to analyse the representation of men, Manju Kapoor's Difficult Daughters (1998), A Married Woman (2003), Home (2006), and The Immigrant (2008) have been brought under study. A comparison between the representation of men in the novels by men writers and that in the novels by women writers has been taken into consideration in order to draw an objective and unbiased conclusion.

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18

Qbilat, Nizar, and Awni El-Faouri. "The Other’s Image in Arabic Feminist Narrative." Journal of Arts and Social Sciences [JASS] 7, no. 2 (June 1, 2016): 337. http://dx.doi.org/10.24200/jass.vol7iss2pp337-345.

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This study aims at shedding some light on the images of women in some feminist novels known as Feminist Literature. The research depicts a number of Arabic feminist writers concentrating on the structure of Feminist Literature generally, and Arabic women writers specifically. The study examines the characters, the narrative angle and the narrative sequence and its objective sensitivity at three levels: the woman as an author, a narrator, and the artistic character dealing with issues of justice, liberty and equality with man, considering the various humanitarian models: the striver, the lover and the educated within the borders of the forbidden, the fear, and the limitations. The popularity of Feminist Literature is one of the issues of modernity in the Arab world. The role of Jordanian women writers is apparent in literature. Their creative works compete with those of dominant men in terms of imagery and artistic presence. The inner persona of the woman writer is dominant even though her work represents a realistic view. The problematic issue of writing for women writers seems to be plunged in paradox and sharp in its novelistic representation. The novelistic modules studied indicate the success the Arab woman writer achieved in terms of the use of artistic tools, and the ability to confront and reveal the untold. Although the feminists’ novels seem to dwell in an anxious environment, they represent an arena of conflict representing the artistic and living realities.

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19

Qbilat, Nizar, and Awni El-Faouri. "The Other’s Image in Arabic Feminist Narrative." Journal of Arts and Social Sciences [JASS] 7, no. 2 (June 1, 2016): 337–45. http://dx.doi.org/10.53542/jass.v7i2.1124.

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This study aims at shedding some light on the images of women in some feminist novels known as Feminist Literature. The research depicts a number of Arabic feminist writers concentrating on the structure of Feminist Literature generally, and Arabic women writers specifically. The study examines the characters, the narrative angle and the narrative sequence and its objective sensitivity at three levels: the woman as an author, a narrator, and the artistic character dealing with issues of justice, liberty and equality with man, considering the various humanitarian models: the striver, the lover and the educated within the borders of the forbidden, the fear, and the limitations. The popularity of Feminist Literature is one of the issues of modernity in the Arab world. The role of Jordanian women writers is apparent in literature. Their creative works compete with those of dominant men in terms of imagery and artistic presence. The inner persona of the woman writer is dominant even though her work represents a realistic view. The problematic issue of writing for women writers seems to be plunged in paradox and sharp in its novelistic representation. The novelistic modules studied indicate the success the Arab woman writer achieved in terms of the use of artistic tools, and the ability to confront and reveal the untold. Although the feminists’ novels seem to dwell in an anxious environment, they represent an arena of conflict representing the artistic and living realities.

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20

Van Elk, Martine. "Women Writers Project (WWP) Team, eds. Women Writers: Intertextual Networks. Database." Renaissance and Reformation 46, no. 1 (October 17, 2023): 222–25. http://dx.doi.org/10.33137/rr.v46i1.41742.

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21

Rykunina, Yulia A. "For the Literary Biography of Olga Chyumina." Literary Fact, no. 4 (26) (2022): 107–22. http://dx.doi.org/10.22455/2541-8297-2022-26-107-122.

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The article presents little-known documents and evidences, concerning the early biography of Olga Nikolaevna Chyumina (1858 –1909) — a poet, a writer, a translator — including ego-documents. The author of the article observes the peculiarities of her relations with modernist writers and her literary position, expressed largely in opposition to modernists. Despite the fact that nowadays Chyumina is almost forgotten, at the turn of the 20th century she was a famous writer who achieved both the attention of critics and high fees. The article examines the beginning of her creative career, the relationship with the critic V.P. Burenin, the first publications dedicated to the memory of General M.D. Skobelev. The author quotes from letters stored in archives, in which Chyumina writes about herself and subjects the role and place of women in literature to reflection. Chyumina wrote from a male person before women writers of the modern era began to resort to this technique. Critics have noted this feature, at the same time in the reviews she was advised not to raise serious topics, which corresponds to the traditional attitude towards women writers. In the second book of poems, Chyumina seems to have found exactly her voice, but the rapid development of new trends pushed this figure into the background.

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22

Priydarshi, Ashok Kumar. "Manju Kapur’s ‘Home’: A Strong Voice of Protest." Journal of Advanced Research in English and Education 6, no. 03 (December 8, 2021): 3–5. http://dx.doi.org/10.24321/2456.4370.202105.

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Women’s issues in India are different from those in the western countries where a woman’s quest for identity and survival become major discourses. Writers who are conscious of the “othering” of women need to make ordinary women understand the possibility of power, of being able to control their own lives, and to have this power, not as mothers, not as devoted wives, but as ordinary women. But, Indian women writers have to first battle against the deeply ingrained critical prejudices that writing is an activity which belongs exclusively to men and if a woman writes at all, it is always a futile exercise. Manju Kapur’s ‘Home’ is a feminist discourse not only because the novelist is a woman writing about women but also because she understands women’s minds.

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23

Nimavat, Dr Dushyant. "Indian Women Writers in English: An Overview." Global Journal For Research Analysis 3, no. 1 (June 15, 2012): 27–28. http://dx.doi.org/10.15373/22778160/january2014/27.

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24

Lee, Ji-Eun. "“I Am a Wanderer”: Paek Sinae (1908–1939) and Writing Travel." Sungkyun Journal of East Asian Studies 23, no. 1 (May 1, 2023): 95–114. http://dx.doi.org/10.1215/15982661-10336312.

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Abstract Paek Sinae (1908–39) was a modern woman writer whose career was cut short by an early death. She lived in the era of New Women, but unlike most of her peer woman writers, Paek had little formal education or connections to the literary establishment (mundan). This background, combined with her modest output of fictional works, resulted in Paek Sinae being seen by critics during her lifetime and scholars long after her death as a provincial writer, thus affording her only limited recognition. This article challenges such dismissals and seeks an approach that would allow a more comprehensive appreciation of Paek Sinae and woman writers more broadly. First, the article looks closely at Paek's life based in her hometown away from the social center of Kyŏngsŏng (present-day Seoul) and considers how geographical and linguistic aspects of Paek's locale were misunderstood by critics. Next, with a focus on Paek's travels and her travelogues, cosmofeminism and global-local connections are examined as a key to understanding the complexities of being a modern woman writer in Paek's day. At the same time, by putting a spotlight on the “lesser” literary genre of the travelogue, this article also gestures toward a more inclusive approach to research on woman writers whose aesthetic or literary qualities were often judged only by their works of fiction (sosŏl) or poetry, while other important works like autobiographical or sociopolitical essays tended to be overlooked. Paek Sinae's life and work add breadth to the already complex definition of New Women and early feminism, and through her example, this article urges a more comprehensive consideration of works by Korean women writers in the early twentieth century.

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25

S. V, Abisha, and Dr Cynthia Catherine Michael. "The Palace of Illusions-Voice of a Disillusioned Woman." SMART MOVES JOURNAL IJELLH 8, no. 12 (December 31, 2020): 77–84. http://dx.doi.org/10.24113/ijellh.v8i12.10861.

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Diaspora writing is a recent trend in literature. Many writers especially women writers excel in this field. These diasporic writers though they live in a foreign land always hold their love in their writings. India is a land of myth and legends and hence many Indian writers borrow their plot from Hindu mythology which is used as a literary device. Many writers of the independence and post-independence era used mythology to spread nationalism and to guide humanity in the right path. Chitra Banerjee Divakaruni is a diasporic writer who always holds a piece of her love for motherland in her writings. She extensively uses Hindu mythology in her works. She uses these myths to instill courage in her woman protagonists. She tries to prove how myths guide the immigrant women to overcome their conflicts in life. Her novels explain how myths instruct the humanity to lead a righteous life.

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26

Wu, Fatima, and Eva Hung. "City Women: Contemporary Taiwan Women Writers." World Literature Today 76, no. 2 (2002): 135. http://dx.doi.org/10.2307/40157308.

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27

Demska-Budzuliak, Lesia. "AUTOBIOGRAPHICAL UTOPIA OF NATALIA ROMANOVYCH-TKACHENKO." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 33 (2023): 59–64. http://dx.doi.org/10.17721/1728-2659.2023.33.09.

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The article is devoted to researching the work of N. Romanovych-Tkachenko, a representative of the generation of female writers of Soviet Ukraine in the 1920s, from the perspective of gender discourse. Women's literature of Soviet Ukraine in the 1920s-1930s is an understudied and not updated phenomenon of the Ukrainian literary process of that time. Most of the texts of women writers were unnoticed by literary critics, and the problems that were raised in their texts turned out to be "uninteresting" for the then, generally male, literary critics. Instead, we note the emergence of a new generation of women writers in Ukrainian literature, formed not only by the national tradition, but also by the first wave of European feminism. They radicalize the women's issue and put forward other, unlike their predecessors, aesthetic demands on artistic texts. At the same time, it was women writers who continued the traditions of modern Ukrainian literature, in particular bright individual writing. Most of them told the reader about their biographies for the first time in the form of memories, diaries, memoirs. The peculiarity of these biographies is that they reveal a striking discrepancy between the expectations of women from the gender policy of the Bolsheviks and the revolutionary, post-revolutionary reality. We can see two biographies of the writer by comparing the artistic texts and autobiographical memories of N. Romanovych-Tkachenko. One of them is imaginary, constructed by the author on the basis of her own life project, and the second is real, as the writer lived. These two biographies in different genre forms are presented in the writer's work. Imaginary biography is described in the experience of the characters of fictional texts, while real biography is represented by the memoir genre, in particular, the diaries and memoirs of the author. The difference between these two life scenarios shaped the feminist outlook of N. Romnovich-Tkachenko and many other modern women writers.

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28

Grundy, Isobel, Germaine Greer, Susan Hastings, Jeslyn Medoff, Melinda Sansone, Dale Spender, Janet Todd, et al. "Anthologizing Early Women Writers." Tulsa Studies in Women's Literature 13, no. 1 (1994): 147. http://dx.doi.org/10.2307/463862.

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29

Coelho and Pazos-Alonso. "Transnational Portuguese Women Writers." Portuguese Studies 35, no. 2 (2019): 129. http://dx.doi.org/10.5699/portstudies.35.2.0129.

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30

Sanchez. "What Were Women Writers?" Criticism 63, no. 1-2 (2021): 63. http://dx.doi.org/10.13110/criticism.63.1-2.0063.

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31

Coelho, Maria Luísa, and Cláudia Pazos-Alonso. "Transnational Portuguese Women Writers." Portuguese Studies 35, no. 2 (2019): 129–35. http://dx.doi.org/10.1353/port.2019.0012.

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32

Balutansky, Kathleen M., Carole Boyce Davies, Elaine Savory Fido, Jan J. Dominique, Pamela Mordecai, and Betty Wilson. "Naming Caribbean Women Writers." Callaloo 13, no. 3 (1990): 539. http://dx.doi.org/10.2307/2931337.

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33

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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34

Vorontsova, Yelena. "Women writers in Russia." Index on Censorship 18, no. 3 (March 1989): 25–27. http://dx.doi.org/10.1080/03064228908534612.

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35

Jakacki, Diane K. "The Women Writers Project." Early Modern Women 11, no. 2 (2017): 140–44. http://dx.doi.org/10.1353/emw.2017.0011.

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36

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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37

Mellor, A. K. "Were Women Writers "Romantics"?" Modern Language Quarterly 62, no. 4 (December 1, 2001): 393–406. http://dx.doi.org/10.1215/00267929-62-4-393.

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38

Lambert, Carolyn. "Memoirs of Women Writers." Women: A Cultural Review 25, no. 2 (April 3, 2014): 215–18. http://dx.doi.org/10.1080/09574042.2014.927152.

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39

Batt, Jennifer. "Romantic Women Writers Reviewed." Women's Writing 21, no. 4 (May 21, 2014): 613–17. http://dx.doi.org/10.1080/09699082.2014.916023.

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40

Hawkins, Ann R. "Romantic Women Writers Reviewed." Women's Writing 22, no. 2 (April 3, 2015): 156–64. http://dx.doi.org/10.1080/09699082.2015.1011835.

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41

Kavolis, Vytautas. "Women Writers in Exile." World Literature Today 66, no. 1 (1992): 43. http://dx.doi.org/10.2307/40147854.

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42

Knapp, Bettina L. "Contemporary Chinese Women Writers." World Literature Today 66, no. 4 (1992): 774. http://dx.doi.org/10.2307/40148801.

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43

Rosman-Askot, Adriana, and Gabriella de Beer. "Contemporary Mexican Women Writers." Hispania 81, no. 2 (May 1998): 322. http://dx.doi.org/10.2307/345030.

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44

Turner, Margaret E. "South African Women Writers." World Literature Written in English 29, no. 2 (September 1989): 171–73. http://dx.doi.org/10.1080/17449858908589112.

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45

Birbalsingh, Frank. "Indian-Trinidadian Women Writers." Wasafiri 28, no. 2 (June 2013): 14–19. http://dx.doi.org/10.1080/02690055.2013.758929.

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46

Cruz, Humberto Lopez, Gustavo Fares, and Eliana C. Hermann. "Contemporary Argentinean Women Writers." South Atlantic Review 64, no. 2 (1999): 184. http://dx.doi.org/10.2307/3201998.

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47

KP, Krishnaveni. "The Indian Women Writers and their Contributions to Indian Literature." American Research Journal of English and Literature 7, no. 1 (May 28, 2021): 1–3. http://dx.doi.org/10.21694/2378-9026.21007.

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The Indian women writers are the one who mainly talks about the male ego and female desire for freedom. Through their writings women writer tries to oppose the male dominance over them. Indian women writers depict the injustices, the anguish and the despair they received in a male dominated society. Many of the writings can be considered as a mutiny against the restraints which the society thrust upon women. In this man-centered world they are trying to bring out the feminine identity through their works. Indian women writers never attempted to adopt any masculine roles to achieve themselves as equal as men, but through their writings they came across all the barrier of class, gender and space boundaries. They try to project masculinity and femininity as equal categories. Though through their works the Indian women writers tries to project women’s responses to gender questions. However, they tried to depict the fact that writings of women need not be differentiated by language or location.

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48

Hanuszewicz, Zuzanna. "Anna Mostowska – preromantyczna protofeministka." Czasopismo Naukowe Instytutu Studiów Kobiecych, no. 2(13) (2022): 103–15. http://dx.doi.org/10.15290/cnisk.2022.02.13.04.

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Anna Mostowska is part of the group of lesser-known, even forgotten, Polish women writers, whose works were written during the first decade of the 19th century. Her biography deserves widespread attention and to be recalled, as she was a pre-romantic protofeminist far ahead of her time. She was a nonconformist, an independent woman, who in 1804, after divorcing her second husband, Tadeusz Mostowski, decided to become financially independent and start writing. In her time, she was one of the very few women scholars and writers, that was also a frequent guest in artistic circles. Moreover, she did not fulfill the cultural and social roles assigned to women of that time, as she was an erudite, patron of the arts, painter, writer and translator.

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49

Daugirdaitė, Solveiga. "Autobiography and Soviet Lithuanian Women Writers." Colloquia 32 (June 1, 2014): 35–54. http://dx.doi.org/10.51554/col.2014.29239.

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Abstract:

This article focuses on autobiographies by women writers published in the last, two-volume version of a collection titled Tarybinių lietuvos rašytojų autobiografijos (Autobiographies of Soviet Lithuanian Writers), published in 1989 (previous versions appeared in 1957, 1967, and 1977). Solveiga Daugirdaitė explores what women writers felt it was appropriate to say about themselves to their society, and what can be gleaned from their statements about the nature of that society, the strengths and weaknesses it accorded its female members, the demands it made on them, the “spirit of the times”, and so on. Examining these autobiographies, she tries to reconstruct that social actor’s – the Soviet woman author’s – collective and individual identity, her courage and her fear of revealing herself, and the tension between her roles as public persona and “regular woman”. In Soviet Lithuania, although women writers’ professional work accorded them a place within that patriarchal, dominant society’s elite, they remained secondary players within it. Seeking to be recognized as equals, these women writers presented themselves as professionals, and for this reason their public accomplishments have pride of place in the autobiographies. The goal of this article is to decode what is nevertheless said about their private lives, as much as it is possible to separate that from the public. In reading women’s autobiographies from this period, it is therefore appropriate to draw both on the traditions for studying women’s autobiography, as well as studies of documents from the Soviet period.

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Frank, Margot K., and Nina Kupriyanova. "Always a Woman: Stories by Soviet Women Writers." World Literature Today 63, no. 2 (1989): 328. http://dx.doi.org/10.2307/40144940.

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