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Literatura académica sobre el tema "Women in war – Fiction"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2024

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Artículos de revistas sobre el tema "Women in war – Fiction"

Owens, Alison y Donna Lee Brien. "Australian women writers’ popular non-fiction prose in the pre-war period: Exploring their motivations". Australasian Journal of Popular Culture 11, n.º 1 (1 de diciembre de 2022): 63–80. http://dx.doi.org/10.1386/ajpc_00051_1.

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Since the 1970s, feminist scholars have undertaken important critical work on Australian women’s writing of earlier eras, profiling and promoting their fiction. Less attention has been afforded to the popular non-fiction produced by Australian women writers and, in particular, to that produced before the Second World War. Yet this writing is important for several reasons. First, the non-fiction writing of Australian women was voluminous and popular with readers. Second, this popular work critically engaged with a tumultuous political, social and moral landscape in which, as women’s rights were increasingly realized through legislation, the subjectivity of women themselves was fluid and contested. Third, as many of these women were also, or principally, fiction writers, their non-fiction can be shown to have informed and influenced many of their fictional interests, themes and characters. Lastly, and critically, popular non-fiction publication helped to financially sustain many of these writers. In proposing a conceptual framework informed by the work of Pierre Bourdieu to analyse examples of this body of work, this article not only suggests that important connections exist between popular and mainstream non-fiction works – newspaper and magazine articles, essays, pamphlets and speeches – and the fictional publications of Australian women writers of the early twentieth century but also suggests that these connections may represent an Australian literary habitus where writing across genre, form and audience was a professional approach that built and sustained literary careers.

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Rose, Ellen Cronan y Lorna Sage. "Women in the House of Fiction: Post-War Women Novelists". Tulsa Studies in Women's Literature 13, n.º 1 (1994): 189. http://dx.doi.org/10.2307/463873.

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Matthews, Jodie. "Daughters of Cyprus: Women, Contemporary Romance Fiction, and 1974". Synthesis: an Anglophone Journal of Comparative Literary Studies, n.º 10 (1 de mayo de 2017): 10. http://dx.doi.org/10.12681/syn.16241.

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The article considers twenty-first-century Anglophone romance representations of women set during the events of 1974 in Cyprus. It highlights the creative and political opportunities and ethical challenges of representing the Cyprus Problem in this genre. In representing a gap between the “desires of the feminine” and the motivating forces of ethno-nationalism, the novels remap women’s experience left out of the patriarchal assertions of war. While the novels reinscribe many of the discourses that normalise women’s absences from processes of official reconciliation, they might be seen as drawing popular attention to the issues at stake when considering women and war in Cyprus.

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Kardum, Marijana. "Life Writing between Fact and Fiction: Croatian World War II Women Diarists". Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 55, n.º 1 (20 de diciembre de 2023): 319–32. http://dx.doi.org/10.17234/radovizhp.55.17.

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This article initiates the discussion of intellectual women’s experiences of the Second World War in Croatia/Yugoslavia with the introduction of the recently discovered war diaries of Jewish intellectual Ina Juhn Broda (1899–1983) and journalist Vinka Bulić (1884–1965), along with the war diary of the nurse Lujza Janović Wagner (1907–1945). These scattered examples of intellectual women’s life-writing and their role in women’s transition from one to another totalitarian regime lack a thorough analysis and theoretical interpretation. This article therefore analyses how World War II represented a major shift in women’s rethinking of war and peace, but also of the Yugoslav future as a socialist project. It also discusses the very nature of the genre and sees the act of writing (about) oneself as a substitution for abruptly discontinued intellectual activity and the public presence of these women intellectuals.

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Chattarji, Subarno. "Poetry by american women veterans". Alea : Estudos Neolatinos 16, n.º 2 (diciembre de 2014): 300–316. http://dx.doi.org/10.1590/s1517-106x2014000200004.

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While there is a significant body of literature - fiction, memoirs, poetry - by American male veterans that has been discussed and analyzed, writings by American women who served in Vietnam receive less attention. This essay looks at some poetry by women within contexts of collective political and cultural amnesia. It argues that in recovering women's voices there is often a reiteration of dominant masculine tropes which in turn does not interrogate fundamental structures and justifications of the Vietnam War. However, the poems are indicative of alternative visions, of "things worth living for" in the aftermath of a war that has specific reverberations in the United States of America.

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Bernardi, Debra. "(Un)Like Subjects: Women, Theory, Fiction, and: Women in the House of Fiction: Post-War Women Novelists (review)". MFS Modern Fiction Studies 40, n.º 2 (1994): 432–34. http://dx.doi.org/10.1353/mfs.0.0597.

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Donawerth, Jane. "Body Parts: Twentieth-Century Science Fiction Short Stories by Women". PMLA/Publications of the Modern Language Association of America 119, n.º 3 (mayo de 2004): 474–81. http://dx.doi.org/10.1632/003081204x20532.

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This essay is a feminist, historical exploration of body parts in short science fiction stories by women. In early-twentieth-century stories about prostheses, blood transfusion, and radioactive experiments, Clare Winger Harris, Kathleen Ludwick, and Judith Merril use body parts to explore fears of damage to masculine identity by war, of alienation of men from women, and of racial pollution. In stories from the last quarter of the twentieth century, the South American author Angélica Gorodischer depicts a housewife's escape from oppressive domestic technology through time travel in which she murders male leaders, while Eileen Gunn offers a critique of bioengineering and sociobiology, satirizing fears of women in modern business and of erasure of identity in global corporate structures. An end-of-the-century fiction by the African American Akua Lezli Hope imagines a black woman altered through cosmetic surgery to become a tenor sax and critiques technologies that transform women's bodies into cultural signifiers of social function and class.

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Morgan, Elizabeth. "Combat at the Keys: Women and Battle Pieces for the Piano during the American Civil War". 19th-Century Music 40, n.º 1 (2016): 7–19. http://dx.doi.org/10.1525/ncm.2016.40.1.7.

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During the American Civil War, women in the parlor imagined life at the front through music, playing pieces and singing songs on topics related to the conflict. Among the genres that they performed were battle pieces for the piano, episodic works that depict incidents of battle and their outcome in victory. These pieces constituted a genre that had long been a favorite of female amateur performers, their lineage beginning with Frantisek Kotzwara's 1788 Battle of Prague, which remained steadily popular throughout the nineteenth century. This article examines Civil War battle pieces by tracing their roots to Kotzwara's famous piece. By constructing a reception history of that work as it appears in nineteenth-century literary sources, the article retrieves some alternatives to the abundant satirical readings of the Battle of Prague in period fiction. It suggests that Civil War battle music played several important roles in the lives of its players. The music invited women to imagine and embody the conflicts on the battlefield, to challenge society's expectations of women as both pianists and as contributors to the war effort in public capacities, and to reflect on the costs of the war. The article goes on to examine a battle piece by a female composer and to consider amateur women's performances of battle repertoire during the war years. Finally, drawing inspiration from the accounts in fiction of Kotzwara's Battle of Prague, it concludes by imagining a woman's performance of a battle piece on the heels of the Battle of Gettysburg.

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Mortimer, Mildred. "Zoulikha, the Martyr of Cherchell, in Film and Fiction". Publications of the Modern Language Association of America 131, n.º 1 (enero de 2016): 134–39. http://dx.doi.org/10.1632/pmla.2016.131.1.134.

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Readers of assia djebar's oeuvre are well aware of her commitment to restoring algerian women to their proper place in the history of their nation's anticolonial struggle. Beginning with her third novel, Les enfants du nouveau monde (1965; Children of the New World), a text offering a panoramic view of women's participation in the Algerian War, Djebar signaled her intent to chart women's political and psychological awakening during the anticolonial struggle. In contrast to this early text, Djebar's penultimate work, La femme sans sépulture (2002; “Woman without a Tomb”), focuses on one revolutionary figure: Yamina Echaïb Oudaï, known as Zoulikha, the martyr of Cherchell.

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PHILIPS, DEBORAH. "Healthy Heroines: Sue Barton, Lillian Wald, Lavinia Lloyd Dock and the Henry Street Settlement". Journal of American Studies 33, n.º 1 (abril de 1999): 65–82. http://dx.doi.org/10.1017/s0021875898006070.

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Sue Barton is the fictional redhaired nursing heroine of a series of novels written for young women. Recalled by several generations of women readers with affection, Sue Barton has remained in print ever since the publication of the first novel in the series: Sue Barton, Student Nurse, written by Helen Dore Boylston, was published in America in 1936. Neither the covers of her four novels now in paperback, nor the publisher's catalogue entry, however, acknowledge Sue Barton's age: “Sue Barton Series – The everyday stories of redheaded Sue Barton and hospital life as she progresses from being a student nurse through her varied nursing career.”The catalogue entry for the series and the novels' paperback covers now claim Sue Barton as a contemporary young woman, poised for romance. Sue is, however, a pre-war heroine, and very much located within an American history and tradition of nursing. With her close contemporary, Cherry Ames, Sue Barton is one of the nursing heroines who were to establish a genre in popular fiction for young women, the career novel, and, more particularly, the nursing career novel.

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Tesis sobre el tema "Women in war – Fiction"

Briggs, Marlene Anne. "The Great War and British fiction by women, 1917-1925". Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6667.

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This study of British women writers of the Great War highlights the connections between literature and social history in the first quarter of the twentieth century. An examination of The Tree of Heaven (1917), The Return of the Soldier (1918), The Crowded Street (1924), and Mrs. Dalloway (1925) will reveal the manner in which male and female gender roles were subject to acute interrogation in wartime and post-war British society. Chapter 1 surveys literary and cultural scholarship on the Great War in order to emphasize the failure of gender-specific narratives of social change to address the complex dynamics of gender conflict which characterized the period. Chapter 2 investigates the non-combatant communities of women created through the gender-segregation of the War, revealing that the constructions of feminism in The Tree of Heaven and The Crowded Street are contextualized within their appropriation of military models for female collectivity and interaction. Chapter 3 focuses on the relationships between non-combatant women and shell-shocked veterans in The Return of the Soldier and Mrs. Dalloway, illustrating that the male and female subjects of these texts are constructed in terms of their mutual subjection to the discursive institutions of the State in wartime and post-war society. All four texts provide both Modernism and feminism with a compelling, if contradictory, dimension which needs to be recovered.

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Emanuel, Elizabeth Frances. "Writing the oriental woman : an examination of the representation of Japanese women in contemporary Australian crime fiction". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/64475/1/Elizabeth_Emanuel_Exegesis.pdf.

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This study considers the challenges in representing women from other cultures in the crime fiction genre. The study is presented in two parts; an exegesis and a creative practice component consisting of a full length crime fiction novel, Batafurai. The exegesis examines the historical period of a section of the novel—post-war Japan—and how the area of research known as Occupation Studies provides an insight into the conditions of women during this period. The exegesis also examines selected postcolonial theory and its exposition of representations of the 'other' as a western construct designed to serve Eurocentric ends. The genre of crime fiction is reviewed, also, to determine how characters purportedly representing Oriental cultures are constricted by established stereotypes. Two case studies are examined to investigate whether these stereotypes are still apparent in contemporary Australian crime fiction. Finally, I discuss my own novel, Batafurai, to review how I represented people of Asian background, and whether my attempts to resist stereotype were successful. My conclusion illustrates how novels written in the crime fiction genre are reliant on strategies that are action-focused, rather than character-based, and thus often use easily recognizable types to quickly establish frameworks for their stories. As a sub-set of popular fiction, crime fiction has a tendency to replicate rather than challenge established stereotypes. Where it does challenge stereotypes, it reflects a territory that popular culture has already visited, such as the 'female', 'black' or 'gay' detective. Crime fiction also has, as one of its central concerns, an interest in examining and reinforcing the notion of societal order. It repeatedly demonstrates that crime either does not pay or should not pay. One of the ways it does this is to contrast what is 'good', known and understood with what is 'bad', unknown, foreign or beyond our normal comprehension. In western culture, the east has traditionally been employed as the site of difference, and has been constantly used as a setting of contrast, excitement or fear. Crime fiction conforms to this pattern, using the east to add a richness and depth to what otherwise might become a 'dry' tale. However, when used in such a way, what is variously eastern, 'other' or Oriental can never be paramount, always falling to secondary side of the binary opposites (good/evil, known/unknown, redeemed/doomed) at work. In an age of globalisation, the challenge for contemporary writers of popular fiction is to be responsive to an audience that demands respect for all cultures. Writers must demonstrate that they are sensitive to such concerns and can skillfully manage the tensions caused by the need to deliver work that operates within the parameters of the genre, and the desire to avoid offence to any cultural or ethnic group. In my work, my strategy to manage these tensions has been to create a back-story for my characters of Asian background, developing them above mere genre types, and to situate them with credibility in time and place through appropriate historical research.

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Saeger, J'Leen Manning. "The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression /". Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.

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Bernstein, Sarah. "Social-scientific imagination : the politics of welfare in fiction by women, 1949-1979". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23493.

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This thesis explores how writers mobilise what I call the “social-scientific imagination” to think through the welfare state during its “golden age.” Given the ongoing rollback of welfare programmes in Britain and elsewhere, the study offers timely insight into the history of the welfare state and its possible future. To that end, the chapters concentrate on postwar writers’ indirect and mediated representations of the welfare state in the form of a “social-scientific imagination” manifested in both cultural ideology and literary style. The term “social-scientific imagination” describes these writers’ engagements with the language and technique of social scientific disciplines like sociology, psychiatry, criminology, sexology and the science of city planning in their fiction, and how they imagine these disciplines as shaping the construction and maintenance of the British “welfare state” and its institutions. The texts I explore here capture the tension between care and control, between freedom and security, that is fundamental to the operation of social welfare programmes and that complicates women’s orientation to the welfare state; it is a relationship characterised by ambivalence, even though, as Jane Lewis has argued, women during the war and since perceived they would be – and have been – the welfare state’s primary beneficiaries. This, then, is the central problem examined in this thesis: that the novels represent welfare policies as integral to women’s security at the same time as they point up their coercive tendencies.

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Wallace, Diana J. "Sisters and rivals : the theme of female rivalry in novels by women, 1914-1939". Thesis, Loughborough University, 1997. https://dspace.lboro.ac.uk/2134/10952.

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This thesis will explore representations of female rivalry in novels by women between 1914 and 1939. It will focus especially on women writers' reversal of the 'erotic triangle' paradigm theorised by Rem\ Girard (1961) and Eve Kosofsky Sedgwick (1985). By using a female-male-female triangle these women novelists are able to examine the conflict between women's primary bonds to other women and their desire for the sexual fulfilment and social/economic status offered by a relationship with a man. The first chapter will offer an historical overview and reasons for a particular interest in this theme during this period. Chapter Two will compare the models of female rivalry which can be drawn from the work of Freud (of key importance in the inter-war period) and Luce Irigaray, from studies of blood sister relationships, and from a Bakhtinian model of subjectivity constructed through dialogue. Both chapters will include brief analyses of novels. The central chapters will use these models of female rivalry to offer detailed analyses of texts by five women writers: May Sinclair, Rebecca West, Vera Brittain, Winifred Holtby and Rosamond Lehmann. The chapter on May Sinclair explores her use of psychoanalysis to problematise the motif of self-sacrifice in Victorian women's novels - the woman who sacrifices her own desires in order to cede the man she loves to her friend or sister. The chapter on Rebecca West looks at her use of her sisters as models for her female characters, and at her exploration of relations between women who are brought together only by their relation to the man they both love. The following two chapters will offer an extended analysis of the friendship between Vera Brittain and Winifred Holtby and their intertextual rivalry over the meaning of their friendship and female friendship in general. The chapter on Rosamond Lehmann explores her valorisation of sister relationships and her examination Of the romance plot and the way that it constructs women as rivals. Finally, the conclusion will focus on a reading of Lehmann's retrospective The Echoing Grove (1953), which fuses the figures of the rival and the sister. It will argue for the need for a model of female rivalry which can encompass the tension generated by the simultaneous and competing positions occupied by women as rival commodities within a 'male economy' and as 'sisters' within a 'female economy'. I will suggest that we need new plots and narratives which can encompass rivalry between women which is not over a man. We also need to consider the possibility that some kinds of rivalry between women can, ironically, be both positive and energising.

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Serraf, Lola. "Writing the ‘People’s War’. Evaluating the myth of the blitz in british women’s fiction of the second World War". Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664058.

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En la memoria popular de los británicos, el Blitz se recuerda como un periodo de la guerra durante el cual la moral de los civiles se mantuvo alta, las producciones del país se vieron poco afectadas por los bombardeos y la voluntad de vencer a los Nazis permaneció más fuerte que nunca en una sociedad fraternal, sin jerarquía social. La «guerra del pueblo» convirtió a los civiles en héroes extraordinarios en su rutina ordinaria, mientras ese nuevo tipo de «guerra total» se libraba tanto en las primeras líneas como en el «frente interno». Sin embargo, desde fines de los años 1980, varios historiadores han empezado a cuestionar esa versión idealizada del coraje invencible del pueblo británico. En The Myth of the Blitz, Angus Calder escribe que la imagen de una nación unida en la adversidad y resistiendo las dificultades fue casi exclusivamente construida por la propaganda política de los años 1940. Considera necesario cuestionar la memoria colectiva del evento del Blitz, explicando que se ha ignorado lo aterrador y confuso que fueron los bombardeos (1991, p. 18). Esta tesis sale del capítulo «Formulations of Feeling» en el libro de Calder, en el cual se le da poco crédito a la capacidad de los escritores de la segunda guerra mundial de ver más allá de la propaganda del gobierno británico. El historiador sugiere que la literatura del conflicto ofrece poco material para entender cómo fue realmente la experiencia individual durante los bombardeos, ya que pocos autores trabajan fuera del paradigma del «Mito» (1991, pp. 143-144). Aunque sea verdad que la literatura fue reclutada dentro del esfuerzo de guerra por un gobierno que la recogía como un principio democrático (Hartley, 1997, pp. 6-7), me parecen reductivos e incompletos los argumentos de Angus Calder y Mark Rawlinson según los cuales los escritos de la guerra eran fuertemente determinados por su relación con los discursos oficiales de las autoridades británicas (Rawlinson, 2000, p. 205). Sostengo que es imprudente considerar que autores de la guerra no podían reflexionar críticamente sobre la sociedad y solamente crearon obras que participaban en la defensa de los objetivos del gobierno. Esta tesis es entonces uno de los primeros trabajos de recerca que se basa en el marco teórico del «Mito del Blitz» de Angus Calder para analizar obras poco conocidas, escritas por mujeres en los años 1940. En su análisis, Calder deconstruye el ‘mito’ confrontándolo con datos históricos. En este trabajo, sigo la misma metodología, comparando aspectos específicos de la retórica de la «guerra del pueblo» con la producción literaria de escritoras. He destacado tres aspectos principios del estudio de Calder que considero cruciales en su definición del «Blitz spirit»: las «clases socioeconómicas», el «patriotismo» y, más abstracto, la «representación del cuerpo herido». Reflexiono sobre esos temas en los tres capítulos de ese trabajo, centrándome en tres textos diferentes en cada uno de ellos. A través del análisis de los nueve textos elegidos, mi objetivo es echar luz sobre autoras olvidadas que produjeron obras que nos presentan una visión de la guerra que contesta, y hasta cuestiona, el contexto de propaganda política en el cual fueron escritas. Mi propósito principal es ayudar a colocar escritoras femeninas en una categoría de autores de la guerra talentosos y reconocidos, destacando su capacidad de mantener su individualidad y su habilidad de criticar y opinar, incluso estando rodeadas por la convincente y efectiva propaganda de Churchill.
In popular memory, civilians’ morale during the Blitz remained high, war production was little affected by the bombings and the will to fight the Nazis was stronger than ever in a classless, fraternal society. The ‘People’s War’ turned civilians into extraordinary heroes in their ordinary city life, as this new kind of ‘total war’ was fought equally as hard on the ‘frontline’ as on the ‘home front’. However, since the late 1980s, historians have started to question this seemingly idealised vision of the determined, invincible spirit of the Blitzed population. In The Myth of the Blitz, Angus Calder argues that the image of a nation united in adversity and resisting hardship was almost entirely constructed by the political propaganda of the 1940s. He believes it necessary to critically rethink the collective memory of the Blitz, stating that it has been ignoring ‘how frightening and confusing the period [...] was for the British people’ since ‘the Myth stands in our way’ (1991, p. 18). Taking as a point of departure Calder’s chapter ‘Formulations of Feeling’, the main objective of my thesis is to oppose the historian’s idea that writers during the Second World War had a very limited ability to produce work that stood outside the People’s War rhetoric. Calder explains that although ‘the writer […] is in a position to defy the myth’s status as an adequate and convincing account of human feeling and behaviour’, unfortunately only few ‘work outside the myth’s paradigm’ (1991, pp. 143-144). Whilst it is true that literature ‘was conscripted into the war effort’ by a government that ‘enshrined [it] as a democratic principle’ (Hartley, 1997, pp. 6-7), I believe too reductive Angus Calder and Mark Rawlinson’s argument according to which ‘the character of wartime writing was strongly determined by its relations to the discourses with which, in the broadest sense, Britain’s war effort was administered’ (Rawlinson, 2000, p. 205). I contend that it is unwise to consider that authors writing in a time of overwhelming social and cultural propaganda could not critically reflect on their surroundings and solely contributed to a literature that aimed to form a coherent defence of war. This thesis is therefore one of the first pieces of research to take Angus Calder’s theoretical framework of the ‘myth of the Blitz’ as the main point of reference to discuss lesser known women’s texts of the 1940s. In his study, Calder deconstructs the ‘myth’ by confronting it with historical facts. In my thesis, I follow the same method by comparing specific values of the ‘People’s WaR4 rhetoric against the literary production of women writers. I have selected three main aspects of Calder’s work crucial to his definition of the constructed and superficial rhetoric of the ‘Blitz Spirit’: ‘class’, ‘patriotism’, and the more abstract ‘representation of the hurt body’. I analyse several novels by different authors in three separate chapters dedicated to each theme. Through the close reading of the nine texts I focus on, my aim is to shed light on forgotten authors who produced works that present us with a vision of the war that questions, and even challenged the propaganda setting they were written in. My main objective is to help place women writers in a category of valuable, talented and recognised war writers by highlighting their ability to maintain their individuality and capacity to criticise even when surrounded with Churchill’s very forceful propaganda.

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De, Wet Michelle. "Fiction en tant qu histoire: une etude de l evolution des roles de la femme dans le vingtieme siecle dans le roman La Poussiere des Corons par Marie-Paul Armand". Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008392.

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Georges Duby and Michelle Perrot’s work, Histoire des femmes en Occident, Antoine Prost and Gérard Vincent’s work A History of Private Life as well as Chantal Antier’s work Les Femmes dans la Grande Guerre and Carol Mann’s work Femmes dans la Guerre, show that women have been largely ignored in the annals written about the twentieth century. This period was one marked by two World Wars, which had an enormous impact on women, especially in terms of their roles in society. These events resulted in women moving from the home to the world of work. These writers acknowledge that women in the twentieth century were mostly excluded from history. In contrast to others who have written about this time, these writers consider women and their roles in society and how these roles have changed as a consequence of the historical events of the time. Marie-Paul Armand was a popular writer of French fiction. At first glance her novels seem to be enjoyable historical, romantic fiction for readers who enjoy sentimental love stories. However on closer examination one can see that she rigorously researched the period in which her novels are set. These novels reconstitute the reality of women’s lives during the twentieth century. In her first award-winning novel La poussière des corons, Armand depicted the life of her main character, Madeleine, through the various stages of a woman’s life from her birth at the turn of the century, early childhood, adolescence during the First World War until old age in the 1960s. This novel mirrors the life of a woman in working class French mining society from the beginning of the twentieth century until the fifties and sixties when Western women underwent an unprecedented metamorphosis of their role. These novels would appeal to a wider readership than works by Historians with the same subject matter.

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Cooper, Valerie Y. "The crying of the blood : a collection of short stories". Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337191.

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The Crying of the Blood is a collection of short stories with the two characters Mariah and Mary, born one hundred years apart, who deal with the challenges of life dealt them. Through descriptive language and the strong presence of place and setting, the author explores the under-girding strength of human nature in dealing with the external and internal pressures of the various forms of war and its aftermath. By examining the effects of the human condition through inherited and acquired traits passed to succeeding descendents of the characters, the author exposes the foibles of human nature. People live a specific way and repeat patterns of thinking and choosing without knowing why or stopping to consider the ensuing results of their actions. The collection of stories reveals the dark shadows of the Civil War that continue to shape the Southern culture and also the enduring strength and charm of the people and their traditions.This collection of stories is a work of fiction. Names, characters, places, and incidents are either a figment of the author's imagination or used in a fictitious manner. Resemblances to actual people, settings, and events are purely coincidental.
Department of English

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Kashou, Hanan Hussam. "War and Exile In Contemporary Iraqi Women’s Novels". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386038139.

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Park, Sowon S. "Fiction and politics in the suffragette era". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365634.

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Libros sobre el tema "Women in war – Fiction"

McMaster, Bujold Lois y Green Roland J, eds. Women at war. New York: TOR, 1997.

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McMaster, Bujold Lois y Green Roland J, eds. Women at war. New York: TOR, 1995.

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Tanya, Huff, Potter Alexander y Copyright Paperback Collection (Library of Congress), eds. Women of war. New York: Daw Books, Inc., 2005.

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Sage, Lorna. Women in the house of fiction: Post-war women novelists. New York: Routledge, 1992.

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Tanner, Janet. Women and war. New York: St. Martin's Press, 1987.

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Tanner, Janet. Women and war. London: Century, 1987.

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Harry, Greenberg Martin, Waugh Charles y McSherry Frank D, eds. Civil War women II: Stories by women about women. Little Rock, Ark: August House Publishers, 1997.

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Hanley, Lynne. Writing war: Fiction, gender, and memory. Amherst: University of Massachusetts Press, 1991.

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Hanley, Lynne. Writing war: Fiction, gender, and memory. Amherst: University of Massachusetts Press, 1991.

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Stross, Charles. The merchants' war. New York: Tor, 2007.

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Capítulos de libros sobre el tema "Women in war – Fiction"

Sage, Lorna. "After the War". En Women in the House of Fiction, 1–35. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22225-4_1.

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Brauner, David. "Breaking the Silence: Jewish Women Writing the War and the War After". En Post-War Jewish Fiction, 113–53. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230501492_4.

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King, Jeannette. "Women and an Uncivil War: Paulette Jiles, Enemy Women". En Adventurous Women in Contemporary American Historical Fiction, 57–65. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94126-0_4.

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Farwell, Tricia M. "Using Women Reporting War to Teach Edith Wharton’s “Writing a War Story”: An Added Context for Gendered Writing". En Teaching Edith Wharton’s Major Novels and Short Fiction, 45–57. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-52742-6_4.

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Morris, Paula. "Ko wai koe? Identity and Water in Contemporary Women's Writing From Aotearoa New Zealand". En Women and Water in Global Fiction, 134–54. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429298837-10.

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Thistlethwaite, Susan Brooks. "The Erotic Fictions of the War on Women". En Women's Bodies as Battlefield, 103–25. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137455307_7.

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Ranasinha, Ruvani. "War, Violence and Memory: Gendered National Imaginaries in Tahmima Anam, Sorayya Khan and Contemporary Sri Lankan Women Writers". En Contemporary Diasporic South Asian Women's Fiction, 93–127. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40305-6_3.

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Lassner, Phyllis. "‘Perpetual Civil War’: Domestic Fictions of Britain’s Fate". En British Women Writers of World War II, 167–90. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230503786_6.

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Lassner, Phyllis. "Fictions of the European Home Front: Keeping Faith with the Conquered". En British Women Writers of World War II, 191–215. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230503786_7.

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Jin, Wen. "Emotion and Female Authority: A Comparison of Chinese and English Fiction in the Eighteenth Century". En Connessioni. Studies in Transcultural History, 61–70. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0242-8.06.

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This essay considers how early modern Chinese romance novels conceive of female agency and how this conception was received by prominent cultural elites in eighteenth-century England. In his notes to Hau Kiou Choaan, the first English translation of a full-length Chinese novel, Thomas Percy referred to the novel’s heroine as a “masculine woman”, displaying a peculiar misreading of its trope of female cross-dressing. The essay argues that the increasing association of women with the private sphere in eighteenth-century English culture is a crucial context to consider when we study the initial spread of Chinese fiction in England.

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Actas de conferencias sobre el tema "Women in war – Fiction"

Trein, Fernanda y Taíse Neves Possani. "Literature As a Mean of Self-knowledge, Liberation, and Feminine Empowerment: The Legacy of Clarice Lispector". En 13th Women's Leadership and Empowerment Conference. Tomorrow People Organization, 2022. http://dx.doi.org/10.52987/wlec.2022.004.

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Abstract: Access to books and literature is, above all, a human right. The acts of reading, creating, and fictionalizing are in themselves, acts of power. Accordingly, literature is a well-respected necessity in society; therefore, a universal human need. Thus, denying women the right to literature is also a form of violation. In this presentation, the author aims to reflect not only on literature by female authors but also its importance in the process of constructing women's subjectivity and identity, whether in reading fiction or in its production. To reflect on women's right to read and write literature, as well as their way of expressing their perception, anxieties, and ways of understanding the world, this presentation proposes a literary analysis of texts by the Brazilian writer Clarice Lispector. Her works evidence the potential of bringing light to the processes of self-knowledge and freedom. These processes can be ignited because these texts can trigger the process of self-awareness and can then generate female empowerment. By reading Clarice Lispector's writing, it remains clear that she reveals human dramas specific to the female universe, as she opens up possibilities for readers to know themselves as women and to project themselves as producers of literature. It would seem that these realities are founded worlds and realities apart from those that dominated male perceptions during the 1950s to 1970s when she was writing; however, many of those predominant male perceptions prevail in today’s contemporary society. Keywords: Women's Writing; Reception; Self knowledge; Clarice Lispector; Empowerment.

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Stepanenko, Evgenia A. "THE IMAGERY METAPHORS OF SPACE IN THE DUTCH WAR NON-FICTION WORKS". En Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063588.

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The article explores the roles space metaphors play in the Dutch war non-fiction novels published during the period of 2010–2020. We hereby define metaphor as instrument the authors use to make up a personal view and to portray the events described, as well as to introduce and to define a war metaphor as well as to study the functions metaphors can have within a non-fiction texts. Another point of the article is a phenomenon of war metaphor seen as complex cognitive units which principal function is to underline the subjects related to the World War II. War metaphors are present in the texts explicitly (x is y) but also implicitly, as images. Among the principal war metaphors in the texts are ‘war is lack of freedom’, ‘war is a a disclosed space’, ‘war is an up-and-down movement’. These metaphors are nationally marked and are transparent for the Dutch as nation. As the notion of space is deeply rooted in the Dutch culture, we suggest that the war is also presented in the Dutch non-fiction as lack of space and distortion of common living space.

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Pilar, Martin. "THE VISION OF WAR IN POETRY AND FICTION OF JACHYM TOPOL". En 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s27.075.

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Pylkin, A. A. y V. A. Pylkin. "FORCED MIGRANTS OF THE WORLD WAR ONE IN EASTERN EUROPEAN FICTION". En Modern Technologies in Science and Education MTSE-2020. Ryazan State Radio Engineering University, 2020. http://dx.doi.org/10.21667/978-5-6044782-7-1-202-208.

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Chetia, Barnali. "WOMEN IN SCIENCE FICTION-ECHOES FROM AN UNINHIBITED WORLD". En World Conference on Women’s Studies. TIIKM, 2016. http://dx.doi.org/10.17501/wcws.2016.1107.

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Kılıçkaya Boğ, Eren Evin. "Women as an Image in War Propaganda Posters". En World Conference on Women s Studies. The International Institute of Knowledge Management - TIIKM, 2019. http://dx.doi.org/10.17501/wcws.2018.3201.

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Lagno, Anna. "Polish Women Adaptation Strategies During World War II". En Woman in the heart of Europe: non-obvious aspects of gender in the history and culture of Central Europe and adjacent regions. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/0475-6.17.

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Khovanchuk, Olga y Tatiana Breslavets. "THE MAN IMAGE IN OKAMOTO KANOKO’S FICTION". En 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.45.

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The paper is devoted to the peculiarities of the man image in Japanese woman writer Okamoto Kanoko’s fiction. As a rule, the hero-lover (victim) has not the indispensable vitality and innate power. He is sickly or weak-minded. His fragility and passivity are contrasted with heroine’s (vampire) strength and assertiveness. The demonic motif is ubiquitous in Okamoto Kanoko’s stories. In other side, the man image is not a “lover”, but a “son”, which cult was set in her works. In certain cases heroine’s attitude to a hero leads to the erotic conflict.

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WILSON, LYDIA. "WOMEN IN THE ISLAMIC STATE". En International Seminar on Nuclear War and Planetary Emergencies — 48th Session. World Scientific, 2016. http://dx.doi.org/10.1142/9789813148994_0030.

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Alieva, Rahilya y Nikolai Myradimov. "Depiction of the feat of women of Kyrgyzstan in fiction and nonfiction". En Современные проблемы филологии. Киров: Межрегиональный центр инновационных технологий в образовании, 2022. http://dx.doi.org/10.52376/978-5-907623-44-6_006.

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Informes sobre el tema "Women in war – Fiction"

Kamminga, Jorrit, Cristina Durán y Miguel Ángel Giner Bou. Zahra: A policewoman in Afghanistan. Oxfam, diciembre de 2020. http://dx.doi.org/10.21201/2020.6959.

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As part of Oxfam’s Strategic Partnership project ‘Towards a Worldwide Influencing Network’, the graphic story Zahra: A policewoman in Afghanistan was developed by Jorrit Kamminga, Cristina Durán and Miguel Ángel Giner Bou. The project is funded by the Ministry of Foreign Affairs of the Netherlands. The graphic story is part of a long-standing Oxfam campaign that supports the inclusion and meaningful participation of women in the Afghan police. The story portrays the struggles of a young woman from a rural village who wants to become a police officer. While a fictional character, Zahra’s story represents the aspirations and dreams of many young Afghan women who are increasingly standing up for their rights and equal opportunities, but who are still facing structural societal and institutional barriers. For young women like Zahra, there are still few role models and male champions to support their cause. Yet, as Oxfam’s project has shown, their number is growing, which contributes to small shifts in behaviour and perceptions, gradually normalizing women’s presence in the police force. If a critical mass of women within the police force can be reached and their participation increasingly becomes meaningful, this can reduce the societal and institutional resistance over time. Oxfam hopes the fictional character of Zahra can contribute to that in terms of awareness raising and the promotion of women’s participation in the police force. The story is also available on the #IMatter website.

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Cammons, David W. U.S. Army Intelligence in Support of 100-Hour War: Fact or Fiction/Myth or Reality? Fort Belvoir, VA: Defense Technical Information Center, mayo de 1995. http://dx.doi.org/10.21236/ada300877.

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Heimerman, Cheryl A. Women of Valor in the American Civil War. Fort Belvoir, VA: Defense Technical Information Center, abril de 1999. http://dx.doi.org/10.21236/ada388777.

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Simonson, Sheila. Following the drum : British women in the Peninsular War. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.3129.

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Riveros-Morales, Yolanda y Jacqui True. What we don't know about women as ‘weapons of war’. Editado por Tasha Wibawa. Monash University, marzo de 2022. http://dx.doi.org/10.54377/280e-ced1.

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Fidarova, Karina Kazbekovna, Ulyana Shotaevna Tedeeva, Marina Victorovna Vorotnikova y Larisa Chermenovna Khablieva. WOMEN OF NORTH OSSETIA: TRANSFORMATION OF THE SOCIAL ROLE DURING THE GREAT PATRIOTIC WAR. DOI СODE, 2021. http://dx.doi.org/10.18411/doicode-2022.019.

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Acemoglu, Daron, David Autor y David Lyle. Women, War and Wages: The Effect of Female Labor Supply on the Wage Structure at Mid-Century. Cambridge, MA: National Bureau of Economic Research, junio de 2002. http://dx.doi.org/10.3386/w9013.

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Haider, Huma. Political Empowerment of Women, Girls and LGBTQ+ People: Post-conflict Opportunities. Institute of Development Studies, junio de 2022. http://dx.doi.org/10.19088/k4d.2022.108.

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The instability and upheaval of violent conflict can break down patriarchal structures, challenge traditional gender norms and open up new roles and spaces for collective agency of women, sexual and gender minorities (SGM), and other marginalised groups (Yadav, 2021; Myrittinen & Daigle, 2017). A recent study on the gendered implications of civil war finds that countries recovering from ‘major civil war’ experience substantial improvements in women’s civil liberties and political participation—complementary aspects of political empowerment (Bakken & Bahaug, 2020). This rapid literature review explores the openings that conflict and post-conflict settings can create for the development of political empowerment of women and LGBTQ+ communities—as well as challenges. Drawing primarily on a range of academic, non-governmental organisation (NGO), and practitioner literature, it explores conflict-affected settings from around the world. There was limited literature available on experience from Ukraine (which was of interest for this report); and on specific opportunities at the level of local administrations. In addition, the available literature on empowerment of LGBTQ+ communities was much less than that available for women’s empowerment. The literature also focused on women, with an absence of information on girls. It is important to note that while much of the literature speaks to women in society as a whole, there are various intersectionalities (e.g. class, race, ethnicity, religion, age, disability, rural/urban etc.) that can produce varying treatment and degrees of empowerment of women. Several examples are noted within the report.

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Wessely, Simon. A Controlled Epidemiological and Clinical Study into the Effect of Gulf War Service on Servicemen and Women of the United Kingdom Armed Forces. Fort Belvoir, VA: Defense Technical Information Center, noviembre de 2000. http://dx.doi.org/10.21236/ada392015.

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Yousef, Yohanna y Nadia Butti. “There is No Safety”: The Intersectional Experiences of Chaldean Catholic and Orthodox Women in Iraq . Institute of Development Studies, diciembre de 2022. http://dx.doi.org/10.19088/creid.2022.026.

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This CREID Policy Briefing provides recommendations to address the marginalisation and discrimination faced by Chaldean Catholic Christian women in Iraq. Christian communities in Iraq have faced threats and discrimination throughout their history. Their numbers have declined considerably in recent years as more Christians have been displaced or forced to migrate due to war, occupation and persecution. This research, which focuses on the experiences of Chaldean Catholic and Orthodox women and men in Iraq, demonstrates the commonalities among different groups of Christian women and men. However, it also highlights the specific challenges facing Christian women, interlinked with their identities as women who are part of a religious minority and to their geographic location.

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