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1
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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Bhattacharyya, Nitusmita. "Existential Crisis of the Japanese American Woman: A Study of Post War Japanese American Fiction". ENSEMBLE 2, n.º 2 (4 de mayo de 2021): 51–56. http://dx.doi.org/10.37948/ensemble-2020-0202-a006.
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The Japanese American women, during the Second World War, suffered from subjugation at different levels of their existence. They had been subjected to marginalization based on their sexual identity within their native community. They were further made to experience discrimination on the basis of their racial status while living as a member of the Japanese diaspora in the United States during the War. The objectification and marginalization of the women had led them to the realization of their existence as a non -entity within and outside their community. However, the internment of Japanese Americans followed by the declaration of Executive Order 9066 by President Roosevelt and the consequent experience of living behind the barbed wire fences left them to struggle with questions raised on their claim to existence and their identity within a space where race and gender contested each other. In my research paper, I have made a humble attempt at studying the existential crisis of the Japanese American women in America during the War.
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Armitage, Shelley. "American Women Writing Fiction by Mickey Pearlman". Western American Literature 24, n.º 3 (1989): 284–85. http://dx.doi.org/10.1353/wal.1989.0081.
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Ladygina, Yuliya. "Beyond the Trenches: Ol'ha Kobylians'ka’s Literary Response to the First World War". East/West: Journal of Ukrainian Studies 2, n.º 2 (8 de septiembre de 2015): 111. http://dx.doi.org/10.21226/t2s888.
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<p class="EW-abstract"><strong>Abstract:</strong> Ol'ha Kobylians'ka’s short stories about the First World War constitute a rare case of a Ukrainian woman writing on one of the greatest catastrophes in modern history, a subject neglected even in Ukraine. Drawing on recent scholarship on First World War literature, this research proves that Kobylians'ka’s war stories deserve a re-evaluation, not as long-ignored curiosities from the pen of Ukraine’s most sophisticated writer of the time, but as insightful psychological studies of Western Ukrainians and as valuable cultural documents that present an original perspective on the common European experience of 1914-1918. The article pays particular attention to Kobylians'ka’s creative assessment of the Austrian and Russian treatment of Western Ukrainians during different stages of the First World War, which exposes anew fatal political weaknesses in Europe’s old imperial order and facilitates a better understanding of why Ukrainians, like many other ethnic groups in Europe without a state of their own, began to pursue their national goals more aggressively as the war progressed. Alongside popular texts, such as “Na zustrich doli” (“To Meet Their Fate,” 1917), “Iuda” (“Judas,” 1917), and “Lyst zasudzhenoho voiaka do svoiei zhinky” (“A Letter from a Convicted Soldier to His Wife,” 1917), this article examines Kobylians'ka’s three little-known stories—“Lisova maty” (“The Forest Mother,” 1915), “Shchyra liubov” (“Sincere Love,” 1916), and “Vasylka” (“Vasylka,” 1922)—thus presenting the most complete analysis of Kobylians'ka’s war fiction in any language.</p><p class="EW-Keyword">Keywords: Modernist Literature, Literature of the First World War, Women Writings of the First World War, Ol'ha Kobylians'ka’s War Fiction</p>
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Workman, Simon. "Maeve Kelly: Women, Ireland, and the Aesthetics of Radical Writing". Irish University Review 49, n.º 2 (noviembre de 2019): 304–21. http://dx.doi.org/10.3366/iur.2019.0408.
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This article considers the work of Irish writer and feminist Maeve Kelly arguing that she has been not only a radical and, to some extent, seminal voice within modern Irish writing, but an author whose work self-consciously reflects upon the production and mediation of Irish women's writing within British and Irish culture. While Kelly is not unique in adopting a feminist approach in her writing, aspects of her fiction are somewhat discrete within modern Irish literature in terms of how they express, delineate, and resolve the challenges – material, psycho-cultural, aesthetic – attendant upon the representation of feminist political thought and occluded Irish female experience. Particularly within an Irish context, Kelly's writing provides a significant case study of the aesthetic problematics of politically radical fiction. Her oeuvre represents a vital contribution to Irish writing of the twentieth century as well as to the history of women in post-war Ireland.
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Steffen, Ana Cristina. "Dinah Silveira de Queiroz, Literatura e História: algumas concepções". Revista Criação & Crítica, n.º 38 (14 de junio de 2024): 102–27. http://dx.doi.org/10.11606/issn.1984-1124.i38p102-127.
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Dinah Silveira de Queiroz (1911-1982), in a literary career spanning more than 40 years, wrote novels, short stories, theater, science fiction and children's literature. One of the literary genres that brought her the most notoriety, however, was historical fiction. An example of this is The women of Brazil (1954), which has as background the Emboabas War. Another example is Os invasores (1965), a plot based on the events surrounding the French invasion of Rio de Janeiro in 1710. The author's connection with historical fiction, however, is not restricted to these two novels: Queiroz also reflected, through different texts for the press, on the relationship between literature and history and on the concept of the historical novel itself. Thus, the main objective of this work is firstly to recover these author’s reflections. Hence, her notes will be compared with the proposals of scholars such as Hayden White and Paul Ricoeur, and also with what Dinah in fact accomplished in The women of Brazil and Os invasores.
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Allaberganov, Sherali Yu. "Activities of Khoresm women on the fronts of the World War II". Alma mater. Vestnik Vysshey Shkoly, n.º 3 (marzo de 2024): 101–8. http://dx.doi.org/10.20339/am.03-24.101.
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This article highlights the activities of women of the Khorezm region in the ranks of the army and on the battlefield during the Second World War. The author points out that, along with all the republics of the USSR, the Uzbek SSR was also involved in the war, cite the number of people mobilized to the front from the Uzbek SSR, and then focus on those who went to war from the Khorezm region. The article cites as an example the courage of Khorezm women of different nationalities who served at the front and received ranks. The names of women from Khorezm who went to war and did not return, as well as information about them are given. In the article, the author refers to unpublished materials (archival documents of the Department of Defense Affairs of the Khorezm region, books of registration of participants in the war, accounting records). The author covers the topic in detail using documents from the archival fund of the Khorezm Defense Department, which have not been introduced into scientific circulation. These documents provide preliminary information about the activities of women who went to war from Khorezm. Analyzing the documents, the authors identified the names of about 350 women who left the region for the war. They prove the erroneousness of the information given in the studies conducted in Uzbekistan until 2020, that 47 women from the region took part in the war. Also, as a suggestion, in order to immortalize the memory of these women in the heroic struggle against fascism, the necessity of creating new works of fiction, films, plays together with multi-volume Books of Memory, monographs, brochures is substantiated.
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Hanley, Jane. "Memory, War, and Dictatorship in Recent Spanish Fiction by Women, by Sarah Leggott". Journal of Iberian and Latin American Research 21, n.º 3 (2 de septiembre de 2015): 424–26. http://dx.doi.org/10.1080/13260219.2015.1135853.
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Brown, Margaret Lynn. "Faust, Mothers Of Invention - Women Of The Slaveholding South In The American Civil War". Teaching History: A Journal of Methods 22, n.º 2 (1 de septiembre de 1997): 109–10. http://dx.doi.org/10.33043/th.22.2.109-110.
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In an award-winning new book, Drew Gilpin Faust provides another side to the Civil War: the experiences of slaveholding women in the South. After mining the diaries, letters, essays, memoirs, fiction, and poetry of more than 500 Confederate women, Faust pledged herself to writing an accessible yet scholarly work on this important topic. "After two decades as an academic historian, I sometimes fear I no longer can communicate in a manner that will engage a general reader," she writes, "but the compelling nature and human drama of this war story have made me want to try." The results are happy ones for teachers, as this is a volume that will overcome the usual undergraduate resistance to serious monographs.
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Das, Jyotirmoy. "The British Lion’s Triumph over the Bengal Tiger: The Royal Combat and the Allegory of Imperial Dominance". Praxis International Journal of Social Science and Literature 6, n.º 9 (25 de septiembre de 2023): 1–12. http://dx.doi.org/10.51879/pijssl/060901.
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This article shows how the allegory of British-tiger rivalry became a distinct feature in 19th-century British imperial visual culture to imagined imperial attitudes over India. After the second Anglo-Mysore war (1799) between the East Indian Company and the Tipu Sultan, in 1808, a visual description of lion-tiger bloodshed was issued as a medal by the East India Company to reward its troops. Such a description shows a lion, representing the British nation’s suppression over a Bengal tiger, the royal emblem of Tipu Sultan. After this, the same imagery served to be imagined and visualised the British dominance and control over ruthless and unwilling India. Moreover, in such an allegory, a fiction of dead white women was added to invoke nationalism among Britons. This raises a feminist issue of how this fictional image of victimised women fulfils the British masculine agenda of imperialism and nationalism while the women remain deprived.
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Sharma, Ms Shikha. "Doris Lessing’s Science Fiction". SMART MOVES JOURNAL IJELLH 8, n.º 7 (27 de julio de 2020): 167–76. http://dx.doi.org/10.24113/ijellh.v8i7.10673.
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Doris Lessing, the Nobel Laureate (1919-2007), a British novelist, poet, a writer of epic scope, playwright, librettist, biographer and short story writer. She was the “most fearless woman novelist in the world, unabashed ex-communist and uncompromising feminist”. Doris has earned the great reputation as a distinguished and outstanding writer. She raised local and private problems of England in post-war period with emphasis on man-woman relationship, feminist movement, welfare state, socio-economic and political ethos, population explosion, terrorism and social conflicts in her novels.
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Oramus, Dominika. "Strangers in Togetherville – Women, Physics and Popular Culture". Prague Journal of English Studies 9, n.º 1 (1 de julio de 2020): 133–53. http://dx.doi.org/10.2478/pjes-2020-0007.
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AbstractBy drawing on Jean Baudrillard’s cultural theory this paper aims to show how contemporary popular culture tells the stories of scientifically talented women of the past. In the course of my argument, I refer to books and films set in the past and focus on the women-and-science motif. Firstly, the stories of individual female scientists living long ago are analysed (Mileva Einstein, Joan Clarke), then, the collective female protagonists – wives of scientists living together in “togethervilles” (Los Alamos, Atomic City), and women scientists pictured in speculative fiction – are discussed. The cliches used in these texts – lonely forgotten geniuses, female worthies taken advantage of, ostracised women accused of not being feminine enough and devoted wives who help their men and their countries in World Wars I and II or the Cold War – reflect ideologies that Western culture used to believe in. Conversely, the two original presentations of past female scientists that I found both come from speculative fiction concerned with science and heavily influenced by the ideologies of science: science and pacifism, science and a sense of guilt, and science as a weapon in the quest for democracy and freedom.
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Jaber, Maysaa Husam. "A “Burlesque Queen in Bobby Socks”: Domesticity, Criminality, and Suspense in Charles Williams’s Noir Fiction". Canadian Review of American Studies 52, n.º 1 (1 de abril de 2022): 35–52. http://dx.doi.org/10.3138/cras-2021-004.
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This article proposes that Charles Williams’s mid-twentieth-century noir fiction reshapes post-war representations of gender roles and paves the way for various renditions and developments of noir. Williams’s works are narratives of transgression meeting domesticity, crime meeting docility, and cunning meeting conformity; they portray a deadly recipe that comprises different, even conflicting ingredients of a fusion between domesticity, crime, and suspense. By examining the recurring figure of the criminal housewife in his work, especially Hell Hath No Fury (1953), this article argues that Williams brings forth a complex and subversive gender schema to trouble both the creed of domesticity popular in the 1950s and the stereotyping of the lethal seductress prevalent in noir fiction. By so doing, Williams’s noir not only brings the transgression of women to the fore but also displays a compelling picture of post-war gender roles in the US under McCarthyism.
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Valentová, Kateřina y Marc Macià Farré. "Giving a Voice to the Silenced Women of Francoist Spain". AUC STUDIA TERRITORIALIA 23, n.º 1 (7 de noviembre de 2023): 11–29. http://dx.doi.org/10.14712/23363231.2023.8.
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During the Spanish Civil War and the Francoist dictatorship that followed, women were shielded from the public eye. Their predetermined social role was that of submissive and devoted wives to their husbands as well as homemakers and childcare providers. There are few artistic works that suggest otherwise. However, during the Civil War and after, many women were in fact politically active. They occupied important positions in the resistance and were present along with the men in the trenches. Spanish graphic novels have managed to create many works of fiction based on the Civil War, mainly drawing on (auto)biographical accounts. There are so many significant works dealing with the war and Francoist repression that they represent a genre of their own. Nevertheless, the authors of these works, as well as their main protagonists, are usually men. This is true despite the fact that after the war, during the four decades of the Franco dictatorship, many women suffered from political persecution. The aim of this article is to analyze the role of women outside the domestic space as it appears in selected graphic narratives set in the period of Franco’s regime. Given the extent of the regime’s repression, these works are frequently set in the prisons around Spain where female prisoners were incarcerated and tortured. The narratives we analyze are based on real testimonies from real victims. Their individual experiences are joined together in a collective whose voice has long been silenced until recently.
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Cavallin, Anna. "Författarens välklädda lik". Tidskrift för litteraturvetenskap 43, n.º 3-4 (1 de enero de 2013): 59–73. http://dx.doi.org/10.54797/tfl.v43i3-4.10816.
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The Well-Dressed Corpse of the Author. The Death of a Family-Provider on the Frontlines of the Sex-War in August Strindberg’s Giftas (Getting Married)
This text examines how the short story, ”Familjeförsörjaren” (”The Family Provider”) – part of the 1886 collection, Giftas II – represents and problematises masculinity and the role of the author as a professional in the late 19th century. Strindberg wrote his two Giftas-collections at a time in which masculinities and femininities where vividly debated in Sweden in journals, newspapers and in fiction – when the roles and functions of men and women in society, in marriage and the home, and traditional gender-based tasks for men and women were questioned. With the emergence of the ”New Woman”, both as a reality, in the shape of independent women, and as a literary figure, the function of the bread-winning husband, the pater familias, was questioned. Moreover, with the emergence of a great number of women as authors in the 1880’s, the art and profession of fiction-writing came to be perceived as feminine. The late 1880’s witnessed the emergence of a movement on behalf of male authors who wished to reclaim fiction-writing as a male-coded profession. In Giftas, and in ”Familjeförsörjaren” specifically, this act of reclaiming is made visible through Strindberg’s representation of male authors in contrast with women who write. These women are depicted as imitating others, copying for example Sappho and Mme de Staël, while the writing bread-winner in ”Familjeförsörjaren” is the original, male genius, creating under great strains. On the other hand, the masculinity of this bread-winning male author is ambivalent: he is both hyper-sensitive (a characteristic which likens him to the androgynous figure of the dandy), and creates an orderly, well-written text. The story ends in the death of the author and the bread-winner but nothing has actually changed in the battle between men and women – rather the seriousness of the struggle is accentuated now that there are dead bodies to count.
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Gelfant, Blanche H. "Beauty and Nightmare in Vietnam War Fiction". Prospects 30 (octubre de 2005): 751–78. http://dx.doi.org/10.1017/s0361233300002258.
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“Hue is the most beautiful city in the world,” a Vietnamese woman tells Marine Lieutenant Kramer, a central character in Robert Roth's Vietnam War novel,Sand in the Wind. Published in 1973, five years after the sweeping Tet Offensive had reduced Hue to rubble,Sand in the Windset the city within a complex meditation upon beauty and its relation to human desire, history, the vagaries of chance, ephemerality of happiness, and ineluctability of loss. Though ambitious in intent,Sand in the Windhas not been widely acclaimed. Except for John Hellmann's close reading, it has usually been referred to passingly or overlooked. Thomas Myers dismissed it as a “sterile mural,” a static work fixed upon a wall. I prefer to think of it as “walking point” — an action Myers ascribed to Vietnam War fiction he endorsed for “cutting trails” (227). Like the pointman of a patrol who clears a path for others to follow, the Vietnam War novel, Myers argued, opened a way into tangled historic territory — the territory of war now inhabited by literature. I propose to enter this forbidding area throughSand in the Wind, for I believe that like the novels Myers lauded it too secures a way, a unique way, of engaging safely with the Vietnam War and the losses it entailed.The lives of an estimated 5,713 soldiers, American and Vietnamese, were lost in the battle at Hue, as were almost 3,000 civilian lives. That the “longest and bloodiest” battle of the Offensive took place in Hue during the festive days of Tet was particularly shocking, for Hue was commonly considered an open city, and Tet, the lunar New Year, a time of peace and renewal. Traditionally, Tet Nguyen Dan ushered in the new year with three days of festivity, days of respite during which communal bonds were strengthened. Family members and their relatives renewed the bond of blood by gathering together for an exchange of gifts and good wishes; ancestral bonds were renewed by visits to family graves. Rice farmers plowing their paddies renewed the bond between man and nature.
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Hartman, Michelle. "“Zahra’s Uncle, or Where Are Men in Women’s War Stories?”". Journal of Arabic Literature 51, n.º 1-2 (6 de abril de 2020): 83–107. http://dx.doi.org/10.1163/1570064x-12341401.
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Abstract Scholarship in modern Arabic literary studies has treated the literature of the Lebanese Civil War, particularly novels written by women, in some depth. One of the most important texts used in both scholarship and teaching about this war is Ḥanān al-Shaykh’s Ḥikāyat Zahrah, translated as The Story of Zahra. This article focuses specifically on the one chapter in the novel narrated from the point of view of the protagonist’s uncle in order to explore how the English translation dramatically changes a number of elements in the original text. It uses insights from translation studies to show how significant changes to the novel in translation produce a text that serves particular ideological functions in English, consistent with a horizon of expectations that constructs Arab women as oppressed and passive victims of war. The article analyzes specific translation choices—most notably the extensive editing out of words, sentences, and passages—to demonstrate how the character of Zahrah’s uncle is changed in English and depicted as an unsavory and abusive man with little background, context, or history that would help the reader to better understand the character’s actions and motivations. It also shows how cutting out elements of the uncle’s story serves to depoliticize the text in English, divesting it of its local political context and changing its meaning and function as a novel about the Lebanese Civil War. The article is grounded in postcolonial, feminist translation studies, especially those dealing with Arabic fiction, to argue that the English-language novel The Story of Zahra functions within an ideological field that recycles stereotypes and tropes about Arab women. It will propose that the translation changes here depict Arab men against Arab women, rather than in relation to them, and subordinate the analysis of politics and communal relations to a more individual and individualized story of one exceptional woman.
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Mulcahy, F. David y Melissa Sherman. "A Symbolic View of Cigarette Holders". Issues in Social Science 3, n.º 2 (4 de octubre de 2015): 1. http://dx.doi.org/10.5296/iss.v3i2.8392.
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<p>The cigarette holder became a fashion accessory for women in the early 1920s and remained popular until the 1960s. <em>The New York Times</em> was used as a data base to evaluate its symbolism and function during this period. It is argued that the artifact became a symbol of assertiveness for many women both in real life and fiction including the ballet mistress Bronislava Nijinska, the mythical and fictionally portrayed Dragon Lady—who was a glamorous but larcenous female war-lord, the fictional Satin Doll, an astute potential lover who would not let herself be manipulated by men, young flappers in restaurants, great, gruff ladies who were ballet <em>aficionadas</em>, Sappho, an overbearing Russian governess, and Nathalie de Ville, a fictional female social predator. The article points out in detail how the cigarette holder was isomorphic, with and reflected in, the new 1920s women’s fashion silhouette which quickly replaced the somewhat “squat” Gilded Era women’s costume. It had no pinched waist, an almost nonexistent bodice and hips, and gave an overall tall, slim and graceful impression.</p>
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Pellicer-Ortín, Silvia. "Liminal and Transmodern Female Voices at War: Resistant and Healing Female Bonds in Libby Cone’s War on the Margins (2008)". Societies 8, n.º 4 (14 de noviembre de 2018): 114. http://dx.doi.org/10.3390/soc8040114.
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When addressing marginal experiences during the Second World War, the German occupation of the Channel Islands deserves pride of place, as very few writers have represented that liminal side of the conflict. One of these few writers is Libby Cone, who published War on the Margins in 2008, a historical novel set on Jersey during this occupation and whose main protagonist encounters various female characters resisting the occupation from a variety of marginal positions. Drawing from Rodríguez Magda’s distinction between “narratives of celebration” and “narratives of the limit”, the main claim behind this article is that liminality is a general recourse in transmodern fiction, but in Cone’s War on the Margins it also acts as a fruitful strategy to represent female bonds as promoters of empathy, resilience and resistance. First, this study will demonstrate how liminality works at a variety of levels and it will identify some of the specific features characterizing transmodern war narratives. Then, the female bonds represented will be examined to prove that War on the Margins relies on female solidarity when it comes to finding resilient attitudes to confront war. Finally, this article will elaborate on how Cone uses these liminal features to voice the difficult experiences that Jewish and non-Jewish women endured during the Second World War, echoing similar conflictive situations of other women in our transmodern era.
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Hicks, Philip. "Catharine Macaulay's Civil War: Gender, History, and Republicanism in Georgian Britain". Journal of British Studies 41, n.º 2 (abril de 2002): 170–98. http://dx.doi.org/10.1086/386259.
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The eighteenth century marked a watershed in the relationship between women and historical writing in Britain. Previous to this period, D. R. Woolf has demonstrated, women had certainly purchased, read, and discussed works of history, contributing to “the ‘social circulation’ of historical knowledge.” A few, perhaps most notably Lucy Hutchinson, had composed Civil War memoirs. Some women had written genealogical, antiquarian, and biographical works, as well as local and family history, a “feminine past,” according to Woolf, that men often judged unworthy of real history. Only in the eighteenth century, however, did women and men significantly modify a neoclassical paradigm that conceived of history as a strictly male enterprise, the record of political and military deeds written by men and for men. In this century prescriptive literature increasingly urged history upon women as reading matter intellectually and morally superior to novels and romances. The great triumvirate of British historians, David Hume, Edward Gibbon, and William Robertson, wrote expressly for female readers. Their “philosophical” history, with its shift of emphasis from political to social and cultural subjects, appealed to women, as did their experiments with the narrative techniques of sentimental fiction. The century also witnessed the appearance of the first female historian in Britain to write in the grand manner, Catharine Macaulay (1731–91). Mrs. Macaulay's success in the traditional genre of history won her the respect of male peers as well as the applause of a wide readership.
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Mackay, Theresa. "Women at Work: Innkeeping in the Highlands and Islands of Scotland 1790–1840". Journal of Scottish Historical Studies 37, n.º 2 (noviembre de 2017): 155–76. http://dx.doi.org/10.3366/jshs.2017.0218.
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Between 1790 and 1840 Scotland's Highlands and Islands saw a rise in the number of travellers due to transportation changes, war on the Continent, and popular fiction. Consequently, the number of inns increased in response to this shift in local travel patterns and influx of visitors. By examining where the growth in inns happened, who managed them, and what services were offered, this article argues that the Highlands and Islands economy was both complex and commercial. It establishes that rural women were innkeepers of multifaceted hospitality operations responding to market demands and enabling economic diversity in their communities, the result of which was the hospitality infrastructure for tourism.
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Knadler, Stephen. "Miscegenated Whiteness: Rebecca Harding Davis, the "Civil-izing" War, and Female Racism". Nineteenth-Century Literature 57, n.º 1 (1 de junio de 2002): 64–99. http://dx.doi.org/10.1525/ncl.2002.57.1.64.
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This essay examines Rebecca Harding Davis's resistance to the Civil War discourse in the Atlantic Monthly in order to complicate the relation between nineteenth-century racism and sentimental fiction. While much revisionary work has been done on nineteenth-century women'sfiction and how it reinforced racial ideologies, the misleading question often asked is whether white women did or did not participate in the public arena of race. Yet this initial framing of the question denies the alternative possibility: that white women might have engaged in their own gendered forms of racial activity, or in a "female racism" (to use Vron Ware's term), that did not correspond to or act in complicity with a racism that is by default seen as public and masculine. By imagining her heroine as a "woman from the border" inWaiting for the Verdict (1868), Davis works to oppose and overturn a particular regional and gender-based inscription of whiteness that was being disseminated amid the war crises as an emergent New England-based national identity. In contrast, Davis creates a particular feminine and liminal version of white racial power, or a "miscegenated whiteness." But this fantasy of an imagined national community based on the "white mulatto" finally undoes itself in the novel's moments of narrative crises about a free and open female sexuality, and Davis'snovel seeks to restore the white female body to its "purity."
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Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress". IAFOR Journal of Arts & Humanities 9, n.º 1 (29 de julio de 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.
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The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.
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Bani-Khair, Baker, Ziyad Khalifah Alkhalifah, Mohammad Hilmi Al Ahmad, Majed Abdul Karim y Mahmoud Ali Rababah. "The Correlation Between Art and Death in Willa Cather's Lucy Gayheart: Fatality of Art or Artistic Failure". Journal of Language Teaching and Research 15, n.º 1 (31 de diciembre de 2023): 318–23. http://dx.doi.org/10.17507/jltr.1501.35.
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This study explores the representation of art in Willa Cather's Lucy Gayheart (1935), which is viewed as an essential aspect of the novel in terms of its vitality and dominance. The novel subtly yet persistently invokes new possibilities for general human behavior and supportive interconnectedness among women. As the female experience looms large in Cather's fiction, Lucy Gayheart illustrates the dangers of presenting women in a romanticized, ethereal light. However, the present paper intends to prove that Cather's attempt at romanticizing her heroine's stance leads to a war between artistic accomplishment and acquisitive spirit. Through examining Cather's Lucy Gayheart, this paper contends that women's perplexed possibilities are a miniature of the fragmented psyche that pervades Cather's work.
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Zachs, Fruma y Yuval Ben-Bassat. "WOMEN'S VISIBILITY IN PETITIONS FROM GREATER SYRIA DURING THE LATE OTTOMAN PERIOD". International Journal of Middle East Studies 47, n.º 4 (14 de octubre de 2015): 765–81. http://dx.doi.org/10.1017/s0020743815000975.
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AbstractThis article focuses on petitions by Ottoman women from Greater Syria during the late Ottoman era. After offering a general overview of women's petitions in the Ottoman Empire, it explores changes in women's petitions between 1865 and 1919 through several case studies. The article then discusses women's “double-voiced” petitions following the empire's defeat in World War I, particularly those submitted to the King-Crane Commission. The concept of “double-voiced” petitions, or speaking in a voice that reflects both a dominant and a muted discourse, is extended here from the genre of literary fiction to Ottoman women's petitions. We argue that in Greater Syria double-voiced petitions only began to appear with the empire's collapse, when women both participated in national struggles and strove to protect their rights as women in their own societies.
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Kawana, Sari. "The price of pulp: women, detective fiction, and the profession of writing in inter-war Japan". Japan Forum 16, n.º 2 (julio de 2004): 207–29. http://dx.doi.org/10.1080/0955580042000222646.
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Lawless, Elaine J. "Prairie Women: Images in American and Canadian Fiction by Carol Fairbanks". Western American Literature 22, n.º 2 (1987): 184–85. http://dx.doi.org/10.1353/wal.1987.0050.
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Sultan, Shrouk, Basma Saleh y Asmaa ElSherbini. "Fighters or Victims: Women at War as Depicted in Harry Potter Novels". International Journal of Language and Literary Studies 4, n.º 2 (4 de junio de 2022): 229–42. http://dx.doi.org/10.36892/ijlls.v4i2.938.
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Witches in Harry Potter novels play major roles that affect the course of events. Some of these witches are authority figures in institutions, while others can be housewives, aurors, ministry employees, or talented witches. This paper discusses several different witches who take part, intentionally or not, in the battle between good and evil in Harry Potter novels. Three of these witches will be tackled in terms of their roles as fighters, while three others will be tackled in terms of their degradation into victims. This analysis will be done through the investigation of the attitudes of the characters towards themselves and their positions, as well as the surrounding characters’ reception of the selected characters, and carefully reading the events of the seven Harry Potter novels. Because Harry Potter novels are widely-read, the depiction of female characters in these novels as either fighters or victims impact readers’ perception of women’s roles in their communities. Analyzing the female characters, this paper intends to help readers to realize if Harry Potter novels help to empower women or limit their potentials. Since women issues are an important part of our lives, and since Harry Potter novels are widely-read, finding out whether these novels empower women or limit their potentials is crucial to our understanding of the major impact that fiction can have on people’s lives.
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Klikauer, Thomas, Norman Simms, Marcus Colla, Nicolas Wittstock, Matthew Specter, Kate R. Stanton, John Bendix y Bernd Schaefer. "Book Reviews". German Politics and Society 40, n.º 1 (1 de marzo de 2022): 104–31. http://dx.doi.org/10.3167/gps.2022.400106.
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Heinrich Detering, Was heißt hier “wir”? Zur Rhetorik der parlamentarischen Rechten (Dietzingen: Reclam Press, 2019).Clare Copley, Nazi Buildings: Cold War Traces and Governmentality in Post-Unification Berlin (London: Bloomsbury Academic, 2020).Tobias Schulze-Cleven and Sidney A. Rothstein, eds., Imbalance: Germany’s Political Economy after the Social Democratic Century (Abingdon: Routledge, 2021).Benedikt Schoenborn, Reconciliation Road: Willy Brandt, Ostpolitik and the Quest for European Peace (New York: Berghahn Books, 2020).Tiffany N. Florvil, Mobilizing Black Germany: Afro-German Women and the Making of a Transnational Movement (Champaign: University of Illinois Press, 2020).Ingo Cornils, Beyond Tomorrow: German Science Fiction and Utopian Thought in the 20th and 21st Centuries (Rochester, NY: Camden House, 2020).Christian F. Ostermann, Between Containment and Rollback: The United States and the Cold War in Germany (Stanford, CA: Stanford University Press, 2021).
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Ingemanson, Birgitta. "The Political Function of Domestic Objects in the Fiction of Aleksandra Kollontai". Slavic Review 48, n.º 1 (1989): 71–82. http://dx.doi.org/10.2307/2498686.
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During the winter of 1922-1923 when she was just beginning her diplomatic career, Bolshevik activist Aleksandra Kollontai wrote two novels and several short stories that were immediately published in Russia and subsequently combined into two volumes under the titles Liubov’ pchel trudovykh and Zhenshchina na perelome. They were dismissed as mere autobiographical romances, indulging in unhealthy introspection and dangerously divorced from the “real” demands of society. At a time when Soviet Russia was facing enormous challenges connected with the reconstruction after the civil war and with the partial return to a market economy under the New Economic Policy (NEP), Kollontai's focus on domestic relationships and the status of women seemed narrow and excessively private.
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Branach-Kallas, Anna. "World Travellers: Colonial Loyalties, Border Crossing and Cosmopolitanism in Recent Postcolonial First World War Novels". Anglica. An International Journal of English Studies, n.º 27/3 (17 de septiembre de 2018): 183–200. http://dx.doi.org/10.7311/0860-5734.27.3.09.
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This article offers a comparative analysis of the representation of travelling men and women in The Sojourn (2003) by Canadian writer Alan Cumyn, The Daughters of Mars (2012) by Australian novelist Thomas Kenneally and Blue Ravens: Historical Novel (2014) by North American indigenous author Gerald Vizenor. These three novels explore the cliché of colonial loyalties, illustrating the diverse motivations that led individuals from North America and Australia to volunteer for the war. Cumyn, Kenneally and Vizenor undermine the stereotypical location of the colonial traveller in an uncultured space; in their fiction the war provides a pretext to expose imperial ideologies, to redefi ne collective identities, as well as to rethink the relationship between the local and the cosmopolitan. As a result, the First World War is reconfi gured in terms of border crossing, contact and/or transcultural exchange, which result in radical shifts in consciousness, a critique of imperialism, as well as aspirations for cultural/political autonomy.
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Ngeh, Andrew T. y Sarah M. Nalova. "Rethinking Language and Gender in African Fiction: Towards De-gendering and Re-gendering". Social Science, Humanities and Sustainability Research 1, n.º 1 (20 de junio de 2020): p132. http://dx.doi.org/10.22158/sshsr.v1n1p132.
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The recognition and acceptance of the social construction of gender and the coercive nature of gendered subjectivities has been at the centre of feminist discourse which challenges the subjugation of the woman. G.D. Nyamndi, therefore, in his Facing Meamba attempts to address these concerns and proffer feasible solutions. The representation of women in literature, the role of gender in both literary creation and literary criticism, as studied ingynocriticism, the connection between gender and various aspects of literary form in such genre and metre embody masculine values of heroism, war, and adventure. This androcentric stand has compromised the rights of the woman, resulting in her marginalization, alienation and exclusion from socio-cultural activities. She is maligned with a sense of inadequacy. The patriarchal centre prevails and dominates the woman who has been pushed to the margin of the society. In this regard, Nyamndi demonstrates that, the African woman still has a place within the postcolonial context even though the man is imbued with more powers than the woman. Informed by the postcolonial theory, this study argues that, gendering constitutes a grave danger to a harmonious existence between the two genders. The study revealed that, de-gendering and re-gendering can create harmony between the man and woman because the two concepts are basis for gender equality. To achieve this, language which constitutes a semiotic mould has been exploited to deploy themes like, gender inequality and cultural issues.
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Hanif, Samia y Munawar Iqbal Ahmed. "'Half Widows and Half Mothers': Traumatic Voices of Women From the Literary Narratives of Jammu and Kashmir". Global Language Review V, n.º IV (30 de diciembre de 2020): 123–30. http://dx.doi.org/10.31703/glr.2020(v-iv).13.
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This study is an attempt to explore the traumatic voices of women as half-mothers and half widows in the selected Kashmiri Anglophone fiction. Since the partition of the Indian Sub-continent, Kashmiris have been subjugated to violence and brutality under occupation. The lives of Kashmiri women have been worse, particularly during the 1990s, when the militancy increased because of hostile policies of the Indian government, which resulted in violence and brutality. Owing to their strength and resilience, the Kashmiri women have withstood the oppressive conditions. Compared to men, they have been at a loss while losing husbands and sons in a blind war of aggression and power. Using textual analysis and qualitative research paradigm, the study is based on Bashir's The HalfMother (2014) through the lens of La Capra's Acting out versus Working through and Caruth's Theory of Double Trauma. The study reveals that women are not only victims but also fighters.
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Lassner, Phyllis. "Brave new causes: women in british post-war fictions". Women's History Review 8, n.º 4 (1 de diciembre de 1999): 737–62. http://dx.doi.org/10.1080/09612029900200458.
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Becker, Heike. "Writing Genocide". Matatu 50, n.º 2 (13 de febrero de 2020): 361–95. http://dx.doi.org/10.1163/18757421-05002002.
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Abstract In this article I read several recently published novels that attempt to write the early 20th century Namibian experience of colonial war and genocide. Mari Serebrov’s Mama Namibia, Lauri Kubuitsile’s The Scattering and Jaspar Utley’s The Lie of the Land set out to write the genocide and its aftermath. Serebrov and Kubuitsile do so expressly from the perspective of survivors; their main characters are young Herero women who live through war and genocide. This sets Mama Namibia and The Scattering apart from the earlier literature, which—despite an enormous divergence of political and aesthetic outlooks—tended to be written from the perspective of German male protagonists. The Lie of the Land, too, scores new territory in postcolonial literature. I read these recent works of fiction against an oral history-based biography, in which a Namibian author, Uazuvara Katjivena, narrates the story of his grandmother who survived the genocide.
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Kucała, Bożena. "Carnage, medicine and "The Woman Question" : representations of the Crimean war in neo-Victorian fiction". Brno studies in English, n.º 1 (2022): 175–86. http://dx.doi.org/10.5817/bse2022-1-10.
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The aim of this article is to analyse and compare representations of the Crimean war in three neo-Victorian novels, Beryl Bainbridge's Master Georgie (1998), Julia Gregson's The Water Horse (2004) and Katharine McMahon's The Rose of Sebastopol (2007), with reference to the commonly established view of this historical event. The novels foreground the experience of civilians who found themselves on the periphery of the battlefields, caring for the casualties of the war. As the course of history and private lives intersect, the main characters undergo a personal transformation; for the female protagonists, the experience leads to liberation from conventional gender roles. It is argued that by focusing on civilians rather than soldiers the novels offer a new perspective on the war; nonetheless, they uphold its overwhelmingly negative image in British collective memory.
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Alief, Vicky Radian y Dian Farijanti. "Cultural Feminism Found in the Asne Seierstad’s Kabul". Academic Journal Perspective : Education, Language, and Literature 3, n.º 2 (14 de noviembre de 2018): 379. http://dx.doi.org/10.33603/perspective.v3i2.1678.
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The result of this study may add to the research literature refrences and add insight to the reader about the image women with the feminism literature review.This research is expected to give contribution to this language teaching using novel as the authentic media, particularly in teaching reading. Novel is narrative text informing of prose with a long shape that including some figures and fiction event. In this case, the study attempted to analyze text about Cultural feminism tht contains in the novel. The text analyzed is a novel entitled The Bookseller of Kabul written by Asne Seierstad, a Norway journalist who spent four months to write the novel after reporting civil war in Afghanistan. This novel mostly describes the portrayal of women in the context of gender relation in Afghanistan after the fall of Taliban, around 2001s.
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NOVYKOV, ANATOLIY, TETIANA KLEIMENOVA, MARYNA KUSHNIEROVA, DMYTRO MARIEIEV y NATALIIA HOHOL. "GENESIS OF THE «WOMAN’S» WAR IN CREATIVITY OF SVETLANA ALEXIEVICH (BASED ON THE MATERIAL OF THE NOVELS «THE UNWOMANLY FACE OF WAR» AND «ZINKY BOYS»)". AD ALTA: 11/02 11, n.º 2 (31 de diciembre de 2021): 182–87. http://dx.doi.org/10.33543/1102182187.
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The article examines the features of a fiction-documentary comprehension of the German-Soviet and Soviet-Afghan wars in the novels of Svetlana Alexievich «The unwomanly face of war» and «Zinky Boys». It occurs through the perception of a woman as a direct participant in the war, a mother, wife, whose war took away the most expensive – son, husband, father. The presence of archetypal images to combine separate chapters is common in both novels. In both her novels, S. Alexievich gave the archetypal image of a woman-keeper of modern sound, individual features, convincing the reader that this image is always relevant because each talented artist revealed not only its original meaning, but also created something new that was close to the man of each century.
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Hassler, Donald M. "Where No Man Has Gone Before: Women and Science Fiction, and: Science Fiction, Social Conflict, and War, and: Worlds Apart: Narratology of Science Fiction (review)". MFS Modern Fiction Studies 38, n.º 2 (1992): 540–41. http://dx.doi.org/10.1353/mfs.0.1110.
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Neijmann, Daisy L. "‘Girl Interrupting’: History and Art as Clairvoyance in the Fiction of Vigdís Grímsdóttir". Scandinavian-Canadian Studies 17 (1 de diciembre de 2007): 54–68. http://dx.doi.org/10.29173/scancan22.
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ABSTRACT: The year 1980 marks a distinctive change and exciting renewal in the general development of post-war Icelandic fiction. An obsessive preoccupation with rural nostalgia and urban malaise gradually gives way to a decidedly anti-realist fiction which celebrates the wonders of everyday day life in the city. The term magical realism is often used in this context, and indeed, there can be little doubt that the Icelandic translation of Gabriel Garcia Marquez’s One Hundred Years of Solitude in 1978 constituted an important influence on writers during this period. One contemporary Icelandic author who has made striking use of magical realist strategies to dislodge the current impulses of modernity in Icelandic culture and disrupt imposed ways of perceiving reality is Vigdís Grímsdóttir. The aim of this article is to discuss the innovative ways in which Vigdís has used Icelandic story-telling and folklore traditions, preserved and passed down mostly by women, to reaffirm, from a female perspective, a localised cultural imagination within a contemporary globalised Icelandic urban context.
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Chapman, Mary. "'Living Pictures': Women and Tableaux Vivants in Nineteenth-Century American Fiction and Culture". Wide Angle 18, n.º 3 (1996): 22–52. http://dx.doi.org/10.1353/wan.1996.0016.
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