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1
Vlessing, Clara. "Reparative Remembrance: Feminist Mobilizations of Louise Michel, Emma Goldman, and Sylvia Pankhurst". Histoire sociale / Social History 56, n. 116 (novembre 2023): 417–38. http://dx.doi.org/10.1353/his.2023.a914570.
Testo completoAbstract (sommario):
Abstract: The multivalent processes by which historic activists are remembered are shaped by contemporary political projects. Drawing on recent insights into the relationship between memory and activism, I contend that the longstanding cultural remembrance of three late-nineteenth to early-twentieth-century revolutionaries has depended on their reappraisal by “second-wave” feminist movements in the late twentieth century. Moving from an account of their adversarial relations to the women’s movements of their day to their subsequent interpretation as exemplary feminists, selected works of feminist auto/biography have undoubtedly contributed to these figures’ changing remembrance over time. A rhetoric of repair is therefore central to life writing by second-wave feminists, and reparative remembrance has had a continuing impact on these figures’ representation up to the present day. Abstract: Les processus polyvalents par lesquels la mémoire des militants et militantes historiques est perpétuée sont façonnés par les projets politiques contemporains. Sur la base d’observations récentes concernant la relation entre la mémoire et l’activisme, nous soutenons que la mémoire culturelle pérenne de trois révolutionnaires de la fin du XIXe et du début du XXe siècle s’est articulée autour du réexamen qu’en ont fait les mouvements féministes de la « deuxième vague » à la fin du XXe siècle. Certains ouvrages biographiques ou d’auto-biographie féministes ont sans aucun doute contribué à l’évolution du souvenir de ces figures au fil du temps, en faisant passer le récit de leurs relations conflictuelles avec les mouvements féminins de leur époque à une interprétation ultérieure faisant d’elles des féministes exemplaires. Nous pouvons donc avancer qu’une rhétorique de la réparation est au cœur de l’écriture des féministes de la deuxième vague, et que la remémoration réparatrice a eu une incidence continue sur la représentation de ces figures jusqu’à ce jour.
2
Rifqi, Muhammad, e Yeni Prastiwi. "Gender Stereotype Portrayal on Hardworking Women In “The Intern” Movie Director’s Perspective". Language Circle: Journal of Language and Literature 18, n. 2 (30 aprile 2024): 342–48. http://dx.doi.org/10.15294/lc.v18i2.49363.
Testo completoAbstract (sommario):
As the film industry developed, movies became a concern for some people. One of them is feminists, feminists are starting to infiltrate the film world, and like actors and directors, like Nancy Meyers, Nancy is a gender equality person. The purpose of this research is to find similarities between the characters in the film The Intern (Jules Ostin) character and the director and the reasons why the director included those elements. This research uses a qualitative descriptive method and the sources are the film itself (The Intern 2015), transcripts from the film and news media. Based on the results of this study, it can be concluded that there are similarities between the life of the director and the character of Jules Ostin. The director tries to include and portray several elements of feminism and gender stereotypes that are presented through the director’s own biography, and also emphasizes that the director (Nancy Meyers) wants people and views to notice a woman when she brings this subject in the film to change and consider them equal to men. in matters of life or choosing a profession.
3
Ware, Susan. "Writing Women's Lives: One Historian's Perspective". Journal of Interdisciplinary History 40, n. 3 (gennaio 2010): 413–35. http://dx.doi.org/10.1162/jinh.2010.40.3.413.
Testo completoAbstract (sommario):
From the start, biography played a vibrant and significant part in the growth of women's history, especially American women's history, as a well-respected and popular field within the historical profession. The insistence of feminist biographers that the personal is political, and that attention must be paid to the daily lives of their subjects as well as to their more public achievements, continues to ripple through the field of biography as a whole. To talk about biography is also to talk about the biographer, for the precise reason that behind every biography lies autobiography—that special spark that draws the biographer to the subject in the first place and the interaction that unfolds as the project moves forward (or stalls, as often happens). As feminist theory reminds us, the personal element is relevant to the broader intellectual agenda.
4
Aljunied, Khairudin. "The Koran in English: A Biography". American Journal of Islamic Social Sciences 35, n. 3 (1 luglio 2018): 79–82. http://dx.doi.org/10.35632/ajiss.v35i3.484.
Testo completoAbstract (sommario):
Anyone familiar with Bruce Lawrence’s oeuvre knows that the book under review is the culmination of his long and serious engagement with Islam’s foundational texts. His earlier publication, The Qur’an: A Biography (2006), traces the central place of divine revelation in Muslim life and thought for many centuries. The Qur’an inspired its most faithful believers to become predominant in much of the medieval world and, in the process, it was a book that captured the interest and imagination of non-Muslims. Law- rence’s own translation of the Qur’an into English is now in the works. Be- fore completing this admirable feat at the prime of his scholarly life, he offers us an inventory of a number of influential and no less creative—some polemical—attempts at untying the Gordian knot of rendering classical Ar- abic into lucid English. But can God’s eternal word, revealed to Prophet Muhammad in the seventh century, be translated into English at all given the deep-seated differences between the two linguistic worlds in space and time? The answer to this question is not a simple yes or no, as Lawrence explains in this slim but indispensable volume. Unlike scriptures of other world religions, the Qur’an stakes a claim on its linguistic authoritativeness from the onset. Its self-image, as specialists such as Daniel Madigan, Toshi- hiko Izutsu, and Fazlur Rahman have it, was rooted in its unique language. The Qur’anic language is thus not merely one language among others of its time (or anytime) but is the distinctive language of God to be read, stud- ied, memorized and disseminated in the original form. From this angle of vision, no translation of the Qur’an is regarded by the majority of Muslims as the Qur’an itself. Lawrence acknowledges this longstanding credo, or the dominant “filter of orthodoxy,” as he puts it (xxi). The translated Qur’an is, to him, best referred to as a “Koran”. Not that the Arabic and translated texts are radically different in terms of their central messages and moral injunctions, but that the Koran was a historical and not an eternal artefact. The Koran was a product of a human endeavor to make the language of God accessible in the world of man. The filter of orthodoxy was however confronted with an ever-growing and cosmopolitan ummah which, for the most part, consisted of non-Ar- abs who knew little but a rudimentary form of Arabic. Translations became inevitable, as Lawrence informs us. The Arabic Qur’an in its pure form gen- erated Korans in other Muslim languages (Persian, Turkish, Malay, etc.) as Islam grew to become a juggernaut after the death of Muhammad (Chapter 1). And yet, as Islam emerged triumphant as a world-conquering faith, its adversaries saw the urgent need to fully discern the scriptures that made Muslims so powerful. Translations into Latin and then English from the twelfth through the eighteenth centuries were largely born out of hate en- meshed with fear and the passionate desire among translators to convince fellow Christians of “falsehood of the Qur’an” (33). Such adverse motives however turned into an emphatic understanding of what the Qur’an actu- ally stood for, as seen in George Sale and Edward Henry Palmer’s transla- tions. The Orientalists were not all cut from the same cloth. What Lawrence does not show quite clearly was how these early English translations provided the raison d’etre for Muslims to produce their own Korans as a corrective project against the biases of Western Orientalism. In South Asian translations by Muhammad Ali, Abdul Majid Daryabadi, Mar- maduke Pickhall, and Abdullah Yusuf Ali, allusions were made, be it direct- ly or obliquely, to the problems of earlier (non-Muslim) translations, just as they sought (for example) to undo use of the terms “Mohammedan” or “Mohametan” to describe Muslims. Granted that these translators belonged to different Muslim sects, their overriding concern was that the Qur’an suf- fered from imprecise translations into English. South Asian Muslims, in my view, were not only translating the Qur’an. They were arresting the march of a prejudiced form of Orientalism by producing English Korans of their own. In hindsight, their efforts were successful, at least for a while, until the advent of the digital age. The coming of the internet and the expansion of English as a lingua franca of most of the world, as Lawrence handsomely points out, has led to the proliferation of Korans, both online and offline, by Muslims and non-Muslims, conservatives and liberals, orientalists and their detractors, Sunnis and Shi’ites, feminists and artists. To Lawrence, most translations produced in an era of abundance fail to capture the Qur’an’s rhythmic prose, with the exception of a handful. Contemporary Korans are so often contorted by the politics of ideological hegemony and nationalist parochi- alism that hinder scholarly endeavor (Chapters 4-5). Lawrence singles out Saudi translations that purvey a puritanical strand of Islam. Interestingly, there are, within Saudi Arabia itself, less literalist Korans. One wonders whether the current political transition in Saudi Arabia will give rise to newer, state-sponsored translations of the Qur’an. I certainly believe it will. For now, Lawrence shows that Salafism in Saudi Arabia (as elsewhere in the Muslim world, as many analysts have pointed out) is not by any means monochrome and homogenous. It is therefore unsurprising that different Korans have been produced in a highly controlled and conservative state. Meantime, the market is flooded with highly popular alternatives in the likes of those by Thomas Cleary, Muhammad Abdul Haleem, and Tarif Khalidi. Spoilt for choice, Muslims and non-Muslims have now the liberty to choose which translation squares with their respective lingustic tastes, spiritual quests, and worldviews. Lawrence ends the book with the latest and most innovative venture at translating the Qur’an, by artist Sandow Birk. It is a translation that comes in the form of inventive expressions, a graphic Koran, so to speak, intended for an American audience whom Birk believes can discern how the Qur’an addresses their everyday trials and tribulations. The linguistic beauty of the Qur’an, in Birk’s formulation, is best expressed in colorful images. An American himself, Lawrence is most impressed by Birk’s project, couching it as “visual and visionary, it is a hybrid genre designed to reach a new audience not previously engaged either by the Koran or by Islam” (137). Had George Sale and Henry Palmet lived to this day, they would perhaps shudder over such an Americanization of the Qur’an. In displaying art with a Qur’anic glaze, Birk does more than translating the Qur’an to English. He demonstrates how the Qur’an can be embedded and normalized into Anglo-American lives and sensibilities. Provocatively-written, deftly-researched, and a pleasure to read, The Koran in English opens up many promising pathways and novel directions for future research. The specter of the Palestinian-American scholar, Is- mail al-Faruqi, came to mind as I was reading the book. Al-Faruqi once envisioned English becoming an Islamic language, or a language that can express what Islam is more accurately. Al-Faruqi held that this could be achieved by incorporating Arabic terms into the English corpus. Reading The Koran in English tells us that Al-Faruqi’s vision is currently realized in ways he barely imagined, or perhaps, in ways that are more subtle and sublime. In translating the Koran to English—an enterprise that is now undertaken by scholars, popular writers, and artists, and that will undoubt- edly grow exponentially in the years to come—English has been (or is) Ko- ranized. Or, to borrow and inflect Lawrence’s syllogism in the opening of the book: If you don’t know Arabic, you can still understand the Qur’an. By understanding the Qur’an, you can choose to become a Muslim. And if you do not become a Muslim, you may still appreciate and derive much benefit from the Qur’an. Therefore, the Qur’an, or the Koran, is not only for Muslims but for those who care to think and reflect about life and about the divine. Indeed, “He gives wisdom to whom He wills, and whoever has been given wisdom has certainly been granted much good. And none will grasp the message except the people of intellect” (al-Baqara: 269).
Khairudin AljuniedMalaysia Chair of Islam in Southeast AsiaGeorgetown University
5
Aljunied, Khairudin. "The Koran in English: A Biography". American Journal of Islam and Society 35, n. 3 (1 luglio 2018): 79–82. http://dx.doi.org/10.35632/ajis.v35i3.484.
Testo completoAbstract (sommario):
Anyone familiar with Bruce Lawrence’s oeuvre knows that the book under review is the culmination of his long and serious engagement with Islam’s foundational texts. His earlier publication, The Qur’an: A Biography (2006), traces the central place of divine revelation in Muslim life and thought for many centuries. The Qur’an inspired its most faithful believers to become predominant in much of the medieval world and, in the process, it was a book that captured the interest and imagination of non-Muslims. Law- rence’s own translation of the Qur’an into English is now in the works. Be- fore completing this admirable feat at the prime of his scholarly life, he offers us an inventory of a number of influential and no less creative—some polemical—attempts at untying the Gordian knot of rendering classical Ar- abic into lucid English. But can God’s eternal word, revealed to Prophet Muhammad in the seventh century, be translated into English at all given the deep-seated differences between the two linguistic worlds in space and time? The answer to this question is not a simple yes or no, as Lawrence explains in this slim but indispensable volume. Unlike scriptures of other world religions, the Qur’an stakes a claim on its linguistic authoritativeness from the onset. Its self-image, as specialists such as Daniel Madigan, Toshi- hiko Izutsu, and Fazlur Rahman have it, was rooted in its unique language. The Qur’anic language is thus not merely one language among others of its time (or anytime) but is the distinctive language of God to be read, stud- ied, memorized and disseminated in the original form. From this angle of vision, no translation of the Qur’an is regarded by the majority of Muslims as the Qur’an itself. Lawrence acknowledges this longstanding credo, or the dominant “filter of orthodoxy,” as he puts it (xxi). The translated Qur’an is, to him, best referred to as a “Koran”. Not that the Arabic and translated texts are radically different in terms of their central messages and moral injunctions, but that the Koran was a historical and not an eternal artefact. The Koran was a product of a human endeavor to make the language of God accessible in the world of man. The filter of orthodoxy was however confronted with an ever-growing and cosmopolitan ummah which, for the most part, consisted of non-Ar- abs who knew little but a rudimentary form of Arabic. Translations became inevitable, as Lawrence informs us. The Arabic Qur’an in its pure form gen- erated Korans in other Muslim languages (Persian, Turkish, Malay, etc.) as Islam grew to become a juggernaut after the death of Muhammad (Chapter 1). And yet, as Islam emerged triumphant as a world-conquering faith, its adversaries saw the urgent need to fully discern the scriptures that made Muslims so powerful. Translations into Latin and then English from the twelfth through the eighteenth centuries were largely born out of hate en- meshed with fear and the passionate desire among translators to convince fellow Christians of “falsehood of the Qur’an” (33). Such adverse motives however turned into an emphatic understanding of what the Qur’an actu- ally stood for, as seen in George Sale and Edward Henry Palmer’s transla- tions. The Orientalists were not all cut from the same cloth. What Lawrence does not show quite clearly was how these early English translations provided the raison d’etre for Muslims to produce their own Korans as a corrective project against the biases of Western Orientalism. In South Asian translations by Muhammad Ali, Abdul Majid Daryabadi, Mar- maduke Pickhall, and Abdullah Yusuf Ali, allusions were made, be it direct- ly or obliquely, to the problems of earlier (non-Muslim) translations, just as they sought (for example) to undo use of the terms “Mohammedan” or “Mohametan” to describe Muslims. Granted that these translators belonged to different Muslim sects, their overriding concern was that the Qur’an suf- fered from imprecise translations into English. South Asian Muslims, in my view, were not only translating the Qur’an. They were arresting the march of a prejudiced form of Orientalism by producing English Korans of their own. In hindsight, their efforts were successful, at least for a while, until the advent of the digital age. The coming of the internet and the expansion of English as a lingua franca of most of the world, as Lawrence handsomely points out, has led to the proliferation of Korans, both online and offline, by Muslims and non-Muslims, conservatives and liberals, orientalists and their detractors, Sunnis and Shi’ites, feminists and artists. To Lawrence, most translations produced in an era of abundance fail to capture the Qur’an’s rhythmic prose, with the exception of a handful. Contemporary Korans are so often contorted by the politics of ideological hegemony and nationalist parochi- alism that hinder scholarly endeavor (Chapters 4-5). Lawrence singles out Saudi translations that purvey a puritanical strand of Islam. Interestingly, there are, within Saudi Arabia itself, less literalist Korans. One wonders whether the current political transition in Saudi Arabia will give rise to newer, state-sponsored translations of the Qur’an. I certainly believe it will. For now, Lawrence shows that Salafism in Saudi Arabia (as elsewhere in the Muslim world, as many analysts have pointed out) is not by any means monochrome and homogenous. It is therefore unsurprising that different Korans have been produced in a highly controlled and conservative state. Meantime, the market is flooded with highly popular alternatives in the likes of those by Thomas Cleary, Muhammad Abdul Haleem, and Tarif Khalidi. Spoilt for choice, Muslims and non-Muslims have now the liberty to choose which translation squares with their respective lingustic tastes, spiritual quests, and worldviews. Lawrence ends the book with the latest and most innovative venture at translating the Qur’an, by artist Sandow Birk. It is a translation that comes in the form of inventive expressions, a graphic Koran, so to speak, intended for an American audience whom Birk believes can discern how the Qur’an addresses their everyday trials and tribulations. The linguistic beauty of the Qur’an, in Birk’s formulation, is best expressed in colorful images. An American himself, Lawrence is most impressed by Birk’s project, couching it as “visual and visionary, it is a hybrid genre designed to reach a new audience not previously engaged either by the Koran or by Islam” (137). Had George Sale and Henry Palmet lived to this day, they would perhaps shudder over such an Americanization of the Qur’an. In displaying art with a Qur’anic glaze, Birk does more than translating the Qur’an to English. He demonstrates how the Qur’an can be embedded and normalized into Anglo-American lives and sensibilities. Provocatively-written, deftly-researched, and a pleasure to read, The Koran in English opens up many promising pathways and novel directions for future research. The specter of the Palestinian-American scholar, Is- mail al-Faruqi, came to mind as I was reading the book. Al-Faruqi once envisioned English becoming an Islamic language, or a language that can express what Islam is more accurately. Al-Faruqi held that this could be achieved by incorporating Arabic terms into the English corpus. Reading The Koran in English tells us that Al-Faruqi’s vision is currently realized in ways he barely imagined, or perhaps, in ways that are more subtle and sublime. In translating the Koran to English—an enterprise that is now undertaken by scholars, popular writers, and artists, and that will undoubt- edly grow exponentially in the years to come—English has been (or is) Ko- ranized. Or, to borrow and inflect Lawrence’s syllogism in the opening of the book: If you don’t know Arabic, you can still understand the Qur’an. By understanding the Qur’an, you can choose to become a Muslim. And if you do not become a Muslim, you may still appreciate and derive much benefit from the Qur’an. Therefore, the Qur’an, or the Koran, is not only for Muslims but for those who care to think and reflect about life and about the divine. Indeed, “He gives wisdom to whom He wills, and whoever has been given wisdom has certainly been granted much good. And none will grasp the message except the people of intellect” (al-Baqara: 269).
Khairudin AljuniedMalaysia Chair of Islam in Southeast AsiaGeorgetown University
6
Sidi-Said, Fadhila. "Domesticity as Gender Othering in Joseph Conrad’s The Secret Agent". Asian Journal of Humanity, Art and Literature 1, n. 1 (30 giugno 2014): 41–47. http://dx.doi.org/10.18034/ajhal.v1i1.281.
Testo completoAbstract (sommario):
This paper proposes to explore gender relations in Joseph Conrad’s The Secret Agent. Operating from the knowledge that gender is culturally determined feminists criticize male-dominated patriarchal societies, which they argue marginalize or discount women by limiting their opportunity for self-definition and self-actualization. The question that needs to be addressed, then, is: Is gender relation in The Secret Agent constructed around stereotypical representations? Or can this work be read otherwise? Our assumption is that Conrad’s criticism of such patriarchal system is done through irony. The ‘Edenic home’ that would embody Conrad’s cherished ideals is, as we know, a home browbeaten by a political exile. We shall argue that Conrad deals narratively with his own traumatic history by displacing it onto Winnie’s otherness. This traumatic event is ironically expressed in the falling down of the novel’s house, the house of an overweening, unquestioned patriarchy. On one hand, the fallen house symbolizes the ‘idealization’ of the Western society. On the other hand, it raises ideological issues in relation to the “Other”, the oppressed.
We shall argue that the evidence of his biography, correspondence, and the fictional work under study suggest a complex relationship between the writer, the women in his life, and the fictional female characters. The importance of the female character, Winnie Verloc, may be explained by the fact that women played a vital role during his youth in Poland. In a letter of 1900 to Edward Garnett, Conrad himself remarked on the benefit he had received from the close bond and the extraordinary ‘sister-cult’ established amongst the Bobrowski women.
7
Hála, Peter. "The Slovak Stories of Timrava and their English Translation". TranscUlturAl: A Journal of Translation and Cultural Studies 7, n. 1 (15 giugno 2015): 88. http://dx.doi.org/10.21992/t9kg9s.
Testo completoAbstract (sommario):
Božena Slančíková Timrava (1867-1951) is an eminent Slovak writer. Her highly regarded realistic novels dealt with the rise of the modern Slovak nation. The intricate historical circumstances of the early 20th century, and the eventual emergence of the Slovak nation within complex European culture, made Timrava’s effort even more important. Due to the multicultural nature of the Austro-Hungarian Empire, Timrava’s work is also meaningful in our trans-national and trans-cultural Global village. Timrava and other Slovak literary women were virtually unknown outside Slovakia until the extensive work done by Professor Norma L. Rudinsky (1928-2012), whose translation of six “Slovak stories by Timrava” was published in1992. However to truly understand and appreciate the importance of Timrava’s work, the English-speaking reader needed cultural and historical context. Rudinsky’s life-long effort culminated in the publication of “Incipient Feminists: Women Writers in theSlovak National Revival,” which was meant as a preamble to the works of Timrava for the English-speaking world. This paper introduces the life and work of Timrava within the intricate historical context of Slovak nation-building. It further outlines the importance of Rudinsky’s work and describes some interesting aspects of her translation. Attempting to present a practical cultural and historical approach to translation, the paper stresses the significance of so called ‘cultural grids’ and identifies the key elements, the ‘historical grids’, as well as author’s and translator’s biography, all within the wider context of the translator’s historical and sociological ‘matrix’ which ultimately determines the success of any translation of realistic historical literature.
8
Khan, Shahnaz. "The Idea of Woman in Fundamentalist Islam". American Journal of Islam and Society 22, n. 1 (1 gennaio 2005): 109–12. http://dx.doi.org/10.35632/ajis.v22i1.1735.
Testo completoAbstract (sommario):
Lamia Rustum Shehadeh’s timely book, The Idea of Woman inFundamentalist Islam, begins with a brief biography of influential “fundamentalists.” She examines the context in which they formulated their theoriesand the extent to which they influenced each other, a process thatallows us to see their ideas as a response to the historical, political, andsocial environments in which they lived. For example, the MuslimBrotherhood, founded by Hasan al-Banna in 1928, not only helped formulateand consolidate Islamic revivalism in Egypt, but also helped provide ablueprint for a sociopolitical organization that promoted the political Islamor Islamism influencing chapters in Syria, Lebanon, Iraq, and Palestine.The ideas promoted by the Brotherhood also spread to Sudan, where theycontinue to guide the current regime’s policies. In some cases, as in Iran andSudan, pronouncements of these ideologues influence state law and publicpolicy. At other times they challenge the state, as in Tunisia.Al-Banna promotes the view that Muslim countries became impoverishedand fell under European control because they have deviated fromIslam. He suggests that Muslims see Islam as the solution to their problems.However, al-Banna and other Islamists believe that Islam’s historicaltraditions are irrelevant for modern times. Instead, they propose areturn to what they believe to be the traditions of the Prophet’s time andthat of the first four caliphs. Moreover, they advocate the use of ijtihad(independent judgment), a practice that allows them to interpret seventhcenturytraditions in light of modern needs. Islamist ideologues reservethis practice for themselves, and thus largely marginalize its alternativeuses by feminists and other progressive groups to advance women’s rightsor minority rights ...
9
Moore, P. G. "Dr Baird and his feminine eponyms; biographical considerations and ostracod nomenclature". Archives of Natural History 32, n. 1 (aprile 2005): 92–105. http://dx.doi.org/10.3366/anh.2005.32.1.92.
Testo completoAbstract (sommario):
An attempt is made to identify the female personalities behind the specific attributions of four of William Baird's Scottish ostracod species: viz. Philomedes brenda (Baird, 1850), Macrocypris minna (Baird, 1850), Cylindroleberis mariae (Baird, 1850) and Cypris joanna Baird, 1835. A Scottish borderer by birth, although he spent most of his career in the British Museum (Natural History), Baird (1803–1872) was co-responsible, with two older brothers, plus George Johnston (the Club's first President) and five other gentlemen, for establishing the Berwickshire Naturalists' Club in 1831. This is generally regarded as the first society of its kind. In common with most of his contemporaries, it seems that he held Sir Walter Scott's romantic works in high regard. Brenda and Minna are Shetland heroines from Scott's novel The pirate, which would tie in with these species' type localities being in the wild waters offshore from that archipelago. The suggestion is advanced that the other two names honour two ladies of high literary repute, who were also prominent associates of Walter Scott: Joanna Baillie and Maria Edgeworth (though it is possible though that the epithet mariae might also acknowledge Baird's wife, Mary). Both these writers, of plays, poetry and novels (respectively) were radical proto-feminists who espoused social reform. As such their views and reputation may have resonated with William Baird. His brother, the Revd John Baird of Kirk Yetholm, became famous for espousing the rights of gypsies. William Baird's biography is considered in the context of his social contacts in the Scottish borders. Various associations between these ladies, Sir Walter Scott, the Baird family and the type localities of these ostracods are brought forwards in support of these contentions.
10
Caine, Barbara. "Feminist biography and feminist history". Women's History Review 3, n. 2 (1 giugno 1994): 247–61. http://dx.doi.org/10.1080/09612029400200049.
Testo completo
11
Russell, Penny. "Theme: Feminist Biography". Australian Feminist Studies 19, n. 43 (marzo 2004): 9–18. http://dx.doi.org/10.1080/0816464042000197396.
Testo completo
12
Curthoys, Ann. "Feminist biography and autobiography". Australian Feminist Studies 4, n. 9 (marzo 1989): 111–17. http://dx.doi.org/10.1080/08164649.1989.9961637.
Testo completo
13
Xu, Qinchao, e Junhao Li. "Lytton Strachey, a Rebellious Man of Peculiarity: A Review of Holroyd’s Lytton Strachey: The New Biography". Journal of Arts and Humanities 6, n. 11 (10 novembre 2017): 09. http://dx.doi.org/10.18533/journal.v6i10.1292.
Testo completoAbstract (sommario):
<p><em>Lytton Strachey: The New Biography </em>is an important biography by Michael Holroyd, portraying the extraordinary life of Lytton Strachey, who is also a biographer, in detail. Based on reading the text of <em>Lytton Strachey: The New Biography</em>, this paper analyzes Lytton Strachey’s most distinct character - rebel combined with the social background and the theory of “the New Biography” in three aspects. First, Strachey’s rebellious character in his daily life is analyzed. His beating falsetto, ironic tone and ambiguous silence make him mysterious; his unique dressing style makes him different in the Victorian Age when people tended to wear similar clothes with others in dark suits; and at this time people were all optimistic because of their powerful country while Strachey was always surrounded by a mysterious pessimistic air. Second, Strachey’s view of love is analyzed. He had a strong tendency of homosexual and most of his lovers in his life were males. While, in the Victorian Age, homosexual was illegal. Under the pressure of morality and law, Strachey still followed his heart and fell in love with his boys. His life interprets what love really is — his love is a kind of humanistic love, rather than simple lust. Third, this paper analyzes Strachey’s feminist and religious view. He was one of the supporters and participants of the feminist movement in the 19<sup>th </sup>century. In the society which was dominated by males, Strachey realized that human are born equally. Therefore, he started to fight for the females’ rights. In addition, in order to think independently, Strachey did not follow the crowds blindly to believe in God. </p>
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Bushnell, Annie Atura. "The Weight of RBG’s Crown: Jewish Feminism and Its Appropriations". Studies in American Jewish Literature (1981-) 41, n. 2 (1 settembre 2022): 119–43. http://dx.doi.org/10.5325/studamerijewilite.41.2.0119.
Testo completoAbstract (sommario):
Abstract This article takes a critical look at the “Notorious RBG” iconography that has proliferated since the 2010s, when shifts in the ideological makeup of the U.S. Supreme Court caused Ginsburg to find herself more frequently in dissent. Attending to the trope’s origins in the “King of New York” photo shoot featuring Christopher George Latore Wallace, aka Biggie Smalls, it situates Notorious RBG rhetoric in the long history of Jewish racial ventriloquism in the United States. Through close readings of children’s literature, memes, film, pop biography, and merchandise, I consider what the racial codings of RBG’s crown tell us about Jewish feminisms in contemporary pop culture. The identification of Ginsburg with Wallace registers tensions between assimilationist and de-assimilationist Jewish identities, liberal and intersectional feminisms, and the affective politics of stoicism and rage. I argue that Notorious iconography problematically works to install Ginsburg as the standard-bearer of both the white Jewish Second Wave and its Black feminist critique.
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STEEDMAN, CAROLYN. "Difficult Stories: Feminist Auto/biography". Gender & History 7, n. 2 (agosto 1995): 321–26. http://dx.doi.org/10.1111/j.1468-0424.1995.tb00028.x.
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Wu, Judy Tzu-Chun. "Intersectional Feminist Biography as Method". Pacific Historical Review 93, n. 3 (2024): 476–84. http://dx.doi.org/10.1525/phr.2024.93.3.476.
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The genre of biography, typically associate with elite individuals, may seem like an unlikely approach for writing feminist history. And yet, in writing about exceptional women, many of them women of color, I have found that their lives reveal how structures of power functioned and how the marginalized responded. This essay is part of a PHR forum on the theme of “Personal Reflections on Feminist Historical Methods,” with additional essays by Y. Yvon Wang, Natalie Marine-Street, and Natalia Mehlman Petrzela. The forum is part of a larger PHR special issue, Feminist Histories.
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Judith P. Zinsser. "Feminist Biography: A Contradiction in Terms?" Eighteenth Century 50, n. 1 (2010): 43–50. http://dx.doi.org/10.1353/ecy.0.0023.
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Peterson Pittock, Sarah. "Mary Hays's Female Biography: Feminist Remix". Women's Writing 25, n. 2 (17 ottobre 2017): 219–34. http://dx.doi.org/10.1080/09699082.2017.1388304.
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Pramanick, Somnath. "John Stuart Mill’s Liberal Feminism: Assessing its Impact on Gender Equality and Individual Freedom". RESEARCH HUB International Multidisciplinary Research Journal 9, n. 12 (31 dicembre 2022): 47–51. http://dx.doi.org/10.53573/rhimrj.2022.v09i12.008.
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In The Subjection of Women, which is widely recognized as one of the key books of Enlightenment liberal feminism of the 19th century, John Stuart Mill expresses his opinions on the issue of gender equality. These views are highlighted in this essay. In this essay, the author discusses Mill’s utilitarianism and liberalism as the primary philosophical underpinnings for his criticism of social conditions that oppressed women. He also provides a historical overview of Mill’s views and personal biography, which influenced his argumentation for the emancipation of women. She muses about some of the philosopher’s theories and justifications for friendship and equality between men and women that might still be seen as notable and pertinent. The key tenets of contemporary feminism’s acceptance of Mill’s liberal feminism are also discussed from the standpoint of this feminist philosophy, which primarily holds specific critical viewpoints. Despite certain problematic aspects of Mill’s arguments, one of the intellectually most intriguing interpretations of liberal feminist thought may be found in his article on women’s subjugation.
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Smart, Mary Ann. "The lost voice of Rosine Stoltz". Cambridge Opera Journal 6, n. 1 (marzo 1994): 31–50. http://dx.doi.org/10.1017/s0954586700004122.
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Carolyn Heilbrun, Writing a Woman's LifeUntil recently, women's biography and feminist interpretation of texts have travelled along separate paths, the exhaustive documentation required by biography often seeming to overwhelm efforts at interpretation, dictating that the genre remain essentially conservative and anti-theoretical. This is unfortunate, if only because it is in the writing of women's lives that biography and theory may need each other most. The women we examine are sometimes minor figures, ordinary people most interesting when seen as emblematic of a broader context; and of course they rarely lived according to modern feminist principles: what does one make of a talented woman who devoted her life more to caring for men than for herself? Such situations present conundrums that simultaneously resist and require the solace of theory.
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Wanzo, Rebecca, e Carol A. Stabile. "#MeToo: A Biography". Biography 45, n. 4 (2022): 379–94. http://dx.doi.org/10.1353/bio.2022.a910376.
Testo completoAbstract (sommario):
Abstract: This introduction looks at the difference between Tarana Burke's "me too" and #MeToo. The chronologically distinct origin stories for the forms of activism #MeToo has generated illustrate a distinction between Burke's "me too," grounded in her work with Black girls and created to raise awareness of the collective plight of survivors of sexual violence, and "#MeToo," an example of hashtag feminism that has come to be associated with identifying individual bad actors. We look at various manifestations of #MeToo as well as feminist debates in telling the story about #MeToo's successes and failures.
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Hall, Jacquelyn Dowd. "Second Thoughts: On Writing a Feminist Biography". Feminist Studies 13, n. 1 (1987): 19. http://dx.doi.org/10.2307/3177833.
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Skucha, Mateusz. "Woman’s Knight. Intellectual Biography of One Feminist". Autobiografia 6 (2016): 177–89. http://dx.doi.org/10.18276/au.2016.1.6-12.
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Davis, Kathy. "Book Reviews : Auto/Biography and Feminist Sociology". European Journal of Women's Studies 2, n. 1 (febbraio 1995): 131–33. http://dx.doi.org/10.1177/135050689500200116.
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Letherby, Gayle. "‘Claims and Disclaimers: Knowledge, Reflexivity and Representation in Feminist Research’". Sociological Research Online 6, n. 4 (febbraio 2002): 81–93. http://dx.doi.org/10.5153/sro.665.
Testo completoAbstract (sommario):
In this article I consider issues of knowledge, reflexivity and representation in feminist research. Using my feminist sociological doctoral research as an example I add to debate by feminist researchers and others concerned with epistemological authority. After setting the research scene and outlining what I feel I did and did not achieve both substantively and epistemologically I consider some of the contradictions and tensions in feminist research through a consideration of reflexivity and representation. Throughout I consider issues of auto/biography.
26
Manchanda, Mahima. "Sikh Women’s Biography". South Asia Research 37, n. 2 (13 giugno 2017): 166–78. http://dx.doi.org/10.1177/0262728017700203.
Testo completoAbstract (sommario):
This article examines the biography of Bibi Harnam Kaur, the young co-founder of the Sikh Kanya Mahavidyalaya, established in 1892 in Ferozepur, Punjab as one of the earliest schools for the education of Sikh girls. The opening of this school by her husband, Bhai Takht Singh, raises questions about the extent to which such initiatives reflected the desire of Sikh men and of the Singh Sabha at that time to ensure that their women should become educated to emerge as ideal wives and mothers. The clearly hagiographical biography presents Bibi Harnam Kaur as an extraordinary young woman destined for greatness, but also raises many tensions, contradictions and conflicts hidden below the surface concerning female education in India, which a feminist reading of this biography against the grain seeks to bring out.
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Minnich, Elizabeth Kamarck, Carol Ascher, Ruth First, Ann Scott e Elisabeth Young-Bruehl. "Friendship between Women: The Act of Feminist Biography". Feminist Studies 11, n. 2 (1985): 287. http://dx.doi.org/10.2307/3177924.
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Claycomb, Ryan. "Playing at Lives: Biography and Contemporary Feminist Drama". Modern Drama 47, n. 3 (settembre 2004): 525–45. http://dx.doi.org/10.3138/md.47.3.525.
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Kimber, Marian Wilson. "The "Suppression" of Fanny Mendelssohn: Rethinking Feminist Biography". 19th-Century Music 26, n. 2 (2002): 113–29. http://dx.doi.org/10.1525/ncm.2002.26.2.113.
Testo completoAbstract (sommario):
The idea that Felix Mendelssohn prevented his sister, Fanny Hensel, from publishing her compositions is central to biographical representations of her, including Franççoise Tillard's Fanny Mendelssohn (1992) and Gloria Kamen's Hidden Music (1996). This story can be traced to nineteenth-century publications by male members of the Mendelssohn family and their desire to portray both siblings according to socially acceptable gender roles. Such origins challenge the assumption that the story of Fanny Hensel's "suppression" represents a modern feminist reinterpretation of her life. Instead, current treatment of Hensel relies on common biographical models for male composers; in her lack of a public career, she fits the Romantic stereotype of the neglected, suffering genius. The retelling of the "suppression" of Fanny Hensel represents a "story" in itself - a rescue plot in which modern women rediscover Hensel and somehow "save" her from historical neglect. This feminist recovery relies on the assumption that Hensel was forgotten, overlooking the numerous publications between 1830 and 1920 in which she appears. Centering Hensel's biography on her brother's influence rather than on her eventual publication of her music oversimplifies the larger historical situation for women composers, replacing the manifold issues surrounding gender and class with a single male villain. The difficulties encountered in telling the story of Hensel's life reveal a need for a feminist biography that balances an understanding of larger cultural constraints with recognition of individual female agency.
30
Baker, Oliver R. "Gorgo: Sparta’s Woman of Autonomy, Authority, and Agency". ATHENS JOURNAL OF HUMANITIES & ARTS 9, n. 2 (13 gennaio 2022): 145–58. http://dx.doi.org/10.30958/ajha.9-2-3.
Testo completoAbstract (sommario):
Claims that Herodotus reveals himself as a proto-biographer, let alone as a proto-feminist, are not yet widely accepted. To advance these claims, I have selected one remarkable woman from one side of the Greco-Persian Wars whose activities are recounted in his Histories. Critically it is to a near contemporary, Heraclitus, to whom we attribute the maxim êthos anthropôi daimôn (ἦθος ἀνθρώπῳ δαίμων) —character is human destiny. It is the truth of this maxim—which implies effective human agency—that makes Herodotus’ creation of historical narrative even possible. Herodotus is often read for his vignettes, which, without advancing the narrative, color-in the character of the individuals he depicts in his Histories. No matter, if these fall short of the cradle to grave accounts given by Plutarch, by hop-scotching through the nine books, we can assemble a partially continuous narrative, and thus through their exploits, gauge their character, permitting us to attribute both credit and moral responsibility. Arguably this implied causation demonstrates that Herodotus’ writings include much that amounts to proto-biography and in several instances—one of which is given here—proto-feminism.
31
Baker, Oliver R. "Artemisia: An Admirable Admiral [7.99.1‒3, 8.68.1− 8.69.2, 8.87.1−4, 8.88.1‒3, 8.93.2, and 8.101.1−8.103]". Athens Journal of Humanities & Arts 10, n. 1 (20 dicembre 2022): 55–72. http://dx.doi.org/10.30958/ajha.10-1-3.
Testo completoAbstract (sommario):
Claims that Herodotus reveals himself as a proto-biographer, let alone as a proto-feminist, are not yet widely accepted. To help advance these claims, I have selected one remarkable woman—Queen Artemisia of Halicarnassus—whose exploits during the second Greco-Persian War are recounted in his Histories. It is to Heraclitus—a near contemporary—to whom we attribute the maxim êthos anthropôi daimôn (ἦθος ἀνθρώπῳ δαίμων)—character is human destiny—and it is the truth of this maxim—implying effective human agency—that makes Herodotus’ creation of historical narrative possible. From his many vignettes, which, without advancing the narrative, Herodotus is able to color-in the character of some of the more notable individuals he depicts in his Histories. Although never the cradle to grave accounts typical of Plutarch, by leap-frogging through two of the nine books, we can assemble a partially continuous narrative, and thus gauge Artemisia’s character. Arguably this permits us to attribute both credit and moral responsibility. And this implied causation demonstrates that Herodotus’ writings include not only proto-biography but in several instances—one of which is given here—proto-feminism.
32
Nielson, Carmen. "A Much-Fathered Nation: Feminist Biography and Confederation Politics". Canadian Historical Review 98, n. 2 (giugno 2017): 356–74. http://dx.doi.org/10.3138/chr.98.2.nielson.
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Malmgreen, Gail, e Kathleen Barry. "Susan B. Anthony: A Biography of a Singular Feminist." American Historical Review 96, n. 4 (ottobre 1991): 1273. http://dx.doi.org/10.2307/2165179.
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34
Bassett, Mark T. "Man-Made Tales: Deconstructing Biography as a Feminist Act". a/b: Auto/Biography Studies 3, n. 3 (gennaio 1987): 46–56. http://dx.doi.org/10.1080/08989575.1987.10815445.
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35
O'Brien, Sharon. "Feminist Biography as Shaped Narrative: Telling Willa Cather's Stories". a/b: Auto/Biography Studies 8, n. 2 (gennaio 1993): 258–70. http://dx.doi.org/10.1080/08989575.1993.10846722.
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36
STANLEY, LIZ. "Moments of Writing: Is There a Feminist Auto/biography?" Gender & History 2, n. 1 (marzo 1990): 58–67. http://dx.doi.org/10.1111/j.1468-0424.1990.tb00079.x.
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37
Back, Les. "Tracks of My Tears: Smokey Robinson and the Art of Loving". Theory, Culture & Society 31, n. 7-8 (16 settembre 2014): 337–41. http://dx.doi.org/10.1177/0263276414546382.
Testo completoAbstract (sommario):
This piece written for Valentine’s Day 2014 links the love songs of Smokey Robinson with writing on romantic love from classical theorists to feminist writers like Mary Evans and bell hooks. Through a discussion of Smokey Robinson’s biography it argues that the political and affective key of his songs is similar to the arguments provided by feminist theory. It makes a case for holding to a ‘love ethic’ that is a doing, not confined to one person alone but rather circulated and routed within wider communities.
38
Seigfried, Charlene Haddock. "Introduction to Jessie Taft, “The Woman Movement from the Point of View of Social Consciousness”". Hypatia 8, n. 2 (1993): 215–18. http://dx.doi.org/10.1111/j.1527-2001.1993.tb00100.x.
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This essay introduces Jessie Taft's pragmatist feminist dissertation, which was written under the guidance of George Herbert Mead at the University of Chicago in 1913 and published in 1915. It gives a brief biography of Taft and summarizes the four chapters of her dissertation, the second of which is reprinted below.
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KALLIN, BRITTA. "Marlene Streeruwitz's Novel Nachwelt as Postmodern Feminist Biography1". German Quarterly 78, n. 3 (19 maggio 2008): 337–56. http://dx.doi.org/10.1111/j.1756-1183.2005.tb00019.x.
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Silva, Edson Santos. "Garrett pelo olhar dramatúrgico de Agustina Bessa-Luís/ Garrett for the dramaturgical look of Agustina Bessa-Luís". Revista do Centro de Estudos Portugueses 42, n. 68 (4 maggio 2023): 64. http://dx.doi.org/10.17851/2359-0076.42.68.64-80.
Testo completoAbstract (sommario):
Resumo: O objetivo deste artigo é analisar de que forma Agustina Bessa-Luís, por meio, sobretudo, de personagens femininas, apresentou uma biografia de Almeida Garrett e a conturbada história do tempo no qual o dramaturgo escreveu, o século XIX. Palavras-chave: biografia; dramaturgia; Garrett.Abstract: The purpose of this article is to analyze how Agustina Bessa-Luís, mainly through female characters, presented a biography of Garrett and the troubled history of the time in which the playwright wrote, the 19th century. Keywords: biography; dramaturgy; Garrett
41
Fisiak, Tomasz. "Feminist Auto/biography as a Means of Empowering Women: A Case Study of Sylvia Plath’s Bell Jar and Janet Frame’s Faces in the Water". Text Matters, n. 1 (23 novembre 2011): 183–97. http://dx.doi.org/10.2478/v10231-011-0014-7.
Testo completoAbstract (sommario):
Feminism, as a political, social and cultural movement, pays much attention to the importance of text. Text is the carrier of important thoughts, truths, ideas. It becomes a means of empowering women, a support in their fight for free expression, equality, intellectual emancipation. By "text" one should understand not only official documents, manifestos or articles. The term also refers to a wide range of literary products—poetry, novels, diaries. The language of literature enables female authors to omit obstacles and constraints imposed by the phallogocentric world, a world dominated by masculine propaganda. Through writing, female authors have an opportunity to liberate their creative potential and regain the territory for unlimited expression. In order to produce a truly powerful text, they resort to a variety of writing styles and techniques. Here the notions of a situated knowledge and context sensitivity prove useful. There are three methodologies working within situated knowledge, namely, the politics of location, self-reflexivity and feminist auto/biography. All of them regard text as a fundamental tool to signify one's authority, yet feminist auto/biography, a concept widely discussed by the British theorist Liz Stanley, appears to be the most empowering mode of writing. It challenges the overused genre of auto/biography and reconstructs its role within feminist epistemologies, thus creating a favourable environment for text production. The works by Sylvia Plath and Janet Frame can be analyzed from the point of view of auto/biographical empowerment, even though their auto/biographical potential is mainly instinctive. Nevertheless, they help to comprehend the strength of the auto/biographical.
The aim of this article is to "investigate" two novels by these authors, The Bell Jar by Sylvia Plath and Faces in the Water by Janet Frame, and their compatibility with Stanley's concept. The paper attempts to answer several questions. Are these novels actual feminist auto/biographies or rather fictional auto/biographies with feminist undertones? What kind of narrative strategy is used to achieve the effect of authority over the text? Last but not least, what is the function of auto/biographical narration in the case of these two novels? The article also explores the idea of writing as a means of regaining control over one's life (with references to the authors' biographies and parallels between their lives and lives of their fictive alter egos).
42
Baker, Oliver R. "Queen Atossa: Adamantine Achaemenid Apron-Strings [Hdt. 2.1.1−2, Hdt. 3.66.2, 3.88.2, 3.133−134, Hdt.7.2.1−3, and 7.3.4]s". Athens Journal of History 8, n. 4 (26 settembre 2022): 293–320. http://dx.doi.org/10.30958/ajhis.8-4-2.
Testo completoAbstract (sommario):
Claims that Herodotus reveals himself as a proto-biographer, let alone as a proto-feminist, are not yet widely accepted. To help advance these claims, I have selected one remarkable, non-Greek, barbarian woman—Queen Atossa of Persia, the daughter of Cyrus the Great, and the spouse of three Achaemenid kings—whose exploits during their reigns are recounted in his Histories. It is to Heraclitus—a near contemporary—to whom we attribute the maxim êthos anthropôi daimôn (ἦθος ἀνθρώπῳ δαίμων)—character is human destiny—and it is the truth of this maxim—implying effective human agency—that makes Herodotus’ creation of historical narrative possible. From his many vignettes, which, without advancing the narrative, Herodotus is able to color-in the character of some of the more notable individuals he identifies in his Histories. Although never the cradle to grave accounts typical of Plutarch centuries later, by leap-frogging through three of the nine books, we can assemble a partially continuous narrative, and thus gauge Atossa’s character. Arguably this lets us attribute both credit and moral responsibility. This implied causation demonstrates that Herodotus’ writings include not only proto-biography but in several instances—one of which is given here—proto-feminism.
43
Cho, Janet Eunjin. "Edibles into Scribbles: Writing Asia through Food in Virginia Woolf’s Orlando: A Biography". MFS Modern Fiction Studies 70, n. 1 (marzo 2024): 55–77. http://dx.doi.org/10.1353/mfs.2024.a921548.
Testo completoAbstract (sommario):
Abstract: This essay traces Virginia Woolf’s metaphoric and structural employment of Asian or Asiatic food in portraying race in and beyond the third chapter of Woolf’s mock-biography, Orlando . The relationship between food and feminist aesthetics in Woolf scholarship has mainly been discussed based on their prescribed meanings within Western cultural and political contexts. This essay challenges the dominant reading by analyzing how Woolf’s construction of white feminist authorship in the novel owes much to her Orientalist rendering of Asian or Asiatic food as a racial trope that heightens the visual exotica and racial arbitrariness of non-Western bodies.
44
Barada, Valerija. "Application of Feminist Standpoint Theory in Researching Female Professional Biography". Revija za sociologiju 43, n. 3 (2013): 199–222. http://dx.doi.org/10.5613/rzs.43.3.1.
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Elizabeth Lennox Keyser. "Woman in the Twentieth Century: Margaret Fuller and Feminist Biography". Biography 11, n. 4 (1988): 283–302. http://dx.doi.org/10.1353/bio.2010.0639.
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Auchmuty, Rosemary, e Erika Rackley. "Feminist Legal Biography: A Model for All Legal Life Stories". Journal of Legal History 41, n. 2 (3 maggio 2020): 186–211. http://dx.doi.org/10.1080/01440365.2020.1783604.
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Miller, Nancy K., Maxine Kumin e Diane Middlebrook. "Remembering Anne Sexton: Maxine Kumin in Conversation with Diane Middlebrook". PMLA/Publications of the Modern Language Association of America 127, n. 2 (marzo 2012): 292–300. http://dx.doi.org/10.1632/pmla.2012.127.2.292.
Testo completoAbstract (sommario):
When diane middlebrook began the research for her biography of anne sexton (1928–74), she interviewed maxine kumin twice. Kumin and Sexton had been great friends and collaborators, and Kumin wrote the introduction to Sexton's Complete Poems (1981). The excerpt below is based on Middlebrook's typed transcript of a recording of a conversation that took place in Kumin's home on 9 October 1980. I abridged the transcript and submitted it to Kumin for her approval. The ellipses are part of the transcript, but the bracketed interpolations are mine. The complete interviews Middlebrook conducted for Anne Sexton: A Biography will be deposited in the Feminist Theory Archives of the Pembroke Center at Brown University.
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Hearn, Virginia K. "Metapatriarchy: Mary Daly Re-viewed (A Response to Susan Henking)". Journal of Psychology and Theology 21, n. 3 (settembre 1993): 217–22. http://dx.doi.org/10.1177/009164719302100304.
Testo completoAbstract (sommario):
In response to Henking's (1993) synopsis of Mary Daly's works, this article re-views the work in the context of the biography provided in Daly's most recent book. Some aspects of Daly's material are better understood in the context of contemporary feminist authors. The influence Daly had on the evangelical feminist movement is also explored. Although her first book was received with appreciation, Daly's ridicule of her Christian faith in her later works resulted in evangelical readers backing away. Her insistence upon revising language (ReNaming) limited her communication with people not allied with her view. However, though she may not have planted the seeds of feminism, Daly eventually watered them with her anger.
49
Nadana-Sokołowska, Katarzyna. "Queerowa biografia autorki Lata leśnych ludzi, czyli lata (leśnych) kobiet". Białostockie Studia Literaturoznawcze, n. 23 (2023): 125–38. http://dx.doi.org/10.15290/bsl.2023.23.08.
Testo completoAbstract (sommario):
This article reviews Emilia Padoł’s biography of Maria Rodziewiczówna (Rodziewiczówna. Gorąca dusza, Krakow 2023) in the broader context of other Polish life writings that can be described as both biographies of creative women and lesbian biographies, as well as biographies of couples (in particular Karolina Dzimira-Zarzycka’s biography of Maria Dulębianka, published in 2022). The author discusses Padoł’s treatment of gender and sexual identity in her book, contrasting it with Dzimira-Zarzycka’s approach, which she finds more sensitive to the contexts of the era and not projecting contemporary LGBTQ+ categories onto Dulębianka to such an extent. The article presents the so-called “Boston marriage” as an important theme of both biographies (even if Padoł does not refer to this concept). It also presents the effects of the feminist revision to which Padoł subjects Rodziewiczówna’s work.
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Huebner, Karla. "In Pursuit of Toyen: Feminist Biography in an Art-Historical Context". Journal of Women's History 25, n. 1 (2013): 14–36. http://dx.doi.org/10.1353/jowh.2013.0011.
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