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Kačkutė, Eglė. "Women’s Identities in Contemporary British and French Women’s Writing". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110525_110752-56993.
Pełny tekst źródłaDisertacijoje siekiama atskleisti, kaip moterų tapatumo problema naujausioje prancūzų ir britų moterų literatūroje pakito nuo antrosios feminizmo bangos laikų, kai moterų literatūroje ji buvo tapati lyties tapatumui, o moters tapatumas vaizduojamas kaip diskriminuojamas, svetimas, kitas vyrų pasaulyje. Lyties tapatumas šiuolaikinėje moterų kūryboje išsirutuliojo į sudėtingą ir platų tapatumų tinklą. Disertacijoje nagrinėjami įvairūs tapatumo aspektai ir jų raiška keturių šiuolaikinių rašytojų – prancūzių Marie NDiaye ir Marie Darrieussecq bei bričių velsietės Trezzos Azzopardi ir škotės Alison Louise Kennedy (pasirašinėjančios A. L. Kennedy) – kūryboje. Per minėtų autorių kūrybą aptariami XX–XXI amžių sandūros britų ir prancūzų moterų literatūroje aktualizuojami tapatumo aspektai ir jų konstravimo principai. Daromos išvados, kad šiuolaikinių rašytojų nebeslegia lyties identifikacijos, joms rūpi aktualizuoti ne vieną, bet daugelį tapatumo aspektų, kurie vis dėlto dažniausiai yra diskriminuojami. Vyraujantis mąstymo apie tapatumą būdas Azzopardi, NDiaye, Kennedy ir Darrieussecq kūryboje yra kito neišvengiamumo deklaravimas. Tai simbolizuoja visavertį moterų rašytojų dalyvavimą diskursyvinėje erdvėje, tai, kad kūrybą jos suvokia ne kaip kito dominuojamą erdvę, bet kaip areną, kurioje jų talentas, jų kūrybinė savastis gali skleistis ir skleidžiasi per santykį su kitu, kitais, jų tekstais, kūrybiniais ir meniniais ieškojimais.
Al-Ramadan, Raidah I. "ARAB WOMEN’S REPRESENTATION IN ARAB WOMEN’S WRITING AND THEIR TRANSLATION". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501154806668996.
Pełny tekst źródłaMacDonald, Sarah Nicole. "WORKING WOMEN’S LIFE WRITING AND AUTHORIAL COMPETENCY". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1511353472506823.
Pełny tekst źródłaŽemaitytė, Erika. "The Image of Writing Women: the Comparative Aspect on Women’s Literature in English". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092347-18443.
Pełny tekst źródłaTyrimo tikslas yra atskleisti rašytojų moterų įvaizdį Candacės Bushnell ir Helenos Fielding romanuose ir palyginti jį su Virginijos Woolf pateiktu rašytojų moterų įvaizdžiu esė Savas Kambarys.Postfeministinė literatūros kritika taikyta siekiant apibūdinti moterų rašytojų situaciją dvidešimto amžiaus pradžioje. Feminizmo teorija naudota pabrėžti feminizmo kaip politinio judėjimo svarbą rašytojoms ir įvertinti moterų rašytojų įvaizdžius literatūros kūriniuose.Galima teigti, kad dvidešimtojo amžiaus pradžioje moterys rašytojos rašė literatūrinius kūrinius norėdamos skleisti švietimą tarp skaitytojų bei tuo pačiu praturtėti.
McDaniel, Jamie Lynn. "Trespassing Women: Representations of Property and Identity in British Women’s Writing 1925 – 2005". Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1278650822.
Pełny tekst źródłaSlivka, Jennifer A. "Strangers at Home: Threshold Identities in Contemporary Irish Women’s Writing". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/534.
Pełny tekst źródłaSmit, Lizelle. "Narrating (her)story : South African women’s life writing (1854-1948)". Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97034.
Pełny tekst źródłaENGLISH ABSTRACT: Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness.
AFRIKAANSE OPSOMMING: In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie selfvoorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig. Ek verwys deurlopend na voorbeelde van ander gemarginaliseerde Suid-Afrikaanse vroulike ego-tekse om aan te dui dat daar weliswaar ‘n magdom ‘vergete’ en ‘stof-bedekte’ vrouetekste geskryf is in die afgebakende periode. Ek voor aan dat die ‘stem’ van die vroulike ‘ek’ allermins stagneer het, en dat verdere bestudering waarskynlik nodig is.
She, Chia-Ling. "Breaking the silence : nationalism and feminism in contemporary Egyptian women’s writing". Thesis, University of Leicester, 2012. http://hdl.handle.net/2381/10945.
Pełny tekst źródłaSeran, Justine Calypso. "Intersubjective acts and relational selves in contemporary Australian Aboriginal and Aotearoa/New Zealand Maori women's writing". Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/21999.
Pełny tekst źródłaWaddell, Katherine. "AMERICAN MNEMONIC: RACIAL IDENTITY IN WOMEN’S LIFE WRITING OF THE CIVIL WAR". UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/71.
Pełny tekst źródłaTekeli, Gokce. "WHERE WE BELONG: SPATIAL IMAGINING IN AMERICAN WOMEN’S LIFE NARRATIVES, 1859-1912". UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/86.
Pełny tekst źródłaBleizgienė, Ramunė. "Female Identity Problem in Lithuanian Women’s Creative Writing in the Late 19th – Early 20th Century". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090917_095559-56463.
Pełny tekst źródłaRamunės Bleizgienės disertacijoje „Moters tapatybės problema XIX a. pabaigos–XX a. pradžios moterų kūryboje“ tapatumas nagrinėjamas kaip abipusės asmens ir sociokultūrinio konteksto sąveikos rezultatas, klausiant, kaip vykęs modernios lietuviškos visuomenės kūrimasis veikė moters tapatumo formas. Remiantis keleriopa metodologine perspektyva, moterų tapatybės kaita pristatoma kaip neatsiejama moterų tapimo viešais asmenimis proceso dalis. Analizuojant Žemaitės, Gabrielės Petkevičaitės-Bitės, Šatrijos Raganos, Onos Pleirytės-Puidienės Vaidilutės ir Sofijos Kymantaitės-Čiurlionienės kūrybą siekiama išsiaiškinti, kaip rašydamos moterys įsteigia ir įtvirtina save kaip kalbantįjį viešumos subjektą. Nuodugniai nagrinėjant moterų kūrinius, daugiausia – pirminius variantus, dienoraščius, laiškus, atsiminimus, stebima, kaip rašančiosios patyrė savąjį socialumą, ryškinama, kaip moterų savivoka buvo veikiama sociokultūrinių asmens / moters apibrėžčių. Moters tapatybės struktūriniai pokyčiai tyrinėjami sutankintame sociokultūriniame kontekste, apžvelgiant ir pristatant daugybę viešojoje erdvėje cirkuliavusių moterų tekstų, padedančių įsivaizduoti vykusio proceso daugialypiškumą ir kompleksiškumą. Disertacijoje pristatoma nemažai XIX a. pabaigos–XX a. pradžios moterų publicistikos ir grožinės kūrybos tekstų, kurie iki šiol nebuvo patekę į tyrinėjimų akiratį.
Greene, Cantice G. "Writing and Wellness, Emotion and Women: Highlighting the Contemporary Uses of Expressive Writing in the Service of Students". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_diss/63.
Pełny tekst źródłaStanford, Roslyn, i res cand@acu edu au. "Righting Women’s Writing: A re-examination of the journey toward literary success by late Eighteenth-Century and early Nineteenth-century women writers". Australian Catholic University. School of Arts and Sciences, 2002. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp25.09042006.
Pełny tekst źródłaVisser, Liezel. "The contextual compass : a literary-historical study of three British women’s travel writing on Africa, 1797 – 1934". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2673.
Pełny tekst źródłaENGLISH ABSTRACT: Texts by women travellers describing their journeys date back almost as far as those produced by their male counterparts, yet women’s travel writing has only become an area of academic interest during the past ten to fifteen years. Previously, women’s travel writing was mostly read for its entertainment value rather than its academic merit and – as Sara Mills notes in her Discourses of Difference – appeared almost exclusively in the form of coffee table books or biographies offering romanticized accounts of heroic, eccentric women who undertook epic journeys to Africa (4). The growing interest in women’s travel writing as part of colonial discourse coincides with the emergence of gender studies and related subjects. The emergence of these areas of academic enquiry can be attributed to the systematic dismantling of the patriarchal structures, which previously dominated social and academic domains. The aim of this study is to examine European women’s travel writing as a subversive discourse which, while sharing some characteristics with traditional male-produced travel texts from the colonial era, was informed by the discursive constraints of femininity. These texts thus differ from male-produced texts in the sense that, because of the different discursive constraints informing women’s travel writing, they offer commentary on aspects of Africa and its peoples which men had omitted in their travel accounts. Three specific texts by British women who recorded their travels in Africa form the basis of the discussion in this dissertation: the travel writing of Lady Anne Barnard (South African Cape Colony, 1797 – 1801), Mary Kingsley (West Africa: Gabon and the Congo, 1896 – 1900) and Barbara Greene (Liberia, 1935). Since, as Mills argues, “feminist textual theory has restricted itself to the analysis of literary texts and has been concerned with analysis of the text itself” (12), which limits the extent to which one can provide interesting, discerning, and relevant comment on women’s writing, the readings of these texts are not limited to feminist theory of women’s travel writing. Social expectations until as recently as the early twentieth century located women firmly in the domestic sphere. It was almost unthinkable for women to undertake travels other than the traditional Grand Tour. To attempt to venture into the predominantly male territory of travel writing was to expose oneself to harsh criticism and to risk being labelled as eccentric and unfeminine. Thus women had to find a way of making both their travels and writing seem acceptable by social standards, while still presenting as true as possible a picture of Africa in their writing. These constraints of the discourse of femininity on their texts necessarily make women’s writing seem concerned almost exclusively with matters of feminine interest. Mills attributes this to women travel writers’ “problematic status, caught between the conflicting demands of the discourse of femininity and that of imperialism.” (Mills, Discourses of Difference 22)
AFRIKAANSE OPSOMMING: Reisbeskrywings deur vroue dateer byna so ver terug as dié wat deur mans geskryf is. Tog het vroue se reisbeskrywings eers in die afgelope tien tot vyftien jaar akademiese belangstelling begin ontlok. Voorheen is vroue se reisbeskrywings meestal vir vermaak eerder as akademiese meriete gelees, en – soos Sara Mills in haar Discourses of Difference opmerk – het dit byna uitsluitlik verskyn as koffietafelboeke of verromantiseerde biografieë van heldhaftige, sonderlinge vroue wat epiese reise na Afrika onderneem het (4). Die toenemende belangstelling in vroue se reisbeskrywings as deel van koloniale diskoers val saam met die verskyning van gender-studies en verwante vakgebiede. Die ontstaan van hierdie akademiese vakgebiede kan toegeskryf word aan die stelselmatige aftakeling van die paternalistiese strukture wat sosiale en akademiese arenas voorheen oorheers het. Die doel van hierdie studie is om Europese vroue se reisbeskrywings te ondersoek as ‘n ondermynende diskoers wat, hoewel dit sekere eienskappe van tradisionele reisbeskrywings deur manlike skrywers uit die koloniale tydperk toon, gegrond is in die beperkende diskoers van vroulikheid. Hierdie tekste verskil dus van tekste deur manlike skrywers in die opsig dat dit, as gevolg van die verskillende diskoersbeperkinge waarin dit gegrond is, kommentaar lewer op aspekte van Afrika en sy bevolking wat mans in hul reisbeskrywings uitgelaat het. Drie spesifieke tekste deur Britse vroue wat hul reise beskryf het vorm die grondslag van hierdie verhandeling; dit is die reisbeskrywings van Lady Anne Barnard (Suid-Afrikaanse Kaapkolonie, 1797 – 1801), Mary Kingsley (Wes- Afrika: Gaboen en die Kongo, 1896 – 1900) en Barbara Greene (Liberië, 1935). Mills voer aan: “Feminist textual theory has restricted itself to the analysis of literary texts and has been concerned with analysis of the text itself” (12). Dít beperk die mate waartoe interessante, skerpsinnige en toepaslike kommentaar oor vroue se reisbeskrywings gelewer kan word; dus is die interpretasie van hierdie tekste nie beperk tot feministiese teorie met betrekking tot vrouereisbeskrywings nie. Tot so onlangs as die vroeë twintigste eeu het die samelewing se verwagtinge vroue streng tot die huishoudelike sfeer beperk. Afgesien van die tradisionele Grand Tour was dit bykans ondenkbaar vir vroue om te reis. As ‘n vrou inbreuk sou probeer maak op die tradisioneel manlike gebied van die skryfkuns sou sy haarself blootstel aan skerp kritiek en onwenslike etikettering as eksentriek en onvroulik. Dus moes vroue ‘n manier vind om sowel hul reise as hul skryfwerk sosiaal aanvaarbaar te maak en terselfdertyd so ‘n egte beeld as moontlik van Afrika te skets in hul skryfwerk. Die beperkinge wat die diskoers van vroulikheid op hul tekste plaas, lei noodwendig daartoe dat vroue se skryfwerk as byna geheel en al beperk tot sake van vroulike belang voorkom. Mills skryf dít toe aan vroue-reisbeskrywers se “problematic status, caught between the conflicting demands of the discourse of femininity and that of imperialism.” (Mills, Discourses of Difference 22)
Arsenault, Kaitlyn. "“In Specie”: Educational Advocacy, the Material Book, and Female Intellectual Communities in Seventeenth-Century British Women’s Writing". Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41973.
Pełny tekst źródłaNaghib, Saghar L. "The Afghan Women’s Writing Project: A Critical Discourse Analysis of Poetry and Narrative as Conflict Resolution Tools". Diss., NSUWorks, 2018. https://nsuworks.nova.edu/shss_dcar_etd/93.
Pełny tekst źródłaMontan~ez, Morillo Mari´a Soledad. "Creation and marginalisation in women’s writing in mid-twentieth-century Uruguay : the case of Concepción Silva Bélinzon’s poetry". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3098.
Pełny tekst źródłaBernstein, Sarah. "Social-scientific imagination : the politics of welfare in fiction by women, 1949-1979". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23493.
Pełny tekst źródłaMpoke-Bigg, Amba. "Leadership, Voice, and Visibility Strengthening African women’s voice and representation: A case study of the African Women Development Fund’s social justice writing workshop for women writers". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21974.
Pełny tekst źródłaSerraf, Lola. "Writing the ‘People’s War’. Evaluating the myth of the blitz in british women’s fiction of the second World War". Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664058.
Pełny tekst źródłaIn popular memory, civilians’ morale during the Blitz remained high, war production was little affected by the bombings and the will to fight the Nazis was stronger than ever in a classless, fraternal society. The ‘People’s War’ turned civilians into extraordinary heroes in their ordinary city life, as this new kind of ‘total war’ was fought equally as hard on the ‘frontline’ as on the ‘home front’. However, since the late 1980s, historians have started to question this seemingly idealised vision of the determined, invincible spirit of the Blitzed population. In The Myth of the Blitz, Angus Calder argues that the image of a nation united in adversity and resisting hardship was almost entirely constructed by the political propaganda of the 1940s. He believes it necessary to critically rethink the collective memory of the Blitz, stating that it has been ignoring ‘how frightening and confusing the period [...] was for the British people’ since ‘the Myth stands in our way’ (1991, p. 18). Taking as a point of departure Calder’s chapter ‘Formulations of Feeling’, the main objective of my thesis is to oppose the historian’s idea that writers during the Second World War had a very limited ability to produce work that stood outside the People’s War rhetoric. Calder explains that although ‘the writer […] is in a position to defy the myth’s status as an adequate and convincing account of human feeling and behaviour’, unfortunately only few ‘work outside the myth’s paradigm’ (1991, pp. 143-144). Whilst it is true that literature ‘was conscripted into the war effort’ by a government that ‘enshrined [it] as a democratic principle’ (Hartley, 1997, pp. 6-7), I believe too reductive Angus Calder and Mark Rawlinson’s argument according to which ‘the character of wartime writing was strongly determined by its relations to the discourses with which, in the broadest sense, Britain’s war effort was administered’ (Rawlinson, 2000, p. 205). I contend that it is unwise to consider that authors writing in a time of overwhelming social and cultural propaganda could not critically reflect on their surroundings and solely contributed to a literature that aimed to form a coherent defence of war. This thesis is therefore one of the first pieces of research to take Angus Calder’s theoretical framework of the ‘myth of the Blitz’ as the main point of reference to discuss lesser known women’s texts of the 1940s. In his study, Calder deconstructs the ‘myth’ by confronting it with historical facts. In my thesis, I follow the same method by comparing specific values of the ‘People’s WaR4 rhetoric against the literary production of women writers. I have selected three main aspects of Calder’s work crucial to his definition of the constructed and superficial rhetoric of the ‘Blitz Spirit’: ‘class’, ‘patriotism’, and the more abstract ‘representation of the hurt body’. I analyse several novels by different authors in three separate chapters dedicated to each theme. Through the close reading of the nine texts I focus on, my aim is to shed light on forgotten authors who produced works that present us with a vision of the war that questions, and even challenged the propaganda setting they were written in. My main objective is to help place women writers in a category of valuable, talented and recognised war writers by highlighting their ability to maintain their individuality and capacity to criticise even when surrounded with Churchill’s very forceful propaganda.
Balsawer, Veena. "Auto/ethnographical Métissage of Ho[me] Stories in the Hyphens: A Living Pedagogy of Indo-Canadian Women’s Be/coming and Be/longing". Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36851.
Pełny tekst źródłaMurray, Peta. "Things that fall over : Women's playwriting, poetics and the (anti-)musical". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53579/1/Peta_Murray_Thesis.pdf.
Pełny tekst źródłaNg, Po-chu, i 伍寶珠. "Writing about women and women's writing". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.
Pełny tekst źródłaRoundtree, Sherita Vaungh. "Pedagogies of Noise: Black Women’s Teaching Efficacy and Pedagogical Approaches in Composition Classrooms". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557207486934335.
Pełny tekst źródłaStohler, Ursula [Verfasser], i Emily [Übersetzer] Lygo. "Disrupted Idylls : Nature, Equality, and the Feminine in Sentimentalist Russian Women’s Writing (Mariia Pospelova, Mariia Bolotnikova, and Anna Naumova) – With translations by Emily Lygo / Ursula Stohler". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1165487217/34.
Pełny tekst źródłaCrabb, Dawn Nora. "Navigating the Wreck: Writing women’s experience of the Japanese Occupation of Singapore. Salvaged from the Wreck: A novel -and- Diving into the Wreck: A critical essay". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2416.
Pełny tekst źródłaStotesbury, John A. "Apartheid, liberalism and romance : a critical investigation of the writing of Joy Packer /". Doctoral thesis, Umeå (Sweden) : Umeå university, 1996. http://catalogue.bnf.fr/ark:/12148/cb36972376r.
Pełny tekst źródłaFleitz, Elizabeth J. "The multimodal kitchen cookbooks as women's rhetorical practice /". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1240934967.
Pełny tekst źródłaSouza, Natália Salomé de. "A escrita feminina na lírica de Maria Teresa Horta". Universidade Federal de Mato Grosso, 2015. http://ri.ufmt.br/handle/1/202.
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Na busca de uma escrita que falasse do corpo feminino pela própria mulher, encontrei a lírica de Maria Teresa Horta. Em seus poemas, a eu-lírica dá voz a um corpo, de forma a desamarrá-lo de um jugo patriarcal. Há, portanto, uma voz e uma escrita feminina que partem de uma imanência, analisadas, a princípio, a partir de um movimento interior que nos responderá perguntas essenciais, tais como: o que torna esta escrita verdadeiramente feminina? Em quais aspectos ela diverge de uma escrita masculina? Esta escrita é uma manifestação biológica ou seu conceito não se funda nesta perspectiva? Na concepção de Hélène Cixous e Luce Irigaray, teóricas do feminismo da diferença, há um ser mulher que foi constantemente apagado pela lei do pai e do logos, portanto a escrita e a fala feminina precisariam subverter o falogocentrismo e deixarem-se fluir através do próprio corpo feminino. Seria a retomada da linguagem semiótica de Kristeva, essencialmente feminina e circular, que não se prende na denominação e estaticidade do nome. Numa linguagem poética e erótica, encontramos esta fala do corpo que em si ultrapassa uma ordem imposta à sociedade, e isto nos leva ao segundo movimento – um movimento exterior. As implicações de uma retomada do corpo feminino pelas mulheres fora da soberania patriarcal levariam a uma mudança completa da sociedade, em que homens e mulheres não ocupariam espaços verticais; antes disso, suas posições sociais dar-se-iam num eixo horizontal em que não haveria hierarquia, logo as mulheres não seriam subalternas aos homens e vice-versa. Haveria respeito mútuo dentro da diferença e politicamente a diferença de gênero não seria motivo de discriminação e subalternidade. A poesia representa, portanto, a possibilidade de subversão da ordem patriarcal, da ordem do falo, desde que, quando produzida por mulheres, seja uma escrita do corpo feminino, uma escrita feminina que se diz a partir da voz de uma eu-lírica. Da mesma forma que do devir mulher surge uma lírica feminina, emerge também a ginocrítica – teoria literária que marca uma tradição feminina nos estudos da literatura que rejeita a crítica tradicional.
In the search for writings by women that talked about the female body I found Maria Teresa Horta’s lyric. In her poems, the eu-lírica gives voice to a body as a way to untie it from the patriarchal domain. Thus, there is a woman’s voice and a woman’s writing that derive from an immanence. They are analyzed, at first, from an internal movement that will answer some essential questions, such as: what makes this writing truly feminine? In what aspects is it different from a masculine one? Is it a biological manifestation or is this concept not founded in such perspective? According to the ideas of Hélène Cixous and Luce Irigaray, theoreticians of the difference feminism, there is a ‘woman being’ that has constantly been erased by the “father”’s and the logos’s laws, therefore women’s writing and speech need to subvert phallogocentrism and let themselves flow through female body. It would be the return of the semiotic language of Kristeva, essentially feminine and circular, which is not tied to the denomination and immobility of the name. In a poetic and erotic language, we find this speech of the body that surpasses an imposed social order, thus leading us to a second movement – an external one. The implications of a recovery of the female body by women outside the patriarchal sovereign would lead to a complete change in society, in which men and women would not occupy vertical spaces; on the contrary, their social positions would be established in a horizontal axis with no hierarchy, so women would not be subordinated to men and vice-versa. There would be mutual respect inside the difference. Politically, gender difference would not be a reason for discrimination and subordination. Hence, poetry represents the possibility of subversion of the patriarchal order from the phallus, as long as, when produced by women, it is the writing of a female body, a woman’s writing that voices the eu-lírica. From the becoming of a woman, women’s lyrics is born. Similarly, there comes gynocritics– a literary theory that marks a women’s tradition in the literary studies that rejects traditional criticism.
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Pełny tekst źródła« Tell women, words and writings of women in the 21st century in the Maghreb countries: Algeria, Morocco and Tunisia ». Our reflection shows how women’s words about women go beyond the normative, phallocratic and sexist order to announce new relationships between the feminine and the masculine. Through the study of the discourse and the image of female characters, we show in this work how the standards incorporated by contemporary Maghreb societies, still install women under duress and give birth to individuals in semi-freedom and particularly “worried”
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Pełny tekst źródłaPopular literature is considered to be the most widely read genre in France and Iran. Pirzad and Gavalda are among the most read and translated contemporary writers. These authors belong to two very different worlds and cultures yet they managed to satisfy their foreign readers. Pirzad and Gavalda, like many other contemporary writers, place the character at the center of interests of their stories. They stage characters that are probable and representative of each individual of the society where they live. The protagonists of their novels are mostly women. Their status, characteristics and roles, as well as their inner worlds are developed and deepened over the course of history, in a simple and often dialogical style. The character is highlighted and the novel exists only through him. The ambition of these two novelists is also to give an outline of the social reality of their time. Although they write in the context of two different social and cultural conditions, the two authors represent the same concerns in their writings. Human relations, the woman and her situation in modern society and confrontation of man and woman constitute the essence of their stories. The contemporary feminine figure that Pirzad et Gavalda try to portray in the reader does not always conform to the stereotypical images of Eastern or Western women. Men also take on extraordinary dimension. The reader, sometimes surprised, sometimes satisfied, is constantly urged to renew the image of the woman
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Pełny tekst źródłaTwilight by Stephenie Meyer and The Hunger Games by Suzanne Collins are two of the bestselling series of our generation. These series are meeting widespread popularity just as the contemporary feminist debate of: "Can women have it all?" is occurring around the country. Although Twilight and The Hunger Games are not considered overtly feminist texts, they have emerged in a time when women are reexamining the possibility of empowering themselves both in the public and the domestic sphere. Meyer and Collins have introduced female protagonists that deal with precisely this issue.
First, I will be outlining why cultural studies are important to discussions of popular literature, as argued by both Jane Tompkins and Cathy N. Davidson, especially in terms of female readers and writers. I will also be exploring the bestselling works of Louisa May Alcott's Little Women and Jacqueline Susann's Valley of the Dolls which emerged during the first and second waves of feminism and how they expressed a hesitation to give women a happy ending outside domesticity within their respective historical contexts. Next, I will review the current "lean in" culture of the third wave of feminism. I will also show how both Twilight and The Hunger Games continue the pattern of female protagonists that cannot be empowered unless they are wives and mothers. Finally, I will analyze how my own creative writing has been affected by cultural debates involving women's roles. Popular women's writing that emerges in the context of major feminist moments in American history shows ambivalence towards empowering women outside the home. This ambivalence is also reflected in my own writing through poetry. By first examining the work of best-selling women writers in the last two centuries and then analyzing my own writing in concurrence with the evolution of feminist ideals, I will show that women writers display a hesitant feminism despite emerging alongside progressive cultural moments in American history.
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