Artykuły w czasopismach na temat „Women authors - british - literary criticism”
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1
Lehmann, Caitlyn. "Libertine Intrigues: Opera Girls in Eighteenth-Century British Discourse". Dance Research 37, nr 2 (listopad 2019): 239–56. http://dx.doi.org/10.3366/drs.2019.0275.
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Throughout the eighteenth century, scandalous literature perpetuated a strongly male-gendered image of dance spectatorship through its preoccupation with the moral and sexual status of female ballet dancers. The frequency with which authors of scandal sheets, novels, satire and political criticism alluded to liaisons involving elite men and dancers was, in part, a reflection of the period's broader fascination with the status of women on the stage. However, this active preoccupation with the sexuality of dancers was also allied to an interrogation of aristocratic and moral codes in Britain and France, and was used to instantiate a performative ideal of elite masculinity. This article focuses on the recurring figure of the opera girl, whose pursuit by aristocratic libertines aroused the contempt, curiosity and envy of readers. Incorporating a critique of extant dance criticism, the article explores the interpretative dilemmas that the opera girl's sensational sexuality has traditionally posed for dance scholarship on account of the tendency for the opera girl's attributes to be mapped onto representations of real-life dancers. Sampling sources as diverse as fashionable periodicals, works of history, sentimental novels and prostitute narratives, this article introduces the singular typology and rhetorical functions of the opera girl that distinguish her as a literary type. In the process, a more nuanced reading of opera girls is offered, one that stresses how opera girls refract the debates and anxieties of the period.
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Zou, Yejun. "Female Solidarity as Hope: A Re-Examination of Socialist Feminism in the Literary Works of Ding Ling and Christa Wolf". British Journal of Chinese Studies 9, nr 1 (4.04.2019): 85–116. http://dx.doi.org/10.51661/bjocs.v9i1.27.
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Recent scholarship has questioned the validity of Western feminism as a model for feminist movements in contemporary China and highlights a gap in the scholarly understanding of the tradition and trajectory of socialist feminism in China (Song, 2012; Wang, 2017). In this article, I will examine the practicality of socialist feminism as an alternative model for contemporary Chinese feminism by comparing the depiction of women in the literary works of the Chinese writer Ding Ling and the East German author Christa Wolf. In Ding Ling’s novel In the Hospital, she strives for gender equality via collaborative work between men and women, while incorporating this feminist task into the agenda of socialist revolution. Christa Wolf’s novel The Quest for Christa T., in contrast, explores female friendship as a means of overcoming stagnation and cynicism in the GDR. I ask how both authors articulate their concerns and criticism of inadequate gender practices in socialist states through the lens of women’s perspectives. This article thereby offers an insight into the way their writings negotiate women’s concern with the official narrative of life in socialist states and the extent to which these texts illuminate alternative Chinese feminist approaches in a contemporary context.
At time of publication, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.
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Gavristova, Tatiana M., Natalya A. Zakharova i Nadezhda E. Khokholkova. "Bernadine Evaristo: Horizons of Identity". Observatory of Culture 19, nr 2 (13.04.2022): 202–11. http://dx.doi.org/10.25281/2072-3156-2022-19-2-202-211.
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The article is dedicated to the one of the most famous Afro-British writers — Bernardine Evaristo. In 2021, her book “Girl, Woman, Other” was translated and published in the Russian language. Earlier (in 2019), it had become a winner of the Booker Prize. The authors of the article focus on the problems that primarily concern the writer herself. These include feminism and gender equality, professional motivation and the texture of success, crisis and the search for identity, otherness and dissent, cross-cultural dialogue and existence on the verge of tradition, as well as the theme of the House (with a capital letter), within which, ideally, it is quite possible for representatives of different races, ethnicities and cultures to coexist.Bernardine Evaristo tried herself as an actress, screenwriter, director, radio and TV presenter and uses the experience gained in her literary works. Their genre is difficult to define. The novel “Girl, Woman, Other” is a kind of anthology of women’s experience. Foreign criticism defines it as fusion prose (a combination of the incompatible). It contains the authenticity of non-fiction and the miracles of magic, unobtrusive notes of maternal instructions and mesmerizing rhythms of blues poetry. The author avoids capital letters in her text; there are no main or secondary characters in the book. The author gives her protagonists (there are twelve of them as the number of Christian apostles) the opportunity to recognize their selfness, expand the horizons of their own identity. Together with them — her messengers — she tries to comprehend the meaning of her own existence as a woman, as a person, as another.
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Susanto, Dwi. "Pandangan Pengarang terhadap Perempuan dalam Cerpen Tahun 1950-1960-an Karya Pengarang Peranakan Tionghoa-Indonesia". Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, nr 4 (1.11.2022): 883–96. http://dx.doi.org/10.30872/diglosia.v5i4.526.
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This paper looks at the views or constructions of Chinese peranakan authors towards women in that era. Issues discussed: (1) how Peranakan authors narrate women in their works; (2) the reasons for the Chinese Peranakan authors in the 1950s-1960s to narrate women. This study uses the point of view of feminist literary criticism. The object of this research is the 1950-1960s short stories and the author's perspective on women. The data of this research is the narrative of short stories that describe the image of women, the author's social construction, and the idea of androcentrism. The data interpretation technique follows the way of feminist literary criticism. The results of the study: (1) women are presented and controlled by men and are controlled by social construction; (2) the idea of morality and the economic context becomes a construction that the author interprets through androcentrism; (3) morality is misinterpreted by male authors and women as victims who are silenced in the name of morality. It has resulted in women being unable to speak up and follow androcentrism in the name of tradition and the sacred concept of morality. Morality is misinterpreted as sexuality and borne by women.
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Du Plessis, J. W., i D. H. Steenberg. "Uit die oogpunt van ’n vrou? Perspektief op feministiese literêre kritiek in die kader van die Airikaanse prosa". Literator 12, nr 3 (6.05.1991): 71–88. http://dx.doi.org/10.4102/lit.v12i3.781.
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Feminists feel that in literary criticism not enough consideration is given to feminism as an ideology in the production of texts. According to them, existing literary criticism is strongly man-centred. This is especially true of the practice of South African literary criticism. Although feminism does not have at its disposal a formulated feminist literary criticism, a great deal of research has been done in this direction abroad. This is especially the case in Europe and America. Feminist literary critics apply themselves to the representation of the woman in works by male authors and an analysis of feminine experience in the production of texts by women. This article is an exploration of the Anglo-American and French approaches in feminist literary criticism. An attempt is made to formulate the aims of a possible South African feminist literary criticism in order that not only the general norms, but also the feminist codes in the production of a text, speak towards the final interpretation of a work.
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Ramos Ramos, María Rocío. "W.F. Deacon and his Revision of Romanticism in Warreniana through Literary Parody and Advertising Campaigns to Promote Blacking". Miscelánea: A Journal of English and American Studies 65 (13.06.2022): 105–25. http://dx.doi.org/10.26754/ojs_misc/mj.20226849.
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This study aims to reassess William Frederick Deacon (1799-1845) and his work Warreniana (1824) by demonstrating that although it is a work of textual parody, its apparent triviality conceals a sophisticated exercise in literary criticism, constituting a valuable contemporary commentary on Romanticism. The collection presents a witty and sophisticated exercise in criticism of the literature and style of its period, being composed of texts attributed to a selection of Romantic authors supposedly promoting a very trivial product: Warren’s blacking (shoe polish). Deacon thus acts as another Romantic critic, albeit a more original and unconventional one. Due to space constraints, this paper will focus only on the parody of the poetic style of British romantic authors. The parody of their journal style will be analysed in another article.
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Nikčević-Batrićević, Aleksandra, i Miloš D. Đurić. "Coping With Canon/Canons: Women Poets and the Literary Context". Armenian Folia Anglistika 11, nr 1 (13) (15.04.2015): 135–46. http://dx.doi.org/10.46991/afa/2015.11.1.135.
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The aim of this paper is to revisit literary canon, focusing on some of the most relevant texts and books that have been published within the corpus of Anglo-American studies. Then our attention is shifted to the works of American women authors and their views on the literary canon. Different generations of Montenegrin women poets and their reflections on their status in the literary canon, as well as on the advantages of applying feminist literary theory and criticism in improving their position in the aforementioned literary tradition have also been discussed.
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Rusli, Herman, Maya Safhida, Nira Erdiana i Wildan Wildan. "Indonesian Female Writers’ Perspective Toward Acehnese Women: A Gynocritic Study". Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 12, nr 1 (30.06.2022): 148. http://dx.doi.org/10.26714/lensa.12.1.2022.148-165.
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This article is a study of the thoughts of Indonesian female writers towards Acehnese women as reflected in the literary works they produce. The objects used are the novel Perempuan Keumala by Endang Moerdopo (2008) and the novel Seulusoh by D. Kemalawati (2006). These two manuscripts were chosen because the background story used is about Aceh, the characters in the novel are Acehnese women. So far, it is difficult to find female Indonesian writers who highlight the social life of the female Acehnese in their stories. Thus, this study can be used as the basis for literary criticism in the field of Acehnese gynocritic feminism. This study uses a qualitative approach with descriptive text analysis. The theory that is used as the rationale for this study is Showalter's gynocritic literary criticism (1981 and 2000), which is now as a theory of contemporary literary criticism. The results of the analysis reflect the thoughts of Acehnese women writers on the figures of Acehnese women and Acehnese women in the view of women authors outside Aceh. The focus of the analysis includes (1) female biological elements; (2) female psychological elements; (3) female language; and (4) female culture. The results of the study show that Acehnese women in Acehnese women's literary works tend to appear as feminine figures, but are also brave, responsible, and have high social sensitivity. As for Acehnese women, in the eyes of women outside Aceh, they are described as brave, hard, responsible, and have a heroic spirit.
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Arimbi, Diah Ariani. "Finding Feminist Literary Reading: Portrayals Of Women In The 1920s Indonesian Literary Writings". ATAVISME 17, nr 2 (29.12.2014): 148. http://dx.doi.org/10.24257/atavisme.v17i2.5.148-162.
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Abstract:
Modern Indonesian literature can be said to be born around 1920s with the publication of modern Indonesian literary works by Balai Pustaka. Amongst the works published by Balai Pustaka in the 1920s ; there are most popular works namely Sitti Nurbaya (1922) ; Azab dan Sengsara(1927) and Salah Asuhan (1928) representing the tone of 1920s literary productions. This paper aims to look at images of women in those three works written by male authors ; using feminist literary criticism. By means of close reading technique; the study uses feminist literary criticism to examine and (re)examine the images of women portrayed in those three works. The finding shows that on one hand some women are still trapped with the shackle of patriarchy, but, on the other hand, some women are not simply passive victims of patriarchy: these women still attempt to escape from the patriarchal chain and cut out the patriarchal oppression.
Key Words: modern Indonesian literature; 1920s; Balai Pustaka; women; feminist literary criticism
Abstrak:
Sastra Indonesia modern dapat dikatakan lahir sekitar tahun1920-an dengan publikasi karya sastra Indonesia modern oleh Balai Pustaka. Di antara karya yang diterbitkan oleh Balai Pustaka pada tahun 1920-an; terdapat karya yang paling populer seperti Sitti Nurbaya (1922); Azab dan Sengsara (1927); dan Salah Asuhan (1928) yang mewakili suara produksi sastra tahun 1920-an. Makalah ini bertujuan untuk melihat potret perempuan dalam tiga karya yang ditulis oleh penulis laki-laki dengan menggunakan pendekatan kritik sastra feminis. Melalui teknik pembacaan yang mendalam (close reading technique); penelitian ini menggunakan kritik sastra feminis untuk menelaah potret perempuan dalam tiga karya tersebut. Temuan dalam tulisan ini menunjukkan bahwa di satu sisi perempuan masih terbelenggu oleh patriarkat; tetapi di sisi lain perempuan bukanlah korban patriarkat yang pasif: perempuan tetap berupaya untuk keluar dari belenggu ini dan memutus rantai penindasan patriarkat melalui kebebasan dan otonomi personal.
Kata-Kata Kunci: sastra Indonesia modern; tahun 1920-an; Balai Pustaka; perempuan; kritiksastra feminis
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Berensmeyer, Ingo. "Authors of Slender Means? Female Authorship in Mid-Twentieth-Century British Fiction". Zeitschrift für Anglistik und Amerikanistik 70, nr 4 (30.11.2022): 385–402. http://dx.doi.org/10.1515/zaa-2022-2073.
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Abstract This article examines women writers as characters in British novels and stories by women writers from the 1940s to the early 1960s. In works by Muriel Spark, Elizabeth Taylor, Mary Renault, and others, there is a reflection on the social and artistic positions available to female authors. Given the gender segregation of the literary field at mid-century, in which ‘womanly’ writing was associated with the commercial form of romance and ‘manly’ writing with seriousness, the predicament of female authorship is rarely explored in fiction. But when it is, fictional women authors point up the constraints and limits of a ‘feminine’ literary aesthetic in illuminating ways. The article reconstructs how mid-twentieth-century British women authors thought about the act of writing, how they viewed the fields of literary creation and production, and which narrative strategies they used to negotiate this difficult terrain.
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Zharkova, Roksolana. "Жіноче письмо, авторка, героїня в українському літературознавстві часів незалежності". Przegląd Wschodnioeuropejski 13, nr 2 (8.01.2023): 249–60. http://dx.doi.org/10.31648/pw.8462.
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The article is devoted to an analysis of women's writing in the literary theory and criticism of independent Ukraine. A general overview of the formation of feminist critique and gender approach in Ukrainian literary criticism is made based on the principles of American and French literary schools. Researchers’ concepts concerning the features of women’s writing, themes, stylistics and poetics of texts created by women are analyzed. The achievements of Ukrainian scholars in the study of women's literature, in particular, the works of modernist and postmodernist women authors, are shown. The leading research themes of the period of Independence are determined, namely: representation and reception of a woman author, features of a text written by a woman, types of heroines in modern Ukrainian women’s prose.
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Singh, Deepak Kumar. "Postcolonial Consciousness And C. D. Narasimhaiah: An Appraisal". Dialogue: A Journal Devoted to Literary Appreciation 17, nr 1-2 (18.11.2020): 57–66. http://dx.doi.org/10.30949/dajdtla.v17i1-2.6.
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C.D. Narasimhaiah, a commonwealth writer and a postcolonial theorist, has not devoted himself simply to writing theory alone. In his literary criticism are contained certain theoretical principles which will be mentioned in the course of this paper. For the present, suffice it to say that if Gayatri C Spivak and Homi K Bhabha have been responsible for postcolonial theories in the West, Narasimhaiah has been doing the very same thing in a simple, though unsophisticated fashion by writing a literary criticism with a difference. He has not rested after putting down his ideas on paper but has championed the cause of his ideas in practice, contributing to the very face of English studies in India. For about half a century, Narasimhaiah had worked with a mission that literary evaluation and criticism be fair and unbiased. He has attacked English departments of Indian universities for re-cycling second-rate British authors through Ph. D. theses.
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Dascăl, Reghina. "‘Dancing through the Minefield’: Canon Reinstatement Strategies for Women Authors". Gender Studies 14, nr 1 (1.12.2015): 48–67. http://dx.doi.org/10.1515/genst-2016-0004.
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Abstract The paper explores the limiting and detrimental effects of biographical criticism and exceptionalism in the efforts of reinstating women authors into the Renaissance canon, by looking into the literary merits of Elizabeth Cary’s The Tragedy of Mariam, The Fair Queen of Jewry and The History of The Life, Reign and Death of Edward II. Whereas the conflation of biography and fiction is a successful recipe for canonization and for the production of feminist icons, it renders the text impotent because of its resulting inability to compete with or to be seen in correlation and interplay with other contemporary texts.
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Berry-Bravo, Judy, Sandra Messinger Cypress, David R. Kohut i Rachelle Moore. "Women Authors of Modern Hispanic South America: A Bibliography of Literary Criticism and Interpretation". Chasqui 20, nr 1 (1991): 120. http://dx.doi.org/10.2307/29740333.
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Boschetto, Sandra M., Sandra Messinger Cypess, David R. Kohut i Rachelle Moore. "Women Authors of Modern Hispanic South America: A Bibliography of Literary Criticism and Interpretation". Hispania 74, nr 4 (grudzień 1991): 902. http://dx.doi.org/10.2307/343747.
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Foster, David William, Sandra Messinger Cypess, David R. Kohut, Rachelle Moore, David S. Zubatsky i Jacobo Sefamí. "Women Authors of Modern Hispanic South America: A Bibliography of Literary Criticism and Interpretation". Chasqui 22, nr 1 (1993): 87. http://dx.doi.org/10.2307/29740535.
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J, Shyamala. "Contemporary Tamil Poems: Gyno Critic Approach". International Research Journal of Tamil 4, S-14 (28.11.2022): 1–14. http://dx.doi.org/10.34256/irjt224s141.
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This article analyses the evidence on Gender – based issues in contemporary Tamil poems written by female authors. The aim of this paper is to find out female centric experience through poems by applying Gyno – Criticism. Gyno – Criticism is the branch of Feminist Literary Theory and studies. This critical term was coined by the famous critic Elaine Showalter. She analyses four theoretical models that explore these differences: Biological, Linguistical, Psychological and Cultural. This study shows that many Tamil poets (Women) represent their experiences and women issues in their work. This study also conveys resistance of social and cultural constructions which make the whole women society become a subordinate group through the attitude and life of women in their poems.
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Horváth, Györgyi. "Women Authors with/without Gender Studies: the Gendered Regimes of Authority in Hungarian Literary Criticism Today". Hungarian Cultural Studies 4 (1.01.2011): 103–13. http://dx.doi.org/10.5195/ahea.2011.36.
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While in contemporary Hungarian literature women authors are constantly emerging and make themselves much more visible than ever before, the gender bias underlying literary evaluations seem to remain nearly intact. In her study Györgyi Horváth discusses three aspects of the gendered regimes of authority in order to give deeper insights into how gender bias re-produces within the Hungarian context. First, she focuses on lists of literary prize winners and critical rankings of published works (showing how many women writers are present on such lists in absolute numbers and in what percentages, and how their numbers have changed over time). Secondly, she explores the practice of critique writing itself, by analyzing the book review pages in two literary journals between 2007 and 2009 focusing on cases when the issue of “gender” itself comes up in the rhetoric of critics trying to underpin their aesthetic judgments on a given work. And finally, she examines briefly the attitude of contemporary women writers towards Gender Studies. Horváth concludes that Gender Studies in Hungary has not contributed significantly to increasing the prestige of contemporary women writers, most of whom, in turn, do not want to be involved with Gender Studies or feminism at all. She also points out that at present in Hungary there is a general blindness in understanding how gender/power relations permeate aesthetic judgments.
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Beigi, Leila Sadegh. "Simin Daneshvar and Shahrnush Parsipur in Translation". Journal of Middle East Women's Studies 16, nr 2 (1.07.2020): 124–43. http://dx.doi.org/10.1215/15525864-8238146.
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Abstract Contemporary Iranian women writers contribute to the Iranian literary tradition by writing about women’s roles during the political upheavals leading up to and after the 1979 Revolution. In Simin Daneshvar’s Savushun and Shahrnush Parsipur’s Women without Men, the authors meticulously employ colloquial sexist diction to expose the connection between sexism and violence against women. The portrayal of such violence relies on language that illustrates the authors’ concerns and their commentary on the status of women. In this situation, literary criticism of the novels demands an approach that discusses feminism, language, and translation as interrelated. This article analyzes issues introduced in the translation of Savushun and Women without Men where translation choices have an impact on important elements of the original novels. By revealing how translation can minimize important culturally bound elements of Daneshvar’s and Parsipur’s feminist awareness and agency, it provides an example with relevance for critical translation studies.
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Abubakar, Multazam, Muthi'ah Muthi'ah i Annisa Shofa Tsuraya. "Social criticism in Oliver Goldsmith’s She Stoops to Conquer". Rainbow : Journal of Literature, Linguistics and Culture Studies 11, nr 1 (29.04.2022): 27–33. http://dx.doi.org/10.15294/rainbow.v11i1.52804.
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Exploring literary work means exploring the social condition of the place where the work created. The function of literary work is not only to amuse but also to criticize. Social criticism implies that many authors convey their view and critics toward their society using literary work. Thus, it is essential to study social criticism in particular literary works. This study is aimed at identifying the social condition of the English society when the work published and to reveal how the author presented the social criticism in his work. Library research was used in this study. The approach that applied was genetic structuralism since any attempt to evaluate a literary work should be in the light of its social context and the proper conditions under which it has been produced. Having analyzed She Stoops to Conquer, it was found that in the eighteen century the English society was to absorbed in vanity and affectation. Most people, especially women, put fashion and physical appearance at the most. The author criticized various aspects of life, including lifestyle, social class and family relationship. The author presented his social criticism through the dialogue and attitude of the characters of the play.
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SAĞLAM CAN, Esengül. "A COMPARATIVE STUDY ON KATE CHOPIN’S “A RESPECTABLE WOMAN” AND SEVGI SOYSAL’S “TANTE ROSA AFOROZ EDILIYOR”". TOBIDER - International Journal of Social Sciences 6, nr 2 (30.09.2022): 110–18. http://dx.doi.org/10.30830/tobider.sayi.11.7.
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Feminist literary criticism focuses on what women are doing in a fictional work, how they interact with men, what the moral and social codes for women are, and what the women’s role in society is. Feminist criticism provides new evaluations and historical, social, and interdisciplinary points of view to every text. It is also thought that women writers look at the world differently and create their works within a predominantly female sensibility. This study presents a comparative analysis of the themes and heroines in the short stories “A Respectable Woman”, by Kate Chopin, and “Tante Rosa Aforoz Ediliyor”, by Sevgi Soysal. Sevgi Soysal and Kate Chopin not only describe the individual feelings of women but also criticize the patriarchal structure of society in their works. By doing a feminist reading, it will be tried to understand the aims of Chopin and Soysal while describing and demolishing the cult of ideal womanhood in their writings. In this article, the woman image will be problematized in the light of feminist literary criticism, and it is examined how this image is shaped in these short stories. It is aimed to show that although the authors and short stories’ protagonists are from different eras, societies, and cultures, the reflections of politics, controlled by patriarchy, have similar characteristics.
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Harde, Roxanne. "KINDRED HANDS: LETTERS ON WRITING BY BRITISH AND AMERICAN WOMEN AUTHORS, 1865–1935". Resources for American Literary Study 31, nr 1 (1.01.2006): 373–75. http://dx.doi.org/10.2307/26367067.
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Harde, Roxanne. "KINDRED HANDS: LETTERS ON WRITING BY BRITISH AND AMERICAN WOMEN AUTHORS, 1865–1935". Resources for American Literary Study 31, nr 1 (1.01.2006): 373–75. http://dx.doi.org/10.2307/resoamerlitestud.31.2006.0373.
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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing". English Text Construction 13, nr 1 (24.07.2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.
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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.
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Johns-Putra, Adeline. "British Women Writers of the Romantic Period: An Anthology of Their Literary Criticism - Edited by Mary A. Waters". Journal for Eighteenth-Century Studies 35, nr 2 (24.05.2012): 262–63. http://dx.doi.org/10.1111/j.1754-0208.2010.00357.x.
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Nicklas, Charlotte. "‘It is the Hat that Matters the Most’: Hats, Propriety and Fashion in British Fiction, 1890–1930". Costume 51, nr 1 (marzec 2017): 78–102. http://dx.doi.org/10.3366/cost.2017.0006.
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Essential to both propriety and fashion, hats were a crucial aspect of British female dress and appearance in the late nineteenth and early twentieth centuries. This article shows how British novelists of this period, ranging from mainstream to experimental, understood this importance. With appropriate contextualization, these literary depictions can illuminate how women wore and felt about their hats. Authors such as Frances Hodgson Burnett, Dorothy Whipple and Virginia Woolf used these accessories to explore social respectability and convention, the pleasures and challenges of following fashion, and consumption strategies among women. Despite the era's significant social changes, remarkable continuity exists in these literary representations of hats.
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Booth, Alison, i Isabel Bielat. "A Mid-Range Team of Rivals: Women Novelists in the Collective Biographies of Women Database". Victorian Studies 65, nr 1 (wrzesień 2022): 17–23. http://dx.doi.org/10.2979/victorianstudies.65.1.03.
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Abstract: A collaborative, interdisciplinary study (English, history) of the authors, subjects, contents, and substance of a key early collection of criticism of women novelists, tied to the Queen’s 1897 Jubilee. Famous or obscure women novelists assess the work of deceased peers, censuring most those who are now canonical. Attending to the style and orientation of particular chapters and some research in publishing history, we suggest varied textual and quantitative approaches, drawing on our database of 1,272 collective biographies of women to explore what we can discover from one book carefully contextualized, instead of distant reading in a much larger corpus.
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Booth, Alison, i Isabel Bielat. "A Mid-Range Team of Rivals: Women Novelists in the Collective Biographies of Women Database". Victorian Studies 65, nr 1 (wrzesień 2022): 17–23. http://dx.doi.org/10.2979/vic.2022.a901281.
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Abstract: A collaborative, interdisciplinary study (English, history) of the authors, subjects, contents, and substance of a key early collection of criticism of women novelists, tied to the Queen’s 1897 Jubilee. Famous or obscure women novelists assess the work of deceased peers, censuring most those who are now canonical. Attending to the style and orientation of particular chapters and some research in publishing history, we suggest varied textual and quantitative approaches, drawing on our database of 1,272 collective biographies of women to explore what we can discover from one book carefully contextualized, instead of distant reading in a much larger corpus.
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Salper, Roberta. "Women Authors of Modern Hispanic South America. A Bibliography of Literary Criticism and Interpretation de Sandra Messinger Cypess". Revista Iberoamericana 56, nr 151 (2.06.1990): 666–67. http://dx.doi.org/10.5195/reviberoamer.1990.4766.
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Grodzka, Martyna. "Trauma I wojny światowej (shell shock) w poezji brytyjskich żołnierzy oraz w modernistycznej prozie kobiecej". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (12.12.2017): 45–54. http://dx.doi.org/10.24917/3912.
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First World War shell shock in British poetry of soldier-poets and modernist prose of women writers The purpose of the following article is to compare and contrast the literary modes of representation of the First World War shell shock in the poetry of soldier-poets and in the prose of women writers. The war trauma called “shell shock” had a profound impact on British literature and the common memory of the Great World. At the time, the poets who were soldiers expressed their traumatic experiences in their works. Meanwhile, women authors who observed veterans suffering from trauma explored the causes and effects of shell shock in their prose.Keywords: trauma; shell shock; war; soldier;
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Mulligan, Maureen. "The Representation of Francoist Spain by Two British Women Travel Writers". Studia Anglica Posnaniensia 51, nr 4 (1.12.2016): 5–27. http://dx.doi.org/10.1515/stap-2016-0017.
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Abstract This article offers a discussion of two books by British women which describe travels in Spain during the post-war period, that is, during the dictatorship of General Franco. The aim is to analyse how Spanish culture and society are represented in these texts, and to what extent the authors engage with questions of the ethics of travelling to Spain in this period. Two different forms of travel - by car, and by horse - also influence the way the travellers can connect with local people; and the individual’s interest in Spain as a historical site, or as a timeless escape from industrial northern Europe, similarly affect the focus of the accounts. The global politics of travel writing, and the distinction between colonial and cosmopolitan travel writers, are important elements in our understanding of the way a foreign culture is articulated for the home market. Women’s travel writing also has its own discursive history which we consider briefly. In conclusion, texts involve common discursive and linguistic strategies which have to negotiate the specificity of an individual’s travels in a particular time and place. The authors and books referred to are Rose Macaulay’s Fabled Shore: From the Pyrenees to Portugal (1949) and Penelope Chetwode’s Two Middle-Aged Ladies in Andalusia (1963).
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Piqué-Angordans, Jordi, i David Viera. "Women in the Crestià of Francesc Eiximenis Revisited". Medieval Encounters 12, nr 1 (2006): 97–117. http://dx.doi.org/10.1163/157006706777502514.
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AbstractNineteenth and early twentieth-century criticism oftentimes tended to lump literary works on the topic of women from the middle ages and early modern times as either essentially misogynist or feminist. Moral-didactic works that often fluctuated between antifeminist and profeminist opinion were often categorized as misogynist, akin to works such as Boccaccio's Corbaccio. This is the case of Francesc Eiximenis' Catalan literature, written for the most part in València. The authors of this study analyzed Eiximenis' views on women, for the most part taken from biblical, patristic, scholastic, and canonical sources, and found within his writings various contradictions. In this study, Eiximenis emerges as one who readily cited antifeminist literature, but who also defended women, whom he views as weaker than men, but equally if not more capable of being devout, performing good works, and most importantly, worthy of salvation.
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Hussein, Ameer. "A Study of Intertextuality in Peter Ackroyd `s Selected Novels". Kufa Journal of Arts 1, nr 55 (1.03.2023): 816–33. http://dx.doi.org/10.36317/kaj/2023/v1.i55.10738.
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The concept of intertextuality is a central notion in postmodern theory and an important model to describe the relation between literary texts. The central purpose of this paper is to scrutinize the idea of intertextuality in postmodern theory and how it is manifested by the British prolific novelist Peter Ackroyd `s selected novels. The English critic and novelist of more than a dozen of novels as well as the Booker Prize for Fiction. Ackroyd is a great example of English novelist who rewrites in his novels English literary history through using the notion of intertextuality. As a result, Ackroyd`s novels are significant of shoot of postmodern novel since they document the literary texts of earlier authors to become the subject of their plots which reflect the postmodern idea in which literary works are viewed to mirror other works . Therefore, Ackroyd`s novels can be regarded as unique versions of this trend of postmodern fiction as well as literary criticism. The concept of intertextuality becomes subject to adaptation and revision in postmodern literary theory.
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Lisowska, Katarzyna. "Women and Intertextuality: On the Example of Margaret Atwood’s The Penelopiad". Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 2, nr 1 (1.01.2014): 18–27. http://dx.doi.org/10.18778/2353-6098.2.03.
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The aim of the study is to consider feminist retellings of myths and legends. As an example, Margaret Atwood’s book The Penelopiad is analyzed. The interpretation is situated in a broader context of intertextual practices characteristic of the feminist vision of literature. I present the ideas which Atwood shares with authors engaged in women’s movement. Among these there is Atwood’s understanding of intertextuality (noticeable especially in The Penelopiad). Bibliographical basis of the study comprises books which are fundamental to feminist and gender criticism (e.g. Poetics of Gender, ed. by N. Miller, New York 1986; S. M. Gilbert, S. Gubar The Madwoman in the Attic. The Woman Writer and the Nineteenth- Century Literary Imagination, New Haven and London 1984). What is more, the study refers to the books which allow considering the notion of intertextuality (G. Allen, Intertextuality, London and New York 2010, J. Clayton. E. Rothstein (eds.), Influence and Intertextuality in Literary History, Wisconsin 1991) and connecting the interpretation with the problems crucial to contemporary literary studies (L. Hutcheon L. A Poetics of Postmodernism. History, Theory, Fiction, New York and London 1988, B. Johnson, A World of Difference, Baltimore and London 1989).
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Klepuszewski, Wojciech. "“THEY ALL KNOW WHAT I AM”: LITERARY REPRESENTATIONS OF WOMEN AND ALCOHOL". Acta Neophilologica 2, nr XX (1.12.2019): 85–88. http://dx.doi.org/10.31648/an.3638.
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Drink literature is something which has been drawing critical attention for a few decades. This is most transparent in the number of studies concerning various attempts to literarise alcohol, in whatever form or genre. What is immediately striking, though, is that most literary works fitting this thematic context are written by male writers, to mention Malcolm Lowry or Charles Jackson, and they usually feature male protagonists. Women seem to be inconspicuous here, both as authors and as literary characters, the latter usually limited to marginal figures who are victims of male drunkenness. This article targets the ‘neglected’ gender in the fictional representations of alcohol by briefly surveying the motif in the literature written on the British Isles and then focusing on two women writers, Jean Rhys and A.L. Kennedy.
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Sarip, Hasmina Domato. "The Images of Women in Selected Contemporary Short Stories by Contemporary Filipino Women Writers". International Journal of English Language Studies 3, nr 2 (27.02.2021): 111–19. http://dx.doi.org/10.32996/ijels.2021.3.2.12.
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This inquiry sought to discover the images of women as portrayed in the contemporary short stories entitled “Fallout” by Maria L.M. Fres-Felix and “Language” by Sunantha Mendoza. Feminist Literary Criticism, specifically liberal, radical, Freudian, socio-cultural, stereotypical feminist perspective were employed to critically analyze the actions and feminist perspective of the female characters. The study attempted to meet the following objectives: 1) to describe the images of women as depicted by the authors in the stories; 2) to identify the dominant devices used in the stories; and, 3) to determine the feminist themes conveyed in the stories. Through examining and analyzing the short stories, different images of women were discovered. The close textual reading resulted in the researcher’s coming up with the following findings: female characters are portrayed as involved, sophisticated, strong-minded, competitive, independent and unconventional. The dominant devices are symbols, juxtaposition, foreshadowing, imagery, idiom, metaphor, irony and figures of speech were effectively utilized in the stories to probe the images of women that are found in each story. Indeed, women will come a long way in facing the battle against patriarchal values.
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Cobo-Piñero, Rocío. "Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists". Feminismo/s, nr 40 (15.07.2022): 27. http://dx.doi.org/10.14198/fem.2022.40.02.
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The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.
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TREANOR, LUCIA. "Palindromic Structure in the “Pardoner's Tale”". Michigan Academician 41, nr 1 (1.01.2012): 53–67. http://dx.doi.org/10.7245/0026-2005-41.1.53.
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ABSTRACT This paper explains the medieval writing process known as palindromic structure, a face of anagogy that, as far as we can determine, has largely been ignored in literary criticism. It begins by examining the “little verses” of Augustine of Dacia that were a staple of schoolboy studies, and demonstrates how the verses were used to teach the creative process to students of Latin composition. Then, after introducing Mary Douglas's criteria for identifying the structure, it sets forth Chaucer's “Pardoner's Tale” as a well-balanced palindrome, arguing for authorial intentionality by referencing a section of the “Parson's Tale.” It offers John Dryden's observations about Chaucer's characters—which he has written in palindromic structure—to show that later British authors were aware of Chaucer's method, and concludes by giving evidence that Chaucer knew some Greek.
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa i Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan". Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, nr 35 (13.05.2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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Indriyanto, Kristiawan. "ARTICULATING THE MARGINALIZED VOICES: SYMBOLISM IN AFRICAN AMERICAN, HISPANIC, AND ASIAN AMERICAN LITERATURE". British (Jurnal Bahasa dan Sastra Inggris) 9, nr 2 (26.09.2020): 20. http://dx.doi.org/10.31314/british.9.2.20-36.2020.
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The present study contextualizes how symbolism is employed by writers of ethnically minority in the United States as an avenue of their agency and criticism against the dominant white perspective. The history of American minorities is marred with legacy of racial discrimination and segregation which highlights the inequality of race. Literature as a cultural production captures the experiences of the marginalized and the use of symbolism is intended to transform themes into the field of aesthetics. This study is a qualitative research which is conducted through the post-nationalist American Studies framework in order to focus on the minorities’ experience instead of the Anglo-Saxon outlook. The object of the study is three playscripts written from authors from Mexican-American, African-American and Asian-American to emphasize how discrimination is faced by multi-ethnic. The finding suggests how symbolism in these literary works intends to counter the stereotypical representation of Mexican-American, aligns with the passive resistance of the Civil Right Movement and subvert binary opposition of East and West which exoticizing the East. Keywords : minority literature in the U.S , symbolism, post-national
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Chatraporn, Surapeepan. "The Defiance of Patriarchy and the Creation of a Female Literary Tradition in Contemporary World Popular Fiction". MANUSYA 9, nr 3 (2006): 35–53. http://dx.doi.org/10.1163/26659077-00903002.
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Laura Esquivel, Mexican, Joanne Harris, British, Fannie Flagg, American, and Isak Dinesen, Danish, are women writers who have written contemporary world popular fiction: Like Water for Chocolate, Chocolat, Fried Green Tomatoes at the Whistle Stop Café, and the short story 'Babette's Feast'. Out of their desire to reflect their female identity, these women writers of four different nationalities have concertedly rejected the long-running male literary tradition, in which male characters rule and dominate and, in turn, have created a female literary tradition in which their female characters not only assert a solid and secure place in the world but also are allowed to display their female strength, resourcefulness and dominance. These contemporary women writers have brought about significant changes in contemporary fiction in which they terminate literary stereotypes and discard traditional female roles and 'untrue ' images imposed on women. These women authors reduce the male role, ridicule male characters and reverse male authority. While lessening the male role, they increase the female role, make female characters the focus of their works, and reverse former traditional practice by portraying male characters as marginal, subordinate or complementary to female interests and desires. Besides, rather than penalizing 'bad girls' these authors reward 'bad girls' and in some cases allow them to prevail in the end. The women writers, furthermore, step over the boundary into the domain of art and create female characters who take the role of accomplished artists. Theme-wise these authors determinedly deal with such distinctive feminine concerns as food, cooking, and nurturing, traditionally treated as trivial and unimportant, by drawing attention to their universal significance and elevating them to serious literary subject matter.
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Brun, Marion. "Les Écrivaines qui font recettes: discours critique par le livre pratique". Nottingham French Studies 62, nr 1 (marzec 2023): 102–16. http://dx.doi.org/10.3366/nfs.2023.0371.
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This article focuses on three recipe books inspired by women writers: Les Carnets de cuisine de George Sand: 80 recettes d'une épicurienne by Muriel Lacroix and Pascal Pringarbe , Colette gourmande by Marie-Christine and Didier Clément, and Marguerite Yourcenar portrait intime by Achmy Halley. The article opts to treat these three books as though they were works of criticism. Indeed, these three books, which are hybrids of advice books, biographies and anthologies, represent mythographies of the authors who inspired them. Thus, these far from feminist representations of women writers slaving over hot stoves are nonetheless able to offer vindications of those women's demiurgic powers. As such, these works often take on a regionalist and nostalgic tone that reduces them to the status of literary exhibits in a dusty conservatory of folkloric traditions.
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Filippaki, Iro. "Between Amniotic and Semiotic: The Kristevan Maternal Body in Contemporary British Women’s Fiction". Theory Now. Journal of Literature, Critique, and Thought 6, nr 1 (28.01.2023): 108–27. http://dx.doi.org/10.30827/tn.v6i1.26185.
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From her seminal study Powers of Horror (1980) to her more recent conceptualization of maternal reliance (2014), the attendant ambivalence of motherhood has been both a recurring theme in Julia Kristeva’s writing, as well as her dominant method to demonstrate the affinities between bodily transformation and psychic development. At the same time, the post-war literary narration of motherhood’s “impossible choices”, as one critic has written (Harnett 2019), has left scattered but memorable marks on the contemporary British literary canon. Experimental as well as established British women writers have attempted to document the affective ebb and flow of the maternal body as well as motherhood itself both as an individual experience and as a cultural and socioeconomic institution (Staub 2007). This essay examines such literary works from a Kristevan perspective, attempting a literary tracing of the herethics of maternal love (Kristeva 2014) in selected British women authors who have heret(h)ically imagined and articulated maternal ambivalence in the interwar and contemporary era. Employing the post-realist fiction of Olive Moore (1939), Doris Lessing (1988), and Jessie Greengrass (2018) as a springboard for a Kristevan analysis of maternal bodies, it is argued that the conceptualization of a herethics of maternal love finds its literary counterpart in a continuous tradition of women’s exploration of the ambivalent mother through an experimental narrative style, which in turn mirrors the construction of a new maternal body.
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Leite, Giovanna de Araújo. "The discursivity of the covers of The country of women, by writer Gioconda Belli on utopia and dystopia". Caderno Pedagógico 21, nr 1 (12.01.2024): 1146–64. http://dx.doi.org/10.54033/cadpedv21n1-060.
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Nicaraguan author Gioconda Belli, born in the city of Managua on December 9, 1948, wrote the novel The Country of Women. In addition to being an activist and militant, she is a writer who brings to her literary productions love for her country and the search for gender equity in public and private spaces. This article provides a brief discursive analysis of the covers of this novel, from the perspective of utopia and dystopia. The problem presented is: what is the discursive nature of the covers of O País das Mulheres about utopia and dystopia in the context of contemporary feminist critical theory in Latin America? The general objective is to reflect on the aspects of utopia and dystopia on the covers of the aforementioned book, observing whether they corroborate feminist critical theory and cultural studies in Latin America, reflecting on the discourses of utopia and dystopia. The methodology used for theoretical and analytical production is of a bibliographic nature, as authors of feminist literary criticism and utopia and/or dystopia were used. For the analysis, covers of the book O País das Mulheres were collected on the public domain website – Google Images – for analysis and discussion purposes on how the structure of patriarchy is deconstructed on these covers. From this approach, it was understood that the social roles of men and women are redefined in a utopian characteristic of equity and in a plan of hope and transformation, widely discussed and claimed by feminist literary criticism, in addition to also bringing dystopian moments necessary for the deconstruction of patriarchy. It is believed that this work is fundamental for thinking about Latin American feminist demands, as it brings up struggles that sister countries also experience in contemporary times, involving gender politics between men and women.
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Jarrad, Samah, Raihanah M. M. i Ravichandran Vengadasamy. "Palestinian Women Writers in English: Compromising National and Feminist Agendas". World Journal of English Language 14, nr 5 (17.05.2024): 172. http://dx.doi.org/10.5430/wjel.v14n5p172.
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The article analyses the intersection of Palestinian nationalism and feminism as represented in literary and political discourse. Through an examination of well-established historical discourses surrounding the Palestinian situation, this study reframes the notion that feminist political projects and nationalism are incompatible. By utilizing the framework of postcolonial feminism, this analysis scrutinizes the depiction of Palestinian women in narratives of national struggle as agents, symbols, and authors. Employing historical analysis and literary criticism as sources of data, this article investigates the development of Palestinian women's activism from the early 20th century to the present. It underscores the impact that women had on the Palestinian literary canon, their contributions to the national movement, and the emergence of indigenous feminisms. Notwithstanding the comparatively masculine conception of nationalist agency that permeates Palestinian nationalism, this qualitative study investigates the ways in which national struggle stimulated the advancement of Palestinian women. This encompasses discussions concerning gender awareness and the methods through which women defied cultural and societal norms through active participation in the national struggle and substantial literary contributions. This study is of significant value as it critically examines the complex relationship between feminism and nationalism in the Palestinian context, while also challenging the assumptions made by Western feminism. Through an examination of the experiences and perspectives of Palestinian women, this study underscores the ways in which the concurrent reinforcement of nationalist sentiments and reclamation of feminist narratives empower Palestinian women and bolster support for the Palestinian cause, thus making a significant contribution to the nation's pursuit of independence.
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Kádár, Judit. "Republishing Pre-World War II Hungarian Women Writers After the Fall of Socialism". Hungarian Cultural Studies 10 (6.09.2017): 41–53. http://dx.doi.org/10.5195/ahea.2017.276.
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Immediately before and shortly after the collapse of socialism in 1989, a large number of private publishing houses were founded in Hungary. Some of them began their career by republishing the novels of selected popular Hungarian women writers of the preWorld War II era that had been banned following the Soviet occupation of the country in 1945. The lack of comprehensive literary criticism on the works of women authors drove the new publishers to rely on the so-called “oral canon” of collective memory, which had saved some of their names from oblivion. To grab the attention of prospective readers, the books selected for publication were provided with modern book cover designs, reflecting new, but still patriarchal values. After a brief overview of how prewar literature was censored after 1945, focusing on the editors’ inevitable reinterpretation of the writings of Renée Erdős, Mrs. Kosáry Lola Réz, and Anna Tutsek through book cover designs, Kádár aims in this paper to survey in what ways and how successfully the re-editions of the novels by women writers have contributed to their inclusion in the literary canon since 1989.
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T.G, Smitha, i Kamlesh Dangwal. "Creating Identity in Women: A Psychoanalytic Reading of Namita Gokhale’s Paro: Dreams of Passions". Eximia 12 (14.12.2023): 563–69. http://dx.doi.org/10.47577/eximia.v12i1.401.
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This study is based on the theory of psychoanalytic reading, which discusses the identity of a woman in the social structure. Identity is created from the birth of a person and it continues throughout the life of that person. It is a psychological development of each person along with his/her growth. This creation of Identity starts from the relationship with the mother and later with other members of the family and society. The cultural setting also influences the person’s identity as the other members are also influenced by society. The creation of female identity is a veritable discursive concept and acquired more importance in the field of literary criticism. Searching for the identity of the female characters of Indian women authors provide an inspiration to the women of India. However, the identity of a person is always changing or adding more to his/her character along with their growth.
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Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English". Zeitschrift für Anglistik und Amerikanistik 66, nr 1 (28.03.2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.
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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.
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Abbasova, Sadagat. "THE CHARACTERISTICS AND APPROACHES OF IMMANENCE CRITICISM IN DORIS LESSING’S NOVEL OF “THE GOLDEN NOTEBOOK”". SCIENTIFIC WORK 15, nr 2 (9.03.2021): 6–10. http://dx.doi.org/10.36719/2663-4619/63/6-10.
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Unlike the XIX century, literary culture of the XX century made a strong aesthetic leap in women’s identity. This process has caused to the emergence of a large number of new generation women writers in world literature and moreover, these writers had succeeded in revealing a real and contemporary literary phenomenon, such as “immanence- immanentism” which is focused on female landscapes in their stories and novels. In general, the works of “immanence” authors have a feminist background. As a doctrine, imamnence is used to explain the connection with the spiritual world, which is confirmed by some philosophical and metaphysical theories and critics. But later, immanence was replaced by Kant as a philosophical concept, and this awareness began to include a philosophical disposition perceived by the senses on the basis of personal experience. Lessing, who donated many works to world culture, created a portrait of the physical and spiritual characteristics of people (especially women) with her strong logic and talent in all her stories and novels and tried to explain in detail the special feelings that exist in them. With the help of this concept, Lessing aimed not only to represent the love experiences and emotional vibrations of women in her novels, but also to present a strong and courageous woman in a socio-cultural and political context, unlike female literature. In this paper is discussed, the feature elements of immanent culture in Doris Lessing’s novel in (“The Golden Notebook”). In the novel, Lessing interprets the classic drama of a woman of art who is free ones like as herself and in their examples, examines the potential and profiles of creative women seeking their place in social society. In her works, Doris Lessing reproduces the female perspective in the universe by thinking from the prism of immanentism and pays particular attention to the psychology of female characters and the identification of their inner states of heroes. Based on all of these, the author also refers to the expanding principle of women sovereignty regarding the rights and the status of women in society. At the same time, Lessing also explores the possibility of a relationship based on the concept of mundane reality as an alternative to romantic love parodies of postmodernism, and with this in mind, she erects a “protective wall” against the expansion of the “Western world” in Rhodesia (Zimbabwe). Key words: existence, immanence, Sufism, "The Golden Notebook", socio-cultural
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Kilcup, Karen L. ""I Like These Plants That You Call Weeds": Historicizing American Women's Nature Writing". Nineteenth-Century Literature 58, nr 1 (1.06.2003): 42–74. http://dx.doi.org/10.1525/ncl.2003.58.1.42.
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In spite of the flowering of anthologies and criticism concerning American women's nature writing, ecocritics have concentratedon a small group of writings and on twentieth-century authors. The reasons for such omissions are numerous. Many nineteenth-century women's writings remain relatively inaccessible, in spite of the exponential growth in recent years of collections and reprint series. Moreover, in earlier writing the author's attitude toward nature is frequently ambiguous or complicated, making the literature resistant to recuperation, especially by critics seeking a relatively unproblematized, even idealistic, connection between women and nature. Much of this writing also evinces a high degree of genre hybridity, rendering it amenable to interpretation within a number of different literary traditions. Finally, critics of American women's nature writing have omitted consideration of nineteenth-century works because of the absence of satisfactory critical tools. Advocating the continued expansion of genres and modes in our understanding of American women's nature writing, this essay underscores the synthetic vision of nineteenth-century women writers, who are often more likely to regard nature in the context of gender politics or struggles for social amelioration than as a separate political or cultural concern. As a whole, the essay considers representations of women and nature; enlarges the tradition of American nature writing; and broadens its theoretical foundation.