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Статті в журналах з теми "English Woman authorship"
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Srebryanskaya, N. A. "PAREMIA OF DIFFERENT PEOPLES OF THE WORLD AND THEIR GENDER SPECIFITY." Modern Linguistic and Methodical-and-Didactic Researches, no. 4(35) (December 31, 2021): 55–62. http://dx.doi.org/10.36622/mlmdr.2021.70.60.006.
Повний текст джерелаАнотація:
Statementof the problem. The present research aims to investigate the authorship of paremia of different nations of the world from the point of view of gender. The gender aspect of the subject and the object of a peremian statement are determined. Data from this study come from the proverbs and sayings of the peoples of the world in English. For the study, the following methods were used: an inductive method, a semantic analysis method, an analysis of dictionary definitions, a method of comparing various national cultures, a quantity method, a method of correlation of language and social phenomena. Results. Our research reveals different characteristics which may be the basis for the establishment of the gender of authorship of proverbs and sayings. Some characteristics of a paremian statement that include implicit and explicit gender markers of authorship are considered relevant for revealing the author's gender. Implicit markers imply the axiological characteristics of personality of men and women in proverbs, their comparisons with animals and tools of labor. The explicit markers imply recommendations and guidance how to behave with the opposite sex; references to ‘your wife’; mention of sexual joys received from a woman. Conclusion.The findings of the research have indicated the following: there is a significant quantitative advantage of proverbs characterizing a woman compared to the characteristics of a man; In assessments of women and wives negative evaluation dominates; Comparisons for women are negative; Many statements about women are extremely coarse and cutting and contain abusive lexemes against women; Many proverbs "instruct" men, how to behave with a woman who is considered to be a source of danger for a man. These factors indicate that authors of most proverbs and sayings in the world are predominantly a man. Paremia as a kind of folklore is mainly a male genre.
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BUGYIS, KATIE ANN-MARIE. "The Author of the Life of Christina of Markyate: The Case for Robert de Gorron (d. 1166)." Journal of Ecclesiastical History 68, no. 4 (May 17, 2017): 719–46. http://dx.doi.org/10.1017/s0022046916002815.
Повний текст джерелаАнотація:
The authorship of the Life of the twelfth-century English holy woman, Christina of Markyate (c. 1096–after 1155), has inspired considerable scholarly speculation. Though the writer never once positively identifies himself in extant versions of the text, oblique references locate his activity at the Benedictine monastery of St Albans in Hertfordshire during the 1130s under the patronage of the reigning abbot, Geoffrey de Gorron (1119–46), and intimate the close connections that he enjoyed with his narrative's subjects. Building on these references, and incorporating clues from related sources from St Albans and Markyate, this article reconstructs the likeliest candidate for authorship – Robert de Gorron (d. 1166), Geoffrey's nephew, appointed sacristan and later abbatial successor – and assesses his eligibility.
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SHAH, ZAHRA. "Negotiating Female Authorship in Eighteenth-Century India: Gender and Multilingualism in a Persian Text." Journal of the Royal Asiatic Society 29, no. 3 (June 24, 2019): 447–66. http://dx.doi.org/10.1017/s1356186319000142.
Повний текст джерелаАнотація:
AbstractIn the last years of the eighteenth century, an Indian woman authored a work in Persian intended for the entertainment and guidance of students of that language. EntitledMiftāḥ-i Qulūb-i Mubtadiyān(‘The Key of the Hearts of Beginners’), the work comprised of stories from vernacular oral traditions as well as extracts from well-known Persian poetic, historical and ethical works. Although the work was translated into English in 1908 by Annette Beveridge, it has received no serious scholarly attention. Drawing upon recent scholarship offering new ways of thinking about India's multilingual literary past, this article examines the intersection of multiple vernacular and generic traditions as translated and manifested inMiftāḥ-i Qulūb al-Mubtadīyān. While vernacular languages followed different, and in relative terms, more limited routes of circulation and exchange in comparison with cosmopolitan languages such as Persian, their paths of movement were no less significant. Through a close reading of this work and its context, this article seeks to understand how Bībī Ḥashmat al-Daula crafted a distinct, cosmopolitan voice for herself through her deployment of both Persianate and regional Indian traditions.
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Сребрянская, Н. А. "PAREMIA OF DIFFERENT PEOPLES OF THE WORLD AND THEIR GENDER SPECIFITY." НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no. 4(52) (December 14, 2021): 78–87. http://dx.doi.org/10.36622/vstu.2021.63.74.005.
Повний текст джерелаАнотація:
Постановка задачи. В фокусе исследования в рамках данной статьи стоят паремии Великобритании и других народов мира. Целью является рассмотрение их авторства с позиций гендерной принадлежности. В статье выявляются субъект и объект высказывания с точки зрения гендера. Результаты. В результате проведенных исследований были выделены характеристики, которые могут явиться основанием для установления гендерного авторства пословиц и поговорок. Были выделены содержательные характеристики, релевантные для установления гендера автора, которые включают имплицитные и эксплицитные гендерные маркеры авторства, т.е. прямые и косвенные указания на гендер автора. Под имплицитными маркерами подразумеваются аксиологические характеристики качеств характера и поступков в пословицах; характер сравнений в паремии. Под эксплицитными маркерами понимаются рекомендательный и инструктивный характер пословиц в отношении поведения с противоположным полом; словосочетания your wife ; эксплицитная оценка интимных радостей, получаемых от женщины. Выводы. Анализ материала позволил сделать следующие выводы относительно гендерной паремии народов мира: имеет место значительный количественный перевес пословиц, характеризующих женщину по сравнению с характеристикой мужчины; в оценках женщины и жены доминирует пейоративная оценка; сравнения в отношении женщин носят негативный характер; многие высказывания о женщинах весьма грубы и резки и содержат ругательные лексемы в отношении женщин; многие пословицы «инструктируют» мужчин, как вести себя с женщиной, которая рассматривается как источник опасности для мужчины. Это указывает на то, что автором пословиц и поговорок у народов мира являются преимущественно мужчины, а паремия как разновидность фольклора является в основном мужским жанром. Statement of the problem. The present research aims to investigate the authorship of paremia of different nations of the world from the point of view of gender. The gender aspect of the subject and the object of a peremian statement are determined. Data from this study come from the proverbs and sayings of the peoples of the world in English. For the study, the following methods were used: an inductive method, a semantic analysis method, an analysis of dictionary definitions, a method of comparing various national cultures, a quantity method, a method of correlation of language and social phenomena. Results. Our research reveals different characteristics which may be the basis for the establishment of the gender of authorship of proverbs and sayings. Some characteristics of a paremian statement that include implicit and explicit gender markers of authorship are considered relevant for revealing the author's gender. Implicit markers imply the axiological characteristics of personality of men and women in proverbs, their comparisons with animals and tools of labor. The explicit markers imply recommendations and guidance how to behave with the opposite sex; references to ‘your wife’; mention of sexual joys received from a woman. Conclusion. The findings of the research have indicated the following: there is a significant quantitative advantage of proverbs characterizing a woman compared to the characteristics of a man; In assessments of women and wives negative evaluation dominates; Comparisons for women are negative; Many statements about women are extremely coarse and cutting and contain abusive lexemes against women; Many proverbs "instruct" men, how to behave with a woman who is considered to be a source of danger for a man. These factors indicate that authors of most proverbs and sayings in the world are predominantly a man. Paremia as a kind of folklore is mainly a male genre.
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Adami, G., O. Viapiana, E. Vantaggiato, C. Benini, D. Rotta, D. Gatti, and M. Rossini. "THU0640-HPR GENDER DISPARITY IN AUTHORSHIP OF CLINICAL PRACTICE GUIDELINES IN RHEUMATOLOGY." Annals of the Rheumatic Diseases 79, Suppl 1 (June 2020): 565.2–565. http://dx.doi.org/10.1136/annrheumdis-2020-eular.721.
Повний текст джерелаАнотація:
Background:Women are generally less represented as first author among original medical researches and clinical guidelines. Indeed, women are first authors in only 30% of clinical guidelines published in high impact medical journals. It is not known if a comparable underrepresentation occurs also in rheumatologic guidelines.Objectives:The aim of the present analysis is to evaluate the representation of female authors in rheumatological guidelines over a period of time between 2004 and 2019.Methods:We searched PubMed for guidelines published in English in the rheumatological field from 1st January 2004 to 1st January 2019. Gender of each author (man or woman) was identified by use of a minimum of two resources (i.e., author’s name and an internet search to identify the author’s photograph or gender pronoun).Results:We found 366 guidelines published between 2004 and 2019 (Table 1: stratified by year of publication and Table 2: stratified by disease). Overall, the proportion of female first authors was 32.0% (95% CI, 28.0% - 35%). After stratification by year of publication the percentage of female first authors was lower in past years compared to recent years. The percentage of female first author increased substantially over the time (Figure 1).Table 1.Percentage of female and male first author of rheumatological guidelines stratified by yearsYears% FEMALE%MALE2004 (n=14)21.478.62005 (n=21)23.876.22006 (n=25)32.068.02007 (n=32)37.562.52008 (n=43)20.979.12009 (n=18)33.366.72010 (n=15)6.793.32011 (n=27)25.974.12012 (n=27)25.974.12013 (n=20)48.351.72014 (n=20)25,075,02015 (n=13)46,253,82016 (n=20)45,055,02017 (n=29)51,748,32018 (n=22)40,959,1Table 2.Percentage of female and male first author of rheumatological guidelines stratified by diseaseDisease% FEMALE% MALEOsteoarthritis (n=34)26.573.5Rheumatoid arthritis (n=96)18.881.2Fibromyalgia (n=30)2080Lupus erythematosus (n=29)34.565.5Psoriatic arthritis and Spondyloarthritis (n=73)23.376.7Sjogren syndrome (n=5)4060Gout (n=19)10.589.5Systemic sclerosis (n=18)16.783.3Polymyalgia and Giant cells’ arteritis (n=12)0100Osteoporosis (n=26)30.869.2ANCA associated vasculitides (n=14)21.478.6Polymyositis and Dermatomyositis (n=6)5050Behcet’s disease (n=4)2575Figure 1.Temporal trend of the percentage of first author gender from 2004 to 2019 (male in blue, female in pink)Conclusion:We found a prevalence of male as first authors of guidelines in the rheumatological field published between January 2004 and January 2019. The EULAR Task Force on Gender Equity in Academic Rheumatology (EULAR GEAR) has been recently established, making an important first step toward gender equity in the authorship of guidelines in the rheumatological fields. Indeed, in the last 15 years we have witnessed an increase in female representativeness. Notwithstanding, efforts should be made to improve the representation of female authors nationally and internationally.Disclosure of Interests:Giovanni Adami: None declared, Ombretta Viapiana: None declared, Elisabetta Vantaggiato: None declared, Camilla Benini: None declared, Denise Rotta: None declared, Davide Gatti Speakers bureau: Davide Gatti reports personal fees from Abiogen, Amgen, Janssen-Cilag, Mundipharma, outside the submitted work., Maurizio Rossini Speakers bureau: AbbVie, Abiogen, Amgen, BMS, Eli-Lilly, Novartis, Pfizer, Sanofi, Sandoz and UCB
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Ølholm, Marianne. "From sensation to fluent identity – Lili Elbe’s life narrative between historical case and contemporary re-enactment*." Peripeti 20, no. 38 (March 27, 2023): 176–89. http://dx.doi.org/10.7146/peri.v20i38.136801.
Повний текст джерелаАнотація:
From Man into Woman: Lili Elbe’s Confessions (1931) describes the Danish painter Einar Wegener’s transformation into Lili Elbe and is the first (auto)biographical narrative of a subject who undergoes gender transformation surgery. It was published in parallel versions in Danish in 1931, in German in 1932, and in English in Britain and the U.S. in 1933. In recent years, there has been a renewed interest in Lili Elbe’s life story, and the historical case has become the subject of artistic re-interpretations in several media. The novel The Danish Girl by David Ebershoff was published in the U.S. in 2000, and the Hollywood movie by the same title, directed by Tom Hooper, appeared in 2015. In 2021, a dance performance, also by the same title and choreographed by Tim Rushton, was produced by the Holstebro Dance Company. Through the different historical representations, shifts can be traced in the perception of Lili’s transition from one gender to another, from the emphasis on the surgical transformation in the original narrative to the perspective of gender-confirmation of the most recent adaptation. Furthermore, the interpretations all relate to the question of authorship and access to artistic production.
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Jarniewicz, Jerzy. "Translation-Poems: Blurred Genres and Shifting Authorship in Contemporary English Verse." Anglica. An International Journal of English Studies, no. 32/3 (October 2023): 103–20. http://dx.doi.org/10.7311/0860-5734.32.3.07.
Повний текст джерелаАнотація:
One of the most interesting tendencies in contemporary English poetry which arguably will develop further and mark the next decades of writing in England, are works which I would call translation-poems, i.e. texts which problematize the distinction between translations and original works, as well as between authors and translators. One could mention here such books as Jo Shapcott’s Tender Taxes (versions of Rilke’s poems), Alice Oswald’s Memorial (a translation of Homer’s The Iliad), and Lavinia Greenlaw’s A Double Sorrow: Troilus and Criseyde (a version of Chaucer’s poem). All three books have been advertised as authored by these English poets; it is only their names that appear on book covers. Significantly, this type of translating, or adapting poetry comes now largely from women writers. Trying to define the blurred genre they are working in, they call it variously: versions, excavations, extrapolations, remixes, etc.
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Vanacker, Beatrijs. "The Gender of Pseudotranslation in the Works of Marie-Jeanne Riccoboni, Mme Beccari and Cornélie Wouters." Tusaaji: A Translation Review 6, no. 1 (December 4, 2018): 78–95. http://dx.doi.org/10.25071/1925-5624.40367.
Повний текст джерелаАнотація:
While authorship recognition was a challenge for all eighteenth-century aspiring writers regardless of their gender, the social position of women was such that public claims of authorship and ownership over a text were even less self-evident in the public sphere. As will be illustrated in this article, female writers especially made extensive use of transfer strategies (such as translation and pseudotranslation) to establish their authorship, thereby turning paratext and narrative into a dynamic maneuvering space. Considered from a gender perspective, the challenge for eighteenth-century female writers was to gradually “invent” themselves, or rather establish a voice of their own. Taking on a different (cultural) persona—even if only on a paratextual level—could provide them with a discursive “platform” from which they could negotiate their way into the literary field. In order to illustrate this gender-specific emancipatory quality of pseudotranslation, as established mainly in their paratexts, the present article proposes a comparative analysis of their forms and functions in the career and oeuvre of three eighteenth-century French women writers, Marie-Jeanne Riccoboni, Mme Beccari and Cornélie de Wouters, who all made extensive use of pseudo-English fiction.
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Hamilton, Norma Diana, and Israel Victor De Melo. "The critical enterprise in translating Black women writers’ authorship: a description on Who slashed Celanire’s throat? and The Women of Tijucopapo." Mutatis Mutandis. Revista Latinoamericana de Traducción 13, no. 2 (August 24, 2020): 445–67. http://dx.doi.org/10.17533/udea.mut.v13n2a12.
Повний текст джерелаАнотація:
This paper is focused on the critical enterprise involved in the translation of Black female authorship from Afro-Caribbean and Latin American contexts into the English language. More specifically, it looks at the circumstances of the translation of the fictional narratives Célanire cou-coupé (2000) by the Guadeloupian Maryse Condé and As mulheres de Tijucopapo (1982) by the Brazilian Marilene Felinto, as well as the publications of the versions in English: Who slashed Celanire’s Throat? (2004) and The Women of Tijucopapo (1994), respectively. We take on a cultural perspective within the field of translation studies and it may be inserted within the theoretical and descriptive branch, being product-process oriented. From general cultural social theories, we draw on the works of Black female intellectuals, Lélia Gonzalez, Patricia Hill-Collins, Denise Carrascosa, and many others, in dialogue with the perspectives of cultural theorists from translation studies, André Lefevere, Lawrence Venuti, and others. Based on the models of descriptive analysis within this field by Gideon Toury and others, we propose a description of the translation (process and product) of Condé’s and Felinto’s novels.
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Gay-Antaki, Miriam, and Diana Liverman. "Climate for women in climate science: Women scientists and the Intergovernmental Panel on Climate Change." Proceedings of the National Academy of Sciences 115, no. 9 (February 12, 2018): 2060–65. http://dx.doi.org/10.1073/pnas.1710271115.
Повний текст джерелаАнотація:
The Intergovernmental Panel on Climate Change (IPCC) is an authoritative and influential source of reports on climate change. The lead authors of IPCC reports include scientists from around the world, but questions have been raised about the dominance of specific disciplines in the report and the disproportionate number of scholars from the Global North. In this paper, we analyze the as-yet-unexamined issue of gender and IPCC authorship, looking at changes in gender balance over time and analyzing women’s views about their experience and barriers to full participation, not only as women but also at the intersection of nationality, race, command of English, and discipline. Over time, we show that the proportion of female IPCC authors has seen a modest increase from less than 5% in 1990 to more than 20% in the most recent assessment reports. Based on responses from over 100 women IPCC authors, we find that many women report a positive experience in the way in which they are treated and in their ability to influence the report, although others report that some women were poorly represented and heard. We suggest that an intersectional lens is important: not all women experience the same obstacles: they face multiple and diverse barriers associated with social identifiers such as race, nationality, command of English, and disciplinary affiliation. The scientific community benefits from including all scientists, including women and those from the Global South. This paper documents barriers to participation and identifies opportunities to diversify climate science.
Дисертації з теми "English Woman authorship"
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Safran, Morri. ""Unsex'd" texts : history, hypertext and romantic women writers /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026209.
Повний текст джерела
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Daly-Galeano, Heather Marlowe. "Little Women, Mutable Authors: Louisa May Alcott and the Question of Authorship." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/223371.
Повний текст джерелаАнотація:
This project analyzes the ways that Louis May Alcott portrays authors in several texts, including Hospital Sketches (1863), "Enigmas" (1864), "Psyche's Art" (1868), Little Women (1868), A Modern Mephistopheles (1877), and Diana and Persis (1878). An examination of prevailing contemporary theories of authorship reveals that Alcott's interest in authorship (as shown through her experiences as a writer and the author figures she depicts within her writing) cannot be adequately analyzed under any of the existing theoretical frameworks because the theories neglect to consider markers of racial, sexual, cultural, and class-based difference. Being a female author in nineteenth-century America was, for Alcott, a preoccupation. Thus much of her writing features representations of authors. For Alcott, as well as many of her female contemporaries, the question "What does it mean to be an author?" cannot be considered without also asking, "What does it mean to be a woman?" and "How can an author be represented in a text?" Alcott's treatment of these questions in her writing was her attempt to create a dialogue between herself, other writers, and her reading public. By studying Alcott's author figures, I advance a model of authorship that highlights issues of gender and multiplicity; in this way my work has applications to other authors who have been excluded by normative definitions of authorship. The concept of "mutable authorship," a model that more accurately incorporates Alcott's treatment of authorship, is the product of several different literary, historical, and feminist theoretical lenses. This dissertation works through the different structuring figures that Alcott uses to represent the author, beginning with the semi-autobiographical first-person narrator and moving to the more metaphorical figures of the artist and the performer. The discussion culminates with the exploration of adaptation and collaboration in the three Hollywood feature films of Alcott's best-known work, Little Women, and several recent texts that respond directly to Alcott's work.
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Mukherjee, Srilata. "Truncated transgressions : fictions of female authorship by British women writers of the late-nineteenth and early-twentieth centuries /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004346.
Повний текст джерела
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Youngkin, Molly C. "Men Writing Women: Male Authorship, Narrative Strategies, and Woman's Agency in the Late-Victorian Novel." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1037376119.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--Ohio State University, 2002.Document formatted into pages; contains ix, 322 p. Includes bibliographical references (p. 303-322). Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Sep. 25.
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Ngwira, Emmanuel Mzomera. "Writing marginality : history, authorship and gender in the fiction of Zoe Wicomb and Chimamanda Ngozi Adichie." Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80229.
Повний текст джерелаАнотація:
Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This thesis puts the fiction of Zoë Wicomb and Chimamanda Ngozi Adichie into conversation with particular reference to three issues: authorship, history and gender. Apart from anything else, what Wicomb and Adichie have in common is an interest in the representation of marginalised or minority ethnic groups within the nation - the coloured people in the case of Wicomb, and the Igbo in the case of Adichie. Yet what both writers also have in common is that neither seems to advocate the reification of these ethnic groups in reformulations of nationalist discourse. The thesis argues that through their focus on various forms of marginality, both Wicomb and Adichie destabilise traditional notions of nation, authorship, history, gender identity, the boundary between domestic and public life, and the idea of “home”. The thesis focuses on four main topics, each of which is covered in a chapter: the question of authorial voice in relation to history; perspectives offered by women characters in relation to oppressive or traumatic historical moments; oppressive or traumatic histories intruding into the intimate domestic space; and the issue of transnational migration and its (un)homely effects. Employing concepts of metafiction and mise-en-abyme self-reflexivity, the study begins by considering the ways in which Wicomb’s David’s Story and Adichie’s Half of a Yellow Sun both reflect on the idea of authorship. Focusing on the ways in which each text draws the reader into witnessing authorship, the thesis argues that the two novels can be put into conversation as they both stage dilemmas about authorship in relation to those marginalised by national histories. Following on from this idea of marginalisation by nationalist histories, the thesis then proceeds to examine both writers’ foregrounding of women’s stories that are set in oppressive and/or violent historical times – under apartheid in the case of Wicomb’s You Can’t Get Lost in Cape Town, and during the Biafran war in the case of Adichie’s Half of a Yellow Sun. Utilising ideas about gender, history and literary history by Tiyambe Zeleza, Florence Stratton and Elleke Boehmer, the study analyses how, beginning with father-daughter relationships, Wicomb and Adichie wean their female characters from their fathers’ control so that they may begin telling their own stories that complicate and subvert the stories that their fathers represent. Drawing on Sigmund Freud’s theory of “the uncanny” and Homi Bhabha’s postcolonial reading of that theory, the study then turns to discuss the ways in which oppressive national histories become manifest in domestic spaces (that are usually marginalised in national histories), turning those spaces into unhomely homes, in Wicomb’s Playing in the Light and Adichie’s Purple Hibiscus. In both novels, purity (whether racial or religious) is cultivated in the family home, but this cultivation of purity, which is reflected symbolically in the kinds of gardens each family grows, evidently has “unhomely” effects that signal the return of the repressed, of that which is disavowed in discourses of purity. Since both Wicomb and Adichie are African-born women authors living abroad, and since the “unhomely” aspects of transnational existence are reflected upon in their fiction, the study finally considers the forms of marginality to the national posed by the migrant. Transnational migration is examined in Wicomb’s The One That Got Away and in Adichie’s The Thing Around Your Neck, placing stories from these two recently published sets of short stories into dialogue.
AFRIKAANSE OPSOMMING: Hierdie tesis plaas die fiksie van Zoë Wicomb en Chimamandi Ngozi Adichie in gesprek met mekaar, met verwysing na veral drie sake: outeurskap, geskiedenis en geslag (gender). Afgesien van ander kwessies het die fiksie van Wicomb en Adichie ‘n belangstelling in die fiktiewe voorstelling van gemarginaliseerde of minderheidsgroepe in die nasie in gemeen – die kleurlinggroep in die geval van Wicomb en die Igbo in die geval van Adichie. Nogtans beveel geeneen van hierdie twee skrywers ‘n reïfikasie van nasionalistiese diskoers aan nie. Die tesis voer aan dat, deur hulle fokus op verskeie vorme van marginaliteit, beide Wicomb en Adichie tradisionele konsepte van nasionalisme, skrywer-skap, geskiedenis, geslagsidentiteit, die grens tussen private en publieke lewe en die idee van ‘n eie tuiste destabiliseer. Die vier hoof-onderwerpe van die tesis is word elk in ‘n eie hoofstuk behandel: die kwessie van ‘n skrywerstem in verhouding tot die geskiedenis; perspektiewe wat belig word deur vrouekarakters in kontekste van onderdrukkende of traumatiese historiese momente; hoedat onderdrukkings- of traumatiese geskiedenisse die private sfeer binnedring; asook die kwessie van ‘n migrasie oor landsgrense en die ontheimingseffek hiervan. Deur die gebruik van metafisiese en mise-en-abyme selfrefleksie begin die studie deur te reflekteer op hoe Wicomb se David’s Story en Adichie se Half of a Yellow Sun [aangaande] die idee van outeurskap reflekteer. Deur te fokus op die wyses waarop beide tekste die leser betrek om skrywerskap waar te neem, voer die tesis aan dat die twee romans met mekaar in gesprek geplaas kan word, terwyl albei dilemmas van outeurskap met betrekking tot diegene wat in nasionale geskiedskrywing gemarginaliseer word, sentraal plaas. Volgende op hierdie kwessie gaan die tesis dan voort om albei skrywers se vooropstelling van vroue se verhale gesitueer in onderdrukkende of gewelddadige tye – onder apartheid in die geval van Wicomb se You Can’t Get Lost in Cape Town en gedurende die Biafraanse oorlog in Adichie se Half of a Yellow Sun – te ondersoek. Met behulp van idees aangaande gender, geskiedenis en literêre geskiedenis van Tiyambe Zeleza, Florence Stratton en Elleke Boehmer, analiseer die tesis hoedat, beginnende met vader-dogter verhoudings, Wicomb en Adichie hul vroulike karakters loswikkel van hul vaders se kontrole sodat hulle kan begin om hul eie verhale te vertel – stories wat die verhale van hul vaders kompliseer en ondermyn. Met behulp van Sigmund Freud se teorie van die onheimlike en Homi Bhabha se postkolonialistiese interpretasie van daardie idee, gaan die tesis dan voort deur maniere waarop onderdrukkende nasionale geskiedenisse in die tuis-ruimtes (wat gewoonlik deur nasionale geskiedskrywing gemarginaliseer word) manifesteer, met die onheimlike effek hiervan op die tuisruimte – beide in Wicomb se Playing in the Light en in Adichie se Purple Hibiscus – te ondersoek. In albei romans word reinheid ( van ras of geloof) in die familie-tuiste gekultiveer, maar hierdie nadruk op reinheid – simbolies gereflekteer in die tuine wat deur albei gesinne aangelê word – het wel onmiskenbare onheimlike gevolge wat die terugkeer van wat onderdruk is (in die naam van reinheid) aandui. Omdat beide Wicomb en Adichie vroue-skrywers is wat in Afrika gebore is maar oorsee lewe, en omdat die onheimlike aspekte van ‘n transnasionale lewensstyl in hul fiksie oorweeg word, beskryf die tesis die vorms van marginaliteit met betrekking tot die nasionale wat deur die migrant tot stand kom. Transnasionale migrasie word in Wicomb se The One that Got Away en Adichie se The Thing around your Neck oorweeg, wat die verhale uit hierdie twee versamelings in gesprek met mekaar plaas.
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Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.
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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.
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Hall-Godsey, Angela Marie. "By her Own Hand: Female Agency through Self-Castration in Nineteenth-Century British Fiction." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/english_diss/38/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from title page (Digital Archive@GSU, viewed July 15, 2010) Michael Galchinsky, committee chair; Calvin Thomas, Lee Anne Richardson, committee members. Includes bibliographical references (p. 204-212).
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Hall, Karen Peta. "Discovering the lost race story : writing science fiction, writing temporality." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0216.
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Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories where the contemporary world and groups of people thought to exist only in the past intersect in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction.
Книги з теми "English Woman authorship"
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Translation, authorship and the Victorian professional woman: Charlotte Brontë, Harriet Martineau and George Eliot. Burlington, VT: Ashgate, 2011.
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Edith Nesbit: A woman of passion. Stroud, Gloucestershire [England]: Tempus Pub., 2007.
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Bodger, Joan. The crack in the teacup: The life of an old woman steeped in stories. Toronto: McClelland & Stewart, 2000.
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Briggs, Julia. A woman of passion: The life of E. Nesbit, 1858-1924. New York: New Amsterdam Books, 1987.
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Briggs, Julia. A woman of passion: The life of E. Nesbit, 1858-1924. New York: New Amsterdam Books, 1991.
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Briggs, Julia. A woman of passion: The life of E. Nesbit, 1858-1924. Harmondsworth: Penguin, 1989.
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Picardie, Justine. Daphne. New York: Bloomsbury USA, 2008.
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Picardie, Justine. Daphne. New York: Bloomsbury USA, 2008.
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Russ, Joanna. To write like a woman: Essays in feminism and science fiction. Bloomington: Indiana University Press, 1995.
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Bell, Ilona. Elizabethan women and the poetry of courtship. Cambridge, U.K: Cambridge University Press, 1998.
Знайти повний текст джерелаЧастини книг з теми "English Woman authorship"
1
Yeager, Stephen M. "“Historical Accuracy,” Anonymity, and Women’s Authorship." In Feminist Approaches to Early Medieval English Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721462_ch13.
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This essay collates and synthesizes many works of feminist Old English scholarship in the service of a thought experiment: what if Beowulf was written and/or inscribed by a woman, by women, and/or for an audience of women? How might these possibilities shape our interpretations of the text? In particular, the article identifies possible connections to the Encomium Emmae reginae, to the lives of women and transgender saints, and to women’s and dual-house monastic foundations. The themes of monstrosity and travel are shown to resonate with gendered anxieties about childbirth and maternity, and Beowulf the “bear-man” is read as a gender-neutral confessor figure who models the ideal virtues of both abbots and abbesses.
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Hammond, Kenneth R. "Notes from Berkeley, 1938, 1945-1948." In The Essential Brunswik, 479–80. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195130133.003.0048.
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Abstract “You ought to hear this professor from Vienna” was the unlikely suggestion given to me one day in 1938 in the halls of the Life Sciences Building at the University of California at Berkeley. So one day I went to hear him. My best recollection of Egon Brunswik is of a tall, broad-shouldered man addressing a large class of psychology stu dents in hesitating and heavily accented English, accompanied by a rather large woman sitting nearby to whom he turned every so often for the word he needed. I remember nothing of the content of the lecture, of course, but I do remem ber that it was delivered with great seriousness and dignity. The woman sitting nearby and coaching this professor’s English was his wife, Else Frenkel-Brunswik, who would later become very well known in relation to her co-authorship of the exciting book The Authoritarian Personality (Adorno, Frenkel-Brunswik, Levinson, and San ford, 1950). The standard joke among graduate students was that although Egon gradually lost his accent, the coach never lost hers.
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"Women, authority and authorship." In Women's Writing in Middle English, 19. Routledge, 2013. http://dx.doi.org/10.4324/9781315833903-11.
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Trofimova, Violetta S. "Dialogue Through the Ages: John Wilmot, Earl of Rochester, and Vera Kryzhanovskaya-Rochester." In Femininity and Masculinity in the Modernist Culture: Russia and Abroad, 33–51. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0740-3-33-51.
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The article compares French originals and Russian translations of the novels by Vera Kryzhanovskaya, which were published in France in the second half of 1880s and then in Russia in the 1890s and 1900s under the name of John Wilmot, Earl of Rochester: An Episode of the Life of Tiberius, Benedictine Abbey, Pharaoh Mernephtah and Herculaneum, as well as provides an analysis of her novel The Marriage Fair. The intentions of the “developers” of this literary project and the place of these novels in the discussion on spiritism are clarified. The relationship of Rochester as the spirit author with the real Earl of Rochester, the English poet of the second half of the 17th century and his range of his interests, the themes and motives of his own writings, is revealed. The article traces the evolution of Kryzhanovskaya’s authorship from a medium recording “dictated” stories to the independent woman writer, whose talent was noted by critics. It is indicated that the novel The Marriage Fair, although its action takes place in Saint-Petersburg, has obvious connections with English literature due to the title referring to the Vanity Fair by W.M. Thackeray, and allusions to the works of Shakespeare in the text.
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Castle, Terry. "“Matters not fit to be mentioned”: fielding’s The female husband." In The Female Thermometer, 67–81. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195080971.003.0005.
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Abstract Befitting the festive, dangerous nature of its subject-sexual impersonation-Henry Fielding’s The Female Husband has assumed a paradoxical place in English literary history. This small pamphlet, published anonymously in 1746, is the fictionalized report of the “Surprising History” of Mary Hamilton, alias “George,” a female transvestite arrested and tried in that year at Wells for marrying another woman while in disguise. Fielding knew of the case through newspaper stories and-biographers suggest-wrote his own half-pious, half-prurient account for quick cash. As one might expect, given such scandalous content, the work sold out immediately and had to be reprinted. But again as one might expect, though Fielding’s authorship has been acknowledged since the turn of this century, the pamphlet itself has been decorously ignored. Early on, Cross mentioned it as one of Fielding’s “trifles,” but did not describe its subject. F. Homes Dudden in turn called it a “mere piece of hackwork” and implied it was unworthy of its author. Pat Rogers is more charitable, but still treats The Female Husband only briefly, as a “sensational potboiler.” Until very recently a guarded 1959 article by Sheridan Baker-concerned mainly with the stylistic attribution of the piece to Fielding-remained the longest critical discussion in print.1 Like its phantasmagoric, impudent heroine, The Female Husband has existed, it seems,
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"The ‘Arcadia’: readership and authorship." In Women and Romance Fiction in the English Renaissance, 101–15. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511518904.007.
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"Anonymous(c.1520)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 2–3. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0002.
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Abstract This poem has The form of a carol, which in The Middle Ages, means a dancetune, with a refrain; and is completely anonymous. It is Therefore not certainly of female authorship. However, few English carols are in a female voice, and those that are, are mostly extremely misogynistic. This expression of sad fidelity runs counter to The carols’ general assumption of women’s fickleness and lust, which speaks in its favour. The text has alternative feminine pronouns written interlinearly-’sche’, ‘hyre’, etc., recasting it for a male speaking voice.
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"The Tartar Girl, The Persian Princess, And Early Modern English Women’s Authorship From Elizabeth I To Mary Wroth." In Women Writing Back / Writing Women Back, 255–81. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004184633.i-384.72.
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Smith, Rosalind. "Authorship, Attribution, and Voice in Early Modern Women’s Writing." In The Oxford Handbook of Early Modern Women's Writing in English, 1540-1700, 23—C2.P23. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198860631.013.3.
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Abstract This chapter examines how questions of authorship, attribution, and voice have shaped the critical field of early modern women’s writing and continue to underwrite its investments, determining authors and texts that are studied, taught, and canonised. A consequence of the field’s emphasis on authors as embodied women has been its occlusion of texts of uncertain attribution that are linked indirectly or partially to historical women subjects through signature, voice, or prosopopoeia. This chapter examines how such problematic cases might be considered within studies of early modern women’s writing. In particular, it will address Stephen May’s recent case against the attribution of an early sonnet sequence to Anne Locke, arguing that May provides a telling example of the ways in which the investments in the embodied author continue to shape the field in ways counter to wider studies of early modern literature and revisions within early modern women’s writing itself.
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Van Hyning, Victoria. "The Morean Legacy at St Monica’s." In Convent Autobiography, 129–75. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266571.003.0004.
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This chapter investigates the importance of women’s education and Latinity to the first chronicler of St Monica’s, who composed anonymously, but whom I have identified as Mary Copley, a descendant of Sir Thomas More. Copley was well-educated, and descended from a long line of well-educated men and women whose learning, she believed, was critical to the survival and flourishing of English Catholicism after the Reformation. Copley’s attention to More’s legacy at St Monica’s is more sustained than would have been possible had she written under her own name. Writing anonymously, she subsumes her concerns into the stories and voices of the other women and their family members who are represented in this significant early modern chronicle. Copley’s is the first of four detailed case studies of what I call ‘subsumed autobiography’: when an anonymous author, through the very vehicle of her anonymity, shapes a text around her own experiences, politics, theology or ideology to such a degree that the work can be read as an expression and exploration of the author’s selfhood. The case of Copley’s authorship rests on combined analyses of prosopographical, manuscript, and textual data, and provides a methodology for identifying anonymous authors.