Готові списки джерел за темами / Irish women's literary fiction

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Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Irish women's literary fiction"

1

Workman, Simon. "Maeve Kelly: Women, Ireland, and the Aesthetics of Radical Writing." Irish University Review 49, no. 2 (November 2019): 304–21. http://dx.doi.org/10.3366/iur.2019.0408.

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This article considers the work of Irish writer and feminist Maeve Kelly arguing that she has been not only a radical and, to some extent, seminal voice within modern Irish writing, but an author whose work self-consciously reflects upon the production and mediation of Irish women's writing within British and Irish culture. While Kelly is not unique in adopting a feminist approach in her writing, aspects of her fiction are somewhat discrete within modern Irish literature in terms of how they express, delineate, and resolve the challenges – material, psycho-cultural, aesthetic – attendant upon the representation of feminist political thought and occluded Irish female experience. Particularly within an Irish context, Kelly's writing provides a significant case study of the aesthetic problematics of politically radical fiction. Her oeuvre represents a vital contribution to Irish writing of the twentieth century as well as to the history of women in post-war Ireland.
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2

Sullivan, Kelly. "Elizabeth Bowen and the Politics of Consent." Irish University Review 51, no. 1 (May 2021): 24–39. http://dx.doi.org/10.3366/iur.2021.0493.

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As a novelist preoccupied with the sexualized gothic conventions haunting Irish fiction since the eighteenth century, Bowen persistently turns to the fraught concept of British and Irish women's consent during periods of twentieth-century political violence. This article considers Bowen's use of gothic tropes of consent in The Last September (1929) as well as a more sustained engagement with the Irish gothic, citizen-subjecthood, and the political valence of consent in her WWII thriller, The Heat of the Day (1948). It argues that in formulating consent in relation to knowledge, and in articulating the necessarily contractual nature of consent, Bowen seeks to define the ethics of individual rights and responsibility during and after World War Two.
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3

Aaron, J. "Contemporary Irish and Welsh Women's Fiction: Gender, Desire and Power. Linden Peach." Contemporary Women's Writing 2, no. 2 (December 1, 2008): 183–84. http://dx.doi.org/10.1093/cww/vpn017.

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4

Meaney, Gerardine. "Regendering modernism: the woman artist in Irish women’s fiction." Women: A Cultural Review 15, no. 1 (March 2004): 67–82. http://dx.doi.org/10.1080/0957404042000197198.

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5

Poloczek, Katarzyna. "Women’s Power To Be Loud: The Authority of the Discourse and Authority of the Text in Mary Dorcey’s Irish Lesbian Poetic Manifesto “Come Quietly or the Neighbours Will Hear”." Text Matters, no. 1 (November 23, 2011): 153–69. http://dx.doi.org/10.2478/v10231-011-0012-9.

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The following article aims to examine Mary Dorcey's poem "Come Quietly or the Neighbours Will Hear," included in the 1991 volume Moving into the Space Cleared by Our Mothers. Apart from being a well-known and critically acclaimed Irish poet and fiction writer, the author of the poem has been, from its beginnings, actively involved in lesbian rights movement. Dorcey's poem "Come Quietly or the Neighbours Will Hear" is to be construed from a perspective of lesbian and feminist discourse, as well as a cultural, sociological and political context in which it was created. While analyzing the poem, the emphasis is being paid to the intertwining of various ideological and subversive assumptions (dominant and the implied ones), their competing for importance and asserting authority over one another, in line with, and sometimes, against the grain of the textual framework. In other words, Dorcey's poem introduces a multilayered framework that draws heavily on various sources: the popular culture idiom, religious discourse (the references to the Virgin Mary and the biblical annunciation imagery), the text even employs, in some parts, crime and legal jargon, but, above all, it relies upon sensuous lesbian experience where desire and respect for the other woman opens the emancipating space allowing for redefining of one's personal and textual location. As a result of such a multifarious interaction, unrepresented and unacknowledged Irish women's standpoints may come to the surface and become articulated, disrupting their enforced muteness that the controlling heteronormative discourse has attempted to ensure. In Dorcey's poem, the operating metaphor of women's silence (or rather—silencing women), conceived of, at first, as the need to conceal one's sexual (lesbian) identity in fear of social ostracism and contempt of the "neighbours," is further equated with the noiseless, solitary and violent death of the anonymous woman, the finding of whose body was reported on the news. In both cases, the unwanted Irish women's voices of either agony, during the unregistered by anybody misogynist bloodshed that took place inside the flat, or the forbidden sounds of lesbian sexual excitement, need to be (self) censored and stifled, not to disrupt an idealized image of the well-established family and heteronormative patterns. In the light of the aforementioned parallel, empowered by the shared bodily and emotional closeness with her female lover, and already bitterly aware that silence in discourse is synonymous with textual, or even, actual death, the speaker in "Come Quietly or the Neighbours Will Hear" comes to claim her own agency and makes her voice heard by others and taken into account.
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6

McCrory, Moy. "Crossings." Short Fiction in Theory & Practice 12, no. 2 (October 1, 2022): 239–47. http://dx.doi.org/10.1386/fict_00065_7.

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Creative non-fiction about a personal experience of early miscarriage, which is a largely hidden loss. Reflecting on experiences in the early 1990s, a background of Northern Irish Catholicism, where women’s fertility is rigorously controlled, both informs attitudes and gives way to an earlier memory in the late seventies, where I felt I was in control of my fertility. However, the present reflection now considers reproductive control as something further than contraception; including those difficult times, when a body edges beyond our wills. Despite all our gains for autonomy and reproductive rights, involuntary miscarriage is a devastating loss, which we do not control.
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7

Boumans, Phyllis, and Elke D'hoker. "‘Perfect in her own perfection’: Women Writers in The Bell." Irish University Review 52, no. 2 (November 2022): 200–217. http://dx.doi.org/10.3366/iur.2022.0563.

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This essay examines the role played by magazine culture in the exclusion of women writers from the traditional Irish short story canon by looking at the presence and representation of women writers in The Bell (1940–1954), Ireland’s most influential mid-twentieth century literary periodical. The magazine did much to promote aspiring short story writers, but was less willing to perform their role as cultivator of new talent typical of periodical publication when it came to women apprentices. The first part of the essay gives a general picture of women’s presence in the magazine. The second part probes the underlying assumptions with have led to the systematic curtailment of women writers, and the final section maps the wider impact of these processes on the short story canon in Ireland. Despite The Bell’s progressive and inclusive credentials, the magazine proved to be an uncongenial place for women writers: with its masculine rhetoric, its representation of authorship as a male preserve, its persistent othering of women writers, its foregrounding of male experience in its fiction, and the effects of male gatekeeping, The Bell uncritically reflected and reproduced the rigid binary divisions that separated male and female spheres in Irish society at large, and ultimately contributed to the marginalization of women writers in the short story canon in Ireland.
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8

Wray, Theresa. "Irish women's fiction: from Edgeworth to Enright." Irish Studies Review 23, no. 1 (August 18, 2014): 116–17. http://dx.doi.org/10.1080/09670882.2014.951510.

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Kelleher, Margaret. "Writing Irish Women's Literary History." Irish Studies Review 9, no. 1 (April 2001): 5–14. http://dx.doi.org/10.1080/09670880020032654.

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10

Kennard, Jean E., Rachel Blau DuPlessis, and Lee R. Edwards. "Form in Women's Fiction." Contemporary Literature 27, no. 3 (1986): 396. http://dx.doi.org/10.2307/1208352.

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Дисертації з теми "Irish women's literary fiction"

1

O'Byrne, Deirdre. "Irish women's rural fiction since independence." Thesis, Loughborough University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274711.

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2

Wydenbach, Joanna Susan. "Irish women's fiction 1900-1924 : literature and history." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437734.

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3

Meredith, Robert Beorn. "Reviving women : Irish women's prose writing 1890-1920." Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300779.

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4

Doyle, Trista Dawn. "Insidious Vulnerability: Women's Grief and Trauma in Modern and Contemporary Irish Fiction." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107960.

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Thesis advisor: James M. Smith
This dissertation examines individual experiences of grief and trauma in Irish writing from 1935 to 2013, focusing specifically on novels by Elizabeth Bowen, Samuel Beckett, Sebastian Barry, and Eimear McBride. It offers a feminist reclamation of personal forms of loss that fall outside the purview of documented history and that typically go overlooked in literary criticism. Examples in this study include the suffering caused by the natural death of a family member, infertility, domestic and sexual abuse, social ostracism, institutionalization, and forced adoption. Through careful close readings of Bowen’s The House in Paris (1935) and The Death of the Heart (1938), Beckett’s Molloy (1955), Barry’s The Secret Scripture (2008), and McBride’s A Girl Is a Half-Formed Thing (2013), I unpack how women’s insidious vulnerability to grief and trauma manifests in modern and contemporary Irish fiction. The works I discuss here reveal the depth and complexity of grief—making visible forms of loss and violence that society tends to ignore, working through what impedes the grieving process, and giving voice to underrepresented experiences of emotional and psychological suffering. Over three chapters, I engage with the discourses of trauma theory, Irish memory studies, and modernism and its afterlives. I draw on feminist psychiatrist Laura S. Brown’s discussion of “insidious trauma” to inform my own concept, “insidious vulnerability,” which I use to refer to the persistent threat of loss and violence that haunts marginalized groups in their daily lives. Likewise, I make reference to the American Psychiatric Association’s diagnostic definition of post-traumatic stress disorder (PTSD) to distinguish trauma from other forms of emotional and psychological distress. I contribute to Irish memory studies by extending the critical conversation beyond public historical events (like the Easter Rising of 1916)—to include private forms of grief and trauma, particularly in the lives of women. Furthermore, I focus on authors who innovate, whose novels exhibit dissatisfaction with the limitations of conventional realist narratives and who attempt new modes of representation in an effort to articulate the inexpressible and the unexpressed. Bowen and Beckett stand as representatives of late modernism (1930s-1950s), while Barry and McBride help extend literary modernist afterlives into the twenty-first century
Thesis (PhD) — Boston College, 2018
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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5

Naidoo, Y. "Speaking our minds : Black women's fiction, cultural politics and literary forms." Thesis, University of Nottingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339685.

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6

Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.

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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.
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7

Byrne, Aoife. "Modern homes? : an analysis of Irish and British women's literary constructions of domestic space, 1929-1946." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/268014.

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Cosy aphorisms such as “home is where the heart is” have always suggested a universal understanding of home. But home is a subjective concept that defies any homogenous designation. If, as Walter Benjamin told us, a consequence of modernity is the necessary sequestration of ‘bourgeois’ domestic spaces from an increasingly ‘modern’ outside world, such a spatial binarism is notably absent in the works of Irish and British women authors from 1929-1946. On the contrary, in these texts, domestic space has multiple functions, not least of which is its usefulness in exploring concepts of modernity, including the consequences of industrial scale warfare on civilian life. During this time, women authors such as Elizabeth Bowen, Kate O’Brien, Nancy Mitford, Evadne Price and Daphne du Maurier respond to the ways in which the ideas of home were in a continuous state of redefinition. They do this for multiple reasons. Factors changing these authors’ perceptions of d0mestic space vary from material, aesthetic, external, broadly philosophical and political. These issues are also sometimes deeply violent, as is seen, for instance, in the burnings of the houses of the Anglo-Irish Ascendency in the Irish War of Independence, and the destruction of houses by bombing in the London Blitz. This project analyses Irish and British domestic spaces as women authors imagine them after the formal segregation of the two countries with the Anglo-Irish Treaty (1922). As both countries move in different political and cultural directions, so too, these authors perceive, do the meanings of home. This changes the ways in which authors construct both the conceptual ideas of home and the material realities of houses in both countries. Congruently, this cross-cultural analysis complicates our understanding of these women authors’ responses to changing meanings of home, women’s issues, and the experience of modernity in the period.
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8

Painter, Ainsley. "From caramel factory to charity ward : aspects of women's fiction in the Japanese proletarian literary movement /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arp148.pdf.

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9

Dunbar, Siobhan Mary. "(Un)silencing the voices of the country girls: A journey into twentieth-century Irish girlhood through the fiction of Edna O'Brien." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27977.

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Edna O'Brien is a prolific and highly successful contemporary Irish novelist, short story writer, and playwright. Her first six novels were banned in 1960s Ireland and since then, her subversive writing about Irish women's lives has often sparked controversy and debate in and even beyond her Irish homeland. This thesis explores O'Brien's portrayal of rural Irish girlhood in post-Independence, twentieth-century Ireland in the novels The Country Girls (1960), A Pagan Place (1970), the short story collection Returning (1982), as well as the later novel Down by the River (1997). Chapter One delves into the mother-daughter bond in O'Brien's fiction. Chapter Two, in turn, examines the often painful father-daughter relationship Finally, Chapter Three discusses O'Brien's complex portrayal of female sexuality. This study argues that O'Brien constructs powerful and haunting fictional voices of "Irish girlhood" and through them, makes a unique contribution to the Irish Bildungsroman tradition. Her fiction points to some of the immense challenges confronted by young adolescent girls in mid-to-late twentieth-century Ireland, not only in their homes but also within their relationships, schools, and rural communities.
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Slivka, Jennifer A. "Strangers at Home: Threshold Identities in Contemporary Irish Women’s Writing." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/534.

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This dissertation examines how contemporary Irish women writers dismantle national conceptions linking Irish women to the hearth and home by offering an alternate version of women’s lived experience, which nationalist ideologies have simplified. I consider how these writers define “home”—the domestic, the familiar, the intimate—as complicated by sexuality, exile, and violence. Using Freud’s theory of the uncanny as a lens, I analyze how these writers question established social relations in order to uncover uneasy relationships to self, home, and homeland. In my project, postcolonial theory and transnational feminisms, coupled with trauma theory, facilitate the contextualization of the uncanny as a response to the hybrid identities, dislocations, and effects of violence on gender roles within the nation. The first two chapters examine Edna O’Brien’s later fiction, which unsettles conceptions of the nation by emphasizing the experiences of marginal figures, thereby questioning who belongs within the nation’s borders. The next two chapters on the fiction of Jennifer Johnston and Mary Beckett reveal how the crossing of the public into the private sphere exposes a paradoxical homespace that is both haven and prison for rich Anglo-Irish Dubliners and working-class Catholics in Belfast. The final chapter on Kate O’Riordan’s novels explores issues of exile, alienation, and trauma through a multi-generational lens, revealing how memories of “home” and fraught parent-child relationships at once hinder and facilitate identity formation. In the epilogue, I briefly discuss how contemporary Irish poetry could address the issues raised by the works of fiction examined in my project.
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Книги з теми "Irish women's literary fiction"

1

Reynolds, Lorna. Kate O'Brien: A literary portrait. Gerrards Cross, Bucks: C. Smythe, 1987.

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2

Kate O'Brien: A literary portrait. Gerrards Cross, Bucks: C. Smythe, 1987.

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3

Kate O'Brien: A literary portrait. Gerrards Cross: Smythe, 1987.

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4

Unveiling treasures: The Attic guide to the published works of Irish women literary writers : drama, fiction, poetry. Dublin: Attic Press, 1993.

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5

R, Backscheider Paula, ed. Revising women: Eighteenth-century "women's fiction" and social engagement. Baltimore: Johns Hopkins University Press, 2000.

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6

Women's fiction between the wars: Mothers, daughters, and writing. New York: St. Martin's Press, 1998.

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7

Ingman, Heather. Women's fiction between the wars: Mothers, daughters and writing. Edinburgh: Edinburgh University Press, 1998.

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8

Gendering classicism: The ancient world in twentieth-century women's historical fiction. Albany: State University of New York Press, 1997.

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9

Engendering the subject: Gender and self-representation in contemporary women's fiction. Albany: State University of New York Press, 1991.

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10

Double visions: Women and men in modern and contemporary Irish fiction. Syracuse, N.Y: Syracuse University Press, 1999.

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Частини книг з теми "Irish women's literary fiction"

1

Wu, Yen-Chi. "Austerity, Irish Literary Tropes,and Claire Keegan's Fiction." In Austerity and Irish Women's Writing and Culture, 1980–2020, 177–92. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003207474-14.

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2

Magennis, Caroline. "Northern Irish Fiction." In The Routledge Companion to Twenty-First Century Literary Fiction, 190–98. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge companions to literature series: Routledge, 2019. http://dx.doi.org/10.4324/9781315880235-18.

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3

O’Neill, Margaret. "Celtic Tiger Saga Fiction." In Austerity and Irish Women's Writing and Culture, 1980–2020, 193–206. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003207474-15.

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4

Meyer, Michael. "Feminist Voices: Women's Short Fiction after 1945." In A Companion to the British and Irish Short Story, 342–55. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444304770.ch28.

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O’Toole, Tina. "The (Irish) New Woman: Political, Literary, and Sexual Experiments." In The History of British Women's Writing, 1880-1920, 23–34. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-39380-7_2.

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6

Phipps, Gregory. "“She Told Them About Her Trips to the Horizon”: Creative Democracy in the Short Fiction of Zora Neale Hurston." In Narratives of African American Women's Literary Pragmatism and Creative Democracy, 213–37. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01854-2_8.

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7

Brady, Deirdre F. "“A Wild Field to a Later Generation”." In Literary Coteries and the Irish Women Writers' Club (1933-1958), 77–126. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622461.003.0004.

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Chapter Three examines the body of works awarded the prestigious ‘Book of the Year’ literary prize by the Women Writers’ Club. The prize operated as a means of celebrating women’s writing, marketing books and fostering the identity of this professional and creative club in the cultural marketplace. Over twenty-five years, fifteen prizewinning books were chosen from a diverse range of genres including fiction, history, modernist poetry, children’s fiction, plays and travel writing. This chapter examines the role of the reading committee in constructing an alternative canon of literature advancing a concept of contemporary feminist thought which was radical, non-conformist and ahead of its time. The texts which won The Book of the Year are explored thematically to unearth issues which reflect the social, political, and ideological concerns of the period.
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Clarke, Clare. "‘I simply write it to order’: L. T. Meade, Sisters of Sherlock, and the Strand Magazine." In Women, Periodicals and Print Culture in Britain, 1830s-1900s, 470–82. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433907.003.0030.

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Clare Clarke’s essay illuminates the adroit professionalism of the Irish author, journalist, and editor L. T. Meade (1844–1914) in the context of the extensive catalogue of detective fiction she contributed to the Strand Magazine (1891–1950). Meade’s foray into the detective genre followed an enormously successful period of writing novels for girls, as well as a stint at editing the girls’ magazine Atalanta (1887–98). As Clarke demonstrates, this radical departure from her literary focus on girls’ print culture is indicative of Meade’s ‘market acuity, her ability to produce precisely those genres which were in demand by periodical editors–in her own terms, her ability to give a literary editor “what his public want[s]”’ (p. 474). Meade’s talent for tapping into market trends and producing copy that catered to the tastes of readers ultimately secured her position as a regular contributor in the male-dominated Strand Magazine.
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9

Rastogi, Pallavi. "Women's Fiction and Literary (Self-) Determination." In The Cambridge Companion to British Black and Asian Literature (1945–2010), 77–94. Cambridge University Press, 2016. http://dx.doi.org/10.1017/cco9781316488546.005.

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10

Behrendt, Stephen. "Mary Tighe in Life, Myth, and Literary Vicissitude." In A History of Irish Women's Poetry, 127–41. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108778596.008.

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Тези доповідей конференцій з теми "Irish women's literary fiction"

1

Trein, Fernanda, and Taíse Neves Possani. "Literature As a Mean of Self-knowledge, Liberation, and Feminine Empowerment: The Legacy of Clarice Lispector." In 13th Women's Leadership and Empowerment Conference. Tomorrow People Organization, 2022. http://dx.doi.org/10.52987/wlec.2022.004.

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Abstract: Access to books and literature is, above all, a human right. The acts of reading, creating, and fictionalizing are in themselves, acts of power. Accordingly, literature is a well-respected necessity in society; therefore, a universal human need. Thus, denying women the right to literature is also a form of violation. In this presentation, the author aims to reflect not only on literature by female authors but also its importance in the process of constructing women's subjectivity and identity, whether in reading fiction or in its production. To reflect on women's right to read and write literature, as well as their way of expressing their perception, anxieties, and ways of understanding the world, this presentation proposes a literary analysis of texts by the Brazilian writer Clarice Lispector. Her works evidence the potential of bringing light to the processes of self-knowledge and freedom. These processes can be ignited because these texts can trigger the process of self-awareness and can then generate female empowerment. By reading Clarice Lispector's writing, it remains clear that she reveals human dramas specific to the female universe, as she opens up possibilities for readers to know themselves as women and to project themselves as producers of literature. It would seem that these realities are founded worlds and realities apart from those that dominated male perceptions during the 1950s to 1970s when she was writing; however, many of those predominant male perceptions prevail in today’s contemporary society. Keywords: Women's Writing; Reception; Self knowledge; Clarice Lispector; Empowerment.
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