Motherlands: Black Women's Writing from Africa, the Caribbean and South Asia. Susheila NastaMoorings and Metaphors: Figures of Culture and Gender in Black Women's Literature. Karla F. C. Holloway

Signs ◽  
1994 ◽  
Vol 19 (3) ◽  
pp. 762-765
Author(s):  
Akasha Hull
Keyword(s):  
South Asia ◽  
Women's Literature ◽  
Women's Writing ◽  
The Caribbean ◽  
And Gender ◽  
Women’S Writing

Reshuffling the Deck; Or, (Re)Reading Race and Gender in Black Women's Writing

1988 ◽  
Vol 7 (1) ◽  
pp. 119
Author(s):  
Claudia Tate ◽  
Gloria T. Hull ◽  
Susan Willis ◽  
Calvin C. Hernton ◽  
Hazel V. Carby
Keyword(s):  
Women's Writing ◽  
Race And Gender ◽  
And Gender ◽  
Women’S Writing

scholarly journals Christine de Pizan's The Book of the City of Ladies as reclamatory fan work

2017 ◽  
Vol 25 ◽  
Author(s):  
E. J. Nielsen
Keyword(s):  
Women Writers ◽  
Literary History ◽  
Women's Writing ◽  
Affect Theory ◽  
Fan Studies ◽  
Literary Production ◽  
History Of ◽  
And Gender ◽  
The City ◽  
Women’S Writing

In what ways can medieval texts be looked at as fan works? How might the rhetorical tools of fan studies or affect theory aid in further understanding of these texts? Likewise, can we use medieval understandings of literary production to look at modern fan works in order to complicate our contemporary ideas of authorship? Here I consider how Christine de Pizan's The Book of the City of Ladies (Le Livre de la Cité des Dames) can be read as a reclamatory fan work addressing issues of representation and gender within both the texts it responds to and the larger culture within which the work is situated. Moreover, contextualizing de Pizan's work as fan work can help fan scholars by locating fan studies within a broader literary history. By reframing these earlier works of literature as part of a longer history of women's writing that also involves the works being done today within modalities of fan writing, and by reconsidering fan works as part of a historical continuum of women's writing, we, much as de Pizan herself did, create a theoretical space that historicizes, contextualizes, and indeed valorizes women writers of both fannish and nonfannish works.

Gender and Chinese Translations of Chinese American Women’s Literature: Marital Sexual Violence in Amy Tan’s The Kitchen God’s Wife

2021 ◽  
Vol 30 (3) ◽  
pp. 356-371
Author(s):  
Beibei Tang
Keyword(s):  
Sexual Violence ◽  
Women's Literature ◽  
Women's Writing ◽  
Chinese American ◽  
Gender Issues ◽  
Feminist Perspective ◽  
Source Text ◽  
Gender Consciousness ◽  
Feminist Consciousness ◽  
Women’S Writing

Comparing three Chinese translations of Amy Tan’s novel The Kitchen God’s Wife (1991), this article explores gender issues in Chinese translations of Chinese American women’s literature from a feminist perspective. Using the feminist concept of female alienation, it explores how feminist consciousness and sexual alienation caused by marital sexual violence in the source text are expressed in the Chinese translations, and how far the translations achieve (feminist) translation equivalence. Special attention is paid to the translators’ gender consciousness and ideologies, as reflected in their translations, in order to explore the role played by gender in the translation of women’s writing.

Authorship, ‘Ghost-filled’ Islands and the Haunting Feminine: Contemporary Scottish Female Gothic

2017 ◽  
pp. 222-235
Author(s):  
Monica Germanà
Keyword(s):  
Gender Studies ◽  
Women's Writing ◽  
Biological Sex ◽  
Female Gothic ◽  
The Subject ◽  
And Gender ◽  
Women’S Writing

While scholars are certainly indebted to Ellen Moers’s pioneering work on women’s writing, it would be difficult to agree, with almost four decades of Gothic criticism behind us, that ‘Female Gothic is easily defined’ (1977: 90). The topic has been the subject of contested definitions and critical revisions informed by both the contentious boundaries of the critical category in question, and the changing perspectives in feminist and gender studies (Fitzgerald 2009). While the link between Female Gothic and the biological sex of its authors has been frequently challenged, in one of the most recent works, we are also reminded that ‘Gothic and feminist categories now demand a self-criticism with respect to their totalising gestures and assumptions’ (Brabon and Genz 2007: 7).

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