scholarly journals Les héritières. Les écrivaines d’aujourd’hui et les féminismes

1969 ◽  
Author(s):  
Audrey Lasserre
Keyword(s):  
Women Writers ◽  
Contemporary Literature ◽  
Literary Field ◽  
Literary Magazine ◽  
The Feminine ◽  
Polar Figure

À partir de l’analyse des dossiers du Matricule des Anges, magazine littéraire français dédié à la littérature contemporaine, Audrey Lasserre propose d’interroger l’héritage et le positionnement féministes des écrivaines d’aujourd’hui. Envisagée par l’examen précis des lectures convoquées, la part affirmée des féminismes littéraires, tout comme celle d’ailleurs des féminismes en général, révèle leur peu d’autorité dans le champ littéraire actuel. De fait, les romancières, loin de revendiquer un héritage féministe, fût-il pluriel, semblent avoir intégré, en matière de scénario auctorial du moins, une règle du jeu littéraire : le féminin est une figure polaire répulsive disqualifiant la littérarité.AbstractBased on the analysis of documents from Matricule des Anges, a French literary magazine dedicated to contemporary literature, Audrey Lasserre proposes to question the feminist heritage and the positioning of women writers today. Envisioned by the precise examination of the mentioned readings, the asserted part of literary feminisms, as well as that of other feminisms in general, reveals how little authority they have within the current literary field. In fact, far from claiming a feminist heritage, be it plural, novelists seem to have integrated, in terms of auctorial scripts, a rule of the literary game: the feminine is a repulsive polar figure disqualifying literarity.

The Progress of Feeling: The Ossian Poems and Adam Smith’s Theory of Moral Sentiments

2015 ◽  
Author(s):  
JoEllen DeLucia
Keyword(s):  
Women Writers ◽  
Social Development ◽  
Historical Change ◽  
Scottish Enlightenment ◽  
Moral Sentiments ◽  
Historical Progress ◽  
The Feminine ◽  
And Gender ◽  
The Relationship ◽  
Theory Of Moral Sentiments

This chapter examines the relationship between time, feeling, and gender in two foundational texts of the Scottish Enlightenment, the Ossian poems and Adam Smith’s Theory of Moral Sentiments. It contends that Macpherson and Smith created a temporal map of emotion that gauged social development from “primitive” to “developed” cultures and offered women writers and Scottish philosophers a new field upon which they could experiment with the relationship between gender and historical progress. Despite their obvious differences, Macpherson and Smith used women’s social status and the feminine values they were thought to impart to their male counterparts as tools for charting, evaluating, and questioning emerging theories of historical change. The ambiguity surrounding feminine sentiments’ placement in these Scottish Enlightenment narratives of historical progress creates the foundation for the following chapters, which trace women writers’ engagement with the theories of feeling and historical progress articulated by these two influential writers.

‘The Enjoyment of Literature’: Women Writers and the ‘Battle of the Brows’

Time and Tide ◽  
2018 ◽  
pp. 177-208
Author(s):  
Catherine Clay
Keyword(s):  
Women Writers ◽  
Women's Writing ◽  
Cultural Field ◽  
The Feminine ◽  
The Status ◽  
Women’S Writing

This chapter picks up and extends arguments advanced earlier in the book regarding the status of women’s writing and criticism during the years of modernism’s cultural ascendancy and academic institutionalisation. In the contexts of (1) a newly configured ‘University English’ which took an authoritative new role in the cultural field against an earlier belle-lettres tradition, and (2) the unprecedented prestige of middlebrow fiction in the 1930s, the chapter explores how Time and Tide navigated increasing tensions between ‘highbrow’ and ‘middlebrow’ spheres and succeeded in straddling both. First the chapter discusses the introduction in 1927 of a new ‘Miscellany’ section of the paper – home to E. M. Delafield’s popular serial ‘The Diary of a Provincial Lady’ – and argues that these columns created and legitimised a place for the ‘feminine middlebrow’ and amateur writer as the periodical increased its orientation towards the highbrow sphere. Second, with reference to the appointment of Time and Tide’s first two literary editors, the chapter discusses how the periodical negotiated a widening gap in this period between intellectual and general readers, and between amateur and professional modes of criticism.

Woolf’s Imaginarium: Exploring Virginia Woolf’s Legacy to Contemporary Polish Culture

2018 ◽  
Author(s):  
Paulina Pająk
Keyword(s):  
Women Writers ◽  
Comparative Literature ◽  
Contemporary Literature ◽  
Feminist Studies ◽  
Women Intellectuals ◽  
The Third ◽  
Third Phase ◽  
Patriarchal Society ◽  
Polish Culture ◽  
A Minor

In recent years, the popularity of Virginia Woolf’s oeuvre has substantially increased in Poland. There has been little prior attempt to explain this phenomenon, although it could be beneficial to comparative literature and feminist studies. Therefore, the aim of the paper is to examine the significance of Virginia Woolf’s legacy to contemporary Polish culture, as well as the possible causes of the “Woolf’s Renaissance”. As Urszula Terentowicz-Fotyga has pointed out, until the late 1980s., Woolf remained relatively unknown and perceived as a minor modernist writer. Yet, the third phase of her reception (1990s-present) has brought a significant change, which finally led to the outburst of translations and popularity of Woolf’s works. One result of this “Woolf’s Renaissance” is the influence of Woolf’s legacy on contemporary literature and feminism in Poland. Woolf’s imaginairum has inspired many women writers, such as Joanna Bator, Sylwia Chutnik, Izabela Morska, and Maria Nurowska. It would seem that the popularity of Woolf among Polish women intellectuals stems from the similarity between her opposition to Victorian patriarchal society and their resistance against the radical Catholic conservatism and nationalism in Poland. Besides, the polyphony of Woolf’s oeuvre and the complexity of her biography invite the writers to enter the intertextual dialogue with the author.

In the Feminine Mode: Essays on Hispanic Women Writers

1995 ◽  
Vol 90 (2) ◽  
pp. 473
Author(s):  
Jo Labanyi ◽  
Noel Valis ◽  
Carol Maier
Keyword(s):  
Women Writers ◽  
Hispanic Women ◽  
The Feminine

scholarly journals La crítica literaria sobre escritoras colombianas a partir de los años ochenta

2016 ◽  
Vol 10 (1) ◽  
pp. 59
Author(s):  
Adriana Rosas Consuegra
Keyword(s):  
Women Writers ◽  
Latin America ◽  
Literary Criticism ◽  
Women's Literature ◽  
Gender Perspective ◽  
Out Of The Loop ◽  
The Feminine ◽  
Colombian Women ◽  
Marvel Moreno ◽  
Over Time

Resumen: Los ochenta son considerados como la épocadel “boom” femenino y en Latinoamérica se empieza areconocer la historia de la literatura de mujeres que habíapermanecido en estantes y fuera del circuito del canonliterario. Sin embargo, en Colombia la crítica literaria nose acercó a la literatura escrita por mujeres de manera similara como se hizo con la de autores hombres. En variasantologías los nombres femeninos no aparecen, creandoasí un círculo excluyente, que se manifiesta también enlas críticas literarias. El género, desafortunadamente yafortunadamente, todavía debe seguir siendo utilizadohasta que se nivelen las publicaciones, las críticas y loscomentarios sobre escritoras y escritores. Cuando la tablade equivalencias llegue a dar resultados similares ya nohabrá necesidad de hacer las distinciones de género, perohasta que no hayamos llegado a esa meta, se precisanmás estudios y análisis con perspectiva de género quesirvan para acortar las distancias. Cuando se llegue aaquella llamada ‘equidad’, la misma palabra géneropasará desapercibida.Palabras clave: Literatura de mujeres, crítica literariaen Colombia, Marvel Moreno, equidad literaria, géneroLiterary Criticism about Colombian Women WritersStarting in the 80’sAbstract: The eighties are considered the time of the“feminine boom” as in Latin America women’s writing thathad remained on shelves and out of the loop of the literarycanon, begins to be recognized. However, in Colombialiterary criticism did not approach the study of literaturewritten by women as much as it studied that written bymen. In several anthologies female names do not appear,creating an exclusive circle, which is also manifested inliterary criticism. Gender, unfortunately and fortunately,still must be used until the publications, the reviews andcomments on women writers and men writers are equal.When they are equivalent there will be no need to makegender distinctions, but until we reach that goal, furtherstudies and analysis with a gender perspective will beneeded over time. When we arrive at the so-called ‘equity’,the very word gender will go unnoticed.Key Words: Women’s literature, literary criticism inColombia, Marvel Moreno, literary equity, gender

Literature’s Vexed Democratization

2021 ◽  
Author(s):  
Claire Grossman ◽  
Juliana Spahr ◽  
Stephanie Young
Keyword(s):  
Racial Difference ◽  
Contemporary Literature ◽  
Black Writers ◽  
Barriers To Entry ◽  
Literary Field ◽  
Educational Barriers ◽  
Online Technologies ◽  
The Past ◽  
The Us ◽  
History Of

Abstract This article examines the contradictions of the contemporary literary field that appears both increasingly capacious and more exclusionary than in the past. Discussing the expansion of publishing enabled by digital and online technologies, we note that these changes did not reshape the demographics of most published works in the US, which remain overwhelmingly white authored. We then turn to literary prizes as an indicator of who writes prestige literature, narrating the twentieth-century formation of a racially segregated field and its slow changes against the backdrop of publishing overproduction. Combining a history of prestige literary culture with a demographic analysis of prizewinning writers (1918–2019), we discuss how a mostly white, New Critic-dominated field became the much more diverse and wide-ranging scene of the present. While this area has importantly opened up to writers of different backgrounds, our data show that the inequities of earlier prizegiving now take shape as drastic educational barriers to entry. Observing that a great deal of contemporary literature dramatizes the peculiarity of performing racial difference—often under the auspices of white audiences—we argue that the path to “excellence” has never been more narrow for writers who are not white, and Black writers in particular.

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