scholarly journals ARNDT Susan, African Women's Literature : Orature and Intertextuality. Igbo Oral Narratives as Nigerian Women Writers' Models and Objects of Writing Back. Translated by Isabel Cole. Bayreuth African Studies n°48, 1998, 410 p., bibl, index

2002 ◽  
pp. 76
Author(s):  
Alexie Tcheuyap
Keyword(s):  
Women Writers ◽  
Women's Literature ◽  
Oral Narratives ◽  
African Studies ◽  
Nigerian Women

“The Other Voice”

2016 ◽  
Vol 96 (2) ◽  
pp. 230-252
Author(s):  
Dorit Gottesfeld
Keyword(s):  
Women Writers ◽  
Women's Literature ◽  
The Other ◽  
The Political ◽  
Female Self ◽  
Palestinian Women ◽  
Political Reality ◽  
Female Presence ◽  
New Generation ◽  
National Reality

This article examines two anthologies of Palestinian women’s literature, published in Ramallah in the 1990s. Its objective is to map the writing trends of new generation Palestinian women writers whose works appear in the anthologies and to highlight the factors and constraints that influence their writing. The article reveals that while only a few stories focus wholly on a description of the female “self”, most of the stories relate to the Palestinian political reality in two principal ways: one which blurs the female presence almost completely, second which portrays the interaction between the political-national reality and the “female” reality. The article also illustrates how the nature of Palestinian women’s literature is influenced by the location of the writer and also by the extent of her desire to be “accepted” culturally and so to be included in anthologies such as those under discussion.

scholarly journals THE DEVELOPMENT OF WOMEN'S LITERATURE IN CHINA IN THE FIRST HALF OF THE XX CENTURY

2020 ◽  
pp. 44-48
Author(s):  
Shukriya Nazirova Miadovna
Keyword(s):  
Women Writers ◽  
Social Life ◽  
Women's Literature ◽  
Chinese Literature ◽  
Mao Zedong ◽  
Important Place ◽  
History Of ◽  
Women Literature ◽  
Revolutionary Movements ◽  
In The Beginning

This research is about the development of an important part of Chinese literature -women’s literature in XX century. In the beginning of XX century the number of women writers who wrote fiction works increased rapidly. The uneasy situations of the country such as revolutionary movements in the beginning of XX century, China-Japan war, monopole government of Mao Zedong, persecuting the democratic movements, deporting intelligent people to the “re-educating” camps and other conditions were not able to obstacle the women to enter the literature world. On the contrary, interfering of women in social-politic life of the country got stronger in the second part of the XX century. The various movements of women, journals and newspapers and societies of women were organized. The role of women in social life became more noticeable and women literature developed more. Women writers such as Bin Sin, Lin Shukhua, Lu In, Din Lin, Syao Khun, Shi Pinmey, Dzao Min, Lyui Bichen, Chjan Aylin got an important place in social-politic and moral-cultural life of the country with their works. Many of these women participated actively in literary processes and public events. In this article some of the mentioned women writers’ life and work will be discussed in detail. The women writers mentioned in this article are confessed not only in China, but also in the world’s literature. The problems risen in women’s works, the real events described by them play a significant role in gaining more knowledge about the history of China in the first half of XX century and enriching our imaginations regarding to literature processes. KEY WORDS: Literary ideology of Mao Zedong, women’s literature, Bin Sin, children literature, Diaries “Letters for little pupils”, Chzan Aylin.

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

scholarly journals Ortese and the theory of difference in Il porto di Toledo

altrelettere ◽  
2017 ◽  
Author(s):  
Cosetta Seno
Keyword(s):  
Women Writers ◽  
Sexual Difference ◽  
Women's Literature ◽  
Symbolic Order ◽  
Feminist Movement ◽  
Anna Maria Ortese ◽  
The Creation

Anna Maria Ortese is considered today as one of the greatest women writers of all times. This essay analyzes her contribution to Italian Women’s Literature within the context of her relationship with two major waves of the Italian Feminist Movement: that of the 1970s, centered mainly on the idea of equality, and that of the 1980s, centered on the idea of sexual difference. While writing her  autobiography Il porto di Toledo Ortese became aware that the very experience of reality, centered on sexual difference, had to be reassessed and, consequently a new feminine language had to to be conceived. The contributions made by Ortese in Toledoproved to be invaluable in the creation of a new feminine language, distant from the Lacanian symbolic order and capable to express the experience of reality in a new and unique way.

Introduction

2017 ◽  
Author(s):  
Elizabeth Fallaize
Keyword(s):  
Women Writers ◽  
Women's Literature ◽  
Early Stage ◽  
The Subject ◽  
Women Of Letters ◽  
Lecture Tour

“Problèmes de la littérature féminine” (Problems for women’s literature) and “Femmes de lettres” (Women of letters) constitute the two halves of a substantial article on French women writers that Beauvoir wrote and published during her lecture tour of America, in the spring of 1947. The article, which has come to light only in the course of the preparation of this volume, throws light on Beauvoir’s thinking on the subject of women writers at an early stage of her work on ...

Japanese Harlequin Romances as Transcultural Woman's Fiction

1989 ◽  
Vol 48 (1) ◽  
pp. 50-70 ◽  
Author(s):  
Chieko Irie Mulhern
Keyword(s):  
Women Writers ◽  
Nathaniel Hawthorne ◽  
Women's Literature ◽  
American Women ◽  
Postwar Japan ◽  
Generic Term ◽  
Romance Fiction ◽  
Best Sellers ◽  
The 1960S ◽  
Full Century

My country “is now wholly given over to a d—d mob of scribbling women,” goes one of the most frequently quoted gender-related adages. Japanologists might be tempted to attribute this uncourtly utterance to a learned nobleman of Heian Japan (794–1185) embittered by the outpouring of vernacular narratives from women's writing brushes that were eclipsing male endeavors to emulate Chinese classics, or to an exasperated modern Japanese novelist in reference to the neo-Heian phenomenon, namely, the renaissance of women's literature in postwar Japan. Actually it was Nathaniel Hawthorne (1855:141) who made the now infamous sexist remark in chagrin at American women who were churning out best-sellers in force. Thereafter, this phenomenon abated for a full century, but since the 1960s, Western women writers have made a glorious resurgence, marked by unprecedented degrees of output and worldwide market domination in a genre known as the romance fiction. The title of the first romance series and the name of its publisher, Harlequin, has become something like a generic term with multiple signification.

Imprisonment, freedom, and literary opacity in the work of Nawal El Saadawi and Assia Djebar

2010 ◽  
Vol 11 (2) ◽  
pp. 171-187
Author(s):  
Jane Hiddleston
Keyword(s):  
Women Writers ◽  
Women's Literature ◽  
Assia Djebar ◽  
Aesthetic Form ◽  
Direct Form ◽  
The Face ◽  
History Of ◽  
Core Issue ◽  
Colonial Oppression ◽  
The Right

In her astute study of contemporary Arab women writers, Anastasia Valassopoulos begins by noting the pitfalls of much existing criticism of writers such as El Saadawi and Djebar in the West. Citing Amal Amireh’s article on the fraught history of the reception of El Saadawi in Egypt and in Europe, Valassopoulos comments that Arab women’s literature tends to be seen as ‘documentary’, and this obscures the ‘core issue of representation’ as it is explored and challenged by women writers. In the face of this omission, the present article explores a selection of works by El Saadawi and Djebar from an aesthetic perspective. El Saadawi and Djebar use literary writing as a means to escape the constraints placed upon them by patriarchy, as well as by colonialism, and uphold creativity and poetry as a possible release from imprisonment. This article also uses Glissant’s and Bhabha’s concepts of literary opacity and the right to narrate as a partial framework for a reading of the relation between writing, freedom and aesthetic form in the works of El Saadawi and Djebar. El Saadawi and Djebar purposefully deploy a form of self-effacement, both in their autobiographical representations and in their portraits of female characters, also akin to Trinh Minh-ha’s strategy in Woman, Native, Other. Minh-ha’s dissemination of the writing voice, and the affirmation of collective solidarity between multiple but internally fragmentary feminist positions, serves, then, as a further theoretical backdrop for El Saadawi’s and Djebar’s use of opacity and the right to narrate as tools in an active feminist resistance to sexist and racist discourses. Both El Saadawi and Djebar use their writing to conceive women’s liberation from various forms of imprisonment, and they figure women’s fractured, convoluted and at times opaque self-expression as a direct form of resistance to both patriarchal and colonial oppression.

Virginia Woolf’s Reception and Impact on Brazilian Women’s Literature

2020 ◽  
pp. 246-266
Author(s):  
Maria A. de Oliveira
Keyword(s):  
Women Writers ◽  
Virginia Woolf ◽  
Women's Literature ◽  
First Century ◽  
Clarice Lispector ◽  
Colonial Discourse ◽  
Transnational Modernism ◽  
Lucia Miguel Pereira ◽  
The Waves ◽  
Lygia Fagundes Telles

This chapter discusses Woolf’s reception in Brazil as revealed through the work of Brazilian women writers. As a theoretical framework, the chapter relies on a transnational approach including Jessica Berman’s Modernist Commitments: Ethics, Politics and Transnational Modernism; Chandra Talpade Mohanty’s ‘Under Western eyes: Feminist scholarship and colonial discourse’, Gayatri C. Spivak’s article ‘Can the subaltern speak?’ and Pelogia Goulimari’s Women Writing Across Cultures. The chapter traces the waves of feminism in Brazil over the decades, examines Woolf’s surge of popularity in Brazil following the publication of Brenda Silver’s Virginia Woolf Icon (1999), and analyses Woolf’s impact on multiple Brazilian women writers: Tetrá de Teffé (1897–1995), Lucia Miguel Pereira (1901–59), Clarice Lispector (1920–77), Carolina Maria de Jesus (1914–77), Ana Cristina Cesar (1952–83), Lygia Fagundes Telles (1923–), Hilda Hilst (1930–2004), Sônia Coutinho (1939–), Adriana Lunardi (1964–), Luiza Lobo (1948–) and Hilda Gouveia de Oliveira (1946–). By the twenty-first century, Woolf’s work has become truly global. Woolf died more than sixty years ago, but her texts are still alive, and she is still moving and inspiring other women writers, to the point that we can talk about a multiplicity of Woolfs.

scholarly journals “Mirrors of Alienation”: West Bank Palestinian Women’s Literature after Oslo

1970 ◽  
Vol 13 ◽  
pp. 22-40
Author(s):  
Dorit Gottesfield
Keyword(s):  
Women Writers ◽  
Women's Literature ◽  
West Bank ◽  
Geographical Location ◽  
The West ◽  
Oslo Accords ◽  
First Intifada ◽  
Style Of Writing ◽  
New Generation ◽  
East Jerusalem

This article examines what characterizes the writing of three prominent young women writers from the West Bank whose work was published in the period following the first intifada and the Oslo accords: Hālah al-Bakrī from East Jerusalem, Amānī al-Junaydī from Hebron, and ʿĀʾishah ʿŪdah from Ramallah.The article shows how those new generation authors succeed in diverging from the ideological style of writing that was characteristic of the West Bank’s women writers who preceded them, while continuing to “exploit” their geographical location and voice the unique reality of life in the West Bank. It shows how these writers gaze as women (“others”) upon the reality and how they create an alternative version of reality and also of the past.

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