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Search Results: 1 - 10 of 44587 matches for " women's writing "
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altrelettere : rivista di critica letteraria sulla scrittura delle donne in Italia
Dacia Maraini
altrelettere , 2012, DOI: 10.5903/al_uzh-5
Abstract: Article for the opening of altrelettere written by Dacia Maraini.
La escritura femenina espa ola del siglo XVI y los paradigmas usados por Beatriz Bernal en "Cristalián de Espa a"
Elami Ortiz-Hernán Pupareli
Tirant : Butlletí Informatiu i Bibliogràfic de Literatura de Cavalleries , 2009,
Abstract: Sixteenth Century female writers, when pursuing their own space of creation, used to adopt paradigms established by male authors. In doing so, female writers worked with different tools. Beatriz Bernal did the same when writing her Romance of Chivalry, Cristalián de Espa a. In this article, Beatriz Bernal s novel is analyzed from several points of view, such as the concept of polyphony, according to Bajtin, female s body deconstruction, according to Derrida and Ricouer concepts, and the authoress-reader-writer conception, following María Carmen Marín.
Nelson Rodrigues escribe como mujer
Luque, Cecilia Inés;
Cadernos Pagu , 2012, DOI: 10.1590/S0104-83332012000100012
Abstract: rodrigues signed his heteronym's name - suzana flag- on the autobiographical melodrama minha vida [my life]. the masked authorship and the transvestite enunciation of this text naturalize the ideological effects of the love story, but also poses -perhaps unintentionally- a critical view of the related process of producing a feminine subjectivity and a parody of the resulting ideal of woman. the analysis of the contradictory characteristics of this text reveals the limitations of the category of "women's literature" and suggests the pertinence of replacing it with that of "writing like (or as) a woman".
L’ uvre romanesque de Calixthe Beyala et la problematique d’une écriture africaine au féminin
Jean Soumahoro Zoh
Intercambio , 2009,
Abstract: Prolific (she has published fourteen novels from 1987 to 2007 and two essays), Calixthe Beyala has become one of the most important novelists of the African women's literature. What strikes the reader in the first approach of her works is, among other details, the presence of a female subjectivity trying to express itself, the permanence of Women, Women and body. By this way of writing, close to what great women writers do and theorists of women's literature deal with, we can state that it illustrates feminine writing.
La voie/voix féministe durassiene
Julie Beaulieu
Intercambio , 2009,
Abstract: : Marguerite Duras has always refused to be seen as belonging to a particular group or movement. Nevertheless, reading her complex work (text, drama, film), we find out a feminist project and voice at the same time. This paper proposes a reading of part of the author’s corpus following the narrow links between her life (autobiography), politics (feminist project) as well as her aesthetics (writing).
Memorable Fiction. Evoking Emotions and Family Bonds in Post-Soviet Russian Women’s Writing
Marja RYTK?NEN
Argument : Biannual Philosophical Journal , 2012,
Abstract: This article deals with women-centred prose texts of the 1990s and 2000s in Russia written by women, and focuses especially on generation narratives. By this term the author means fictional texts that explore generational relations within families, from the perspective of repressed experiences, feelings and attitudes in the Soviet period. The selected texts are interpreted as narrating and conceptualizing the consequences of patriarchal ideology for relations between mothers and daughters and for reconstructing connections between Soviet and post-Soviet by revisiting and remembering especially the gaps and discontinuities between (female) generations. The cases discussed are Liudmila Petrushevskaia’s ‘povest’ Vremia noch [The Time: Night] (1991), Liudmila Ulitskaia’s novel Medeia i ee deti [Medea and her Children] (1996) and Elena Chizhova’s novel Vremia zhenshchin [The Time of Women] (2009). These novels reflect on the one hand the woman-centredness and novelty of representation in women’s prose writing in the post-Soviet period. On the other hand, the author suggests that they reflect the diverse methods of representing the Soviet era and experience through generation narratives. The texts reassess the past through intimate, tactile memories and perceptions, and their narration through generational plots draws attention to the process of working through, which needs to be done in contemporary Russia. The narratives touch upon the untold stories of those who suffered in silence or hid the family secrets from the officials, in order to save the family. The narration delves into the different layers of experience and memory, conceptualizing them in the form of multiple narrative perspectives constructing different generations and traditions. In this way they convey the ‘secrets’ hidden in the midst of everyday life routines and give voice to the often silent resistance of women towards patriarchal and repressive ideology. The new women’s prose of the 1980s–90s and the subsequent trend of women-centred narratives and generation narratives employ conceptual metaphors of reassessing, revisiting and remembering the cultural, experiential, and emotional aspects of the past, Soviet lives.
CONFIGURACIóN DEL YO Y POLíTICAS DE GéNERO EN LA HYBRIS DE ALICIA GENOVESE
Salomone,Alicia;
Revista chilena de literatura , 2009, DOI: 10.4067/S0718-22952009000200006
Abstract: this article aims to analyze la hybris (2009), a poetry book by the argentine writer alicia genovese, considering the configuration of the lyric subject as well as the gender politics developed in the text. in this frame, it is relevant to observe the role of intertextuality, in particular, the dialogue established between the tradition of classic tragedles and the poems' discourses. the hypotesis ofthis work mantains that, referring to greek tragedy, the poems may confront a present that is perceived both complex and confused. on the other hand, intertextuality functions as a way to give support and legitimacy to a lyric voice that not only aims to expose the fury caused by pain but also aspires to canalize her feelings productively.
VIRGINIA WOOLF EN LOS TESTIMONIOS DE VICTORIA OCAMPO: TENSIONES ENTRE FEMINISMO Y COLONIALISMO
Salomone,Alicia;
Revista chilena de literatura , 2006, DOI: 10.4067/S0718-22952006000200004
Abstract: this article reviews a series of essays by the argentine writer victoria ocampo (1890-1979) in which she deals with the relationship that bound her to virginia woolf, her main referent in literary and feminist terms. from postcolonial theoretical perspectives, an interpretation of ocampo's texts is made, while noticing the limits that the colonialist cosmic vision imposed not only on her dialogues with woolf but on the development of her own writing
Identity, sex and 'women's writing' in French poststructural feminism
Sekuli? Nada
Sociologija , 2010, DOI: 10.2298/soc1003237s
Abstract: The paper discusses political implications of the feminist revision of psychoanalysis in the works of major representatives of 1970s French poststructuralism, and their current significance. The influence and modifications of Lacan's interpretation of imaginary structure of the Ego and linguistic structure of the unconscious on explanations of the relations between gender and identity developed by Julia Kristeva, Luce Irigaray and Héléne Cixous are examined. French poststructuralist feminism, developing in the 1970s, was the second major current in French feminism of the times, different from and in a way opposed to Simone de Beauvoir's approach. While de Beauvoir explores 'women's condition' determined by social and historical circumstances, French feminists of poststructuralist persuasion engage with problems of unconscious psychological structuring of feminine identity, women's psychosexuality, theoretical implications of gendered visions of reality, especially in philosophy, semiology and psychology, as well as opening up new discursive possibilities of women's and feminine self-expression through 'women's writing'. Political implications of their approach have remained controversial to this day. These authors have been criticized for dislocating women's activism into the sphere of language and theory, as well as for reasserting the concept of women's nature. Debates over whether we need the concept of women's nature - and if yes, what kind - and over the relation between theory and political activism, have resulted in the split between the so-called 'essentialist' and 'anti-essentialist' approaches in feminist theory, and the subsequent division into American (non-essentialist) and French (partly labeled as essentialist) strands. The division is an oversimplification and overlooks concrete historical circumstances that produced the divergence between 'materialist' and 'linguistic' currents in France.
Une quête d’identité par le détour : ''Dans ces bras-là'', de Camille Laurens
Dominique Almeida Rosa de Faria
Intercambio , 2009,
Abstract: Scholarly linking between autobiographical elements, fiction, and diversion of conventions are characteristic of Camille Laurens’work. Dans ces bras-là (2000) can be described as a search for identity by the detour of the other. Indeed, the novel is built on three dichotomous relations namely autobiography-fiction, woman-man and writing-oral language. The result is a complex and deep look at Camille Laurens’ identity: a woman, an author, but also the narrator of a narrative
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