Unbecoming Women: British Women Writers and the Novel of Development. Susan Fraiman.

1993 ◽  
Vol 24 (4) ◽  
pp. 250-251
Author(s):  
Elizabeth Langland
Keyword(s):  
Women Writers ◽  
The Novel

A Room of One’s Own, Woolf’s “little book on poetry”

2021 ◽  
pp. 107-135
Author(s):  
Emily Kopley
Keyword(s):  
Women Writers ◽  
Young Women ◽  
Women Poets ◽  
The Novel ◽  
English Studies ◽  
The Real ◽  
Experimental Works ◽  
Per Se ◽  
Room Of One's Own ◽  
The Prestige

In several essays concurrent with her major experimental works of the 1920s, Woolf proclaims that the novel will usurp the tools and the place of poetry. Most important among these essays is the book-length A Room of One’s Own (1929). Here Woolf identifies the lack of poet foremothers available as models to women writers. She urges young women to fill this gap by writing not poetry per se, but rather prose whose greatness qualifies it as “poetry.” Woolf wants to gain for prose, and by extension women writers, the prestige historically accorded to verse. This chapter sketches the historic link among English Studies, poetry, and patriarchy. This link contributed to Woolf’s vision of the novel as the democratic, feminist alternative to poetry. It also spurred her subtle challenge in A Room of One’s Own to Sir Arthur Quiller-Couch, who had doubted women’s ability to write poetry. This chapter concludes by considering the real women poets who inspired Woolf’s fiction of Judith Shakespeare.

Pain of Privacy

2020 ◽  
pp. 110-132
Author(s):  
Susmita Roye
Keyword(s):  
Nineteenth Century ◽  
Women Writers ◽  
Muslim Women ◽  
The Other ◽  
The Novel ◽  
Gradual Rise ◽  
Prescriptive Authority ◽  
British Raj ◽  
Women’S Representation ◽  
Western Imagination

If the rite of widow-immolation fired Western imagination at the turn of the nineteenth century, then purdah (life in seclusion) held captive the West’s attention at the turn of the twentieth. Purdah took on a special connotation especially during the British Raj. With the gradual rise of the novel ideas of nationhood across religions, languages or cultures of the subcontinent, purdah became more than the sceptre of male prescriptive authority for upholding religious/cultural precepts of a community. It became further charged as the confrontational ground of conflicting authority—for one race to rule and for the other to forge its identity as a self-ruling nation. Not only is women’s representation of purdah in their writings considered more authentic but they also often challenge the stereotyping of a purdahnashin and reject the broad-brushed, mono-toned portrayal of their existence. Although Hindus too practised purdah of a sort, this chapter focuses on two Muslim women writers (Rokeya Sakhawat Hossain and Iqbalunnissa Hussain).

Unbecoming Women: British Women Writers and the Novel of Development

1994 ◽  
Vol 13 (2) ◽  
pp. 404
Author(s):  
Kristin Flieger Samuelian ◽  
Susan Fraiman
Keyword(s):  
Women Writers ◽  
The Novel

scholarly journals Recent Contributions to the Irish Novel by Sara Baume, Anna Burns and Eleanor O’Reilly: On Language, Words and Wordlessness

Oceánide ◽  
2020 ◽  
Vol 13 ◽  
pp. 85-94
Author(s):  
Margarita Estévez-Saá
Keyword(s):  
Women Writers ◽  
Local Communities ◽  
The Novel ◽  
Female Characters ◽  
Unstable Condition ◽  
The Past ◽  
The Family ◽  
The World ◽  
Irish Women ◽  
Identity Crises

The purpose of this contribution is to study three young writers who have offered, in the past three years, in a distinctively new voice, further instances of the Irish writers’ endless ability to experiment with the form of the novel. Sara Baume’s "A Line Made by Walking" (2017), Anna Burns’s "Milkman" (2018), and Eleanor O’Reilly’s "m for mammy" (2019) are three representative instances of the potential of the form of the novel in the hands of Irish women writers. Each of these novels deserve a study in its own due to their complexity and interest, but analysing them together offers us a unique opportunity to assess the thriving state of novel writing in Ireland, especially in the hands of Irish women writers.The three novels object of our study deal with identity crises, and they similarly represent their protagonists as struggling against society and its structures, be it the family, local communities, the world of art, nature or politics. Furthermore, the three authors have been able to devise alternative narrative styles, techniques and even endings that enabled them to render the complexities of the topics dealt with as well as to represent the unstable condition of their protagonists. In addition, Baume, Burns and O’Reilly have significantly chosen as protagonists female characters with artistic or intellectual aspirations who allow the authors to endow their respective narratives with metaliterary meditations on the possibilities as well as limits of language, words and wordlessness.

scholarly journals Unravelling compulsory happiness in exile: Cristina Peri Rossi’s The Ship of Fools

2018 ◽  
Vol 20 (1) ◽  
pp. 55-72
Author(s):  
Natasha Tanna
Keyword(s):  
Women Writers ◽  
Positive Affect ◽  
Latin American ◽  
The Novel ◽  
American Women Writers ◽  
American Women ◽  
Biblical Story ◽  
The Creation ◽  
Latin American Women Writers

A number of feminist critics of Latin American women writers in exile have suggested that women in exile may flourish as they are freed from the traditional gender restrictions imposed on them in their home countries. In this article I reexamine the association of exile with liberation through analysing Cristina Peri Rossi’s 1984 novel La nave de los locos ( The Ship of Fools) in the light of the tension between Rosi Braidotti’s Deleuzian affirmation of feminism as a ‘joyful nomadic force’ (1994: 8) and Sara Ahmed’s critique of compulsory happiness (2010). Peri Rossi juxtaposes the prescriptive worldview of the captivating medieval ‘Tapestry of the Creation’ in the Cathedral of Girona in Catalonia, which depicts the Biblical story of Genesis, and the diasporic and unpredictable wanderings of the protagonist Ecks on his journey to feminist enlightenment. I argue that while the novel seems to champion nomadic subjectivity, it also highlights the deceptive charm of imperative positive affect that may function as a disciplinary force, compelling subjects to follow a conventional path in life, and invalidating those who ‘stray’ from it. My reading of the novel calls for a nuanced approach to exile and diaspora that takes into account wider questions of the privilege and ease of movement – or, indeed, settling – enjoyed by or denied to various subjects.

Gender and Genre in the Works of German Romantic Women Writers

2016 ◽  
Author(s):  
Astrid Weigert
Keyword(s):  
Women Writers ◽  
Literary Criticism ◽  
Religious Affiliation ◽  
German Romanticism ◽  
The Novel ◽  
Level Of Education ◽  
Vital Part ◽  
Lifestyle Choices ◽  
Gender And Genre

What’s in a name, or, more specifically, what’s in the name of a female German Romantic author? Far from being an idle question, a closer look at the specifics of women’s names in general and German Romantic women writers, in particular, provide important clues about class, ethnicity, religious affiliation, level of education, and unconventional lifestyle choices, to name only the most obvious. The female Romantic authors discussed in this chapter—Dorothea Veit-Schlegel, Sophie Mereau-Brentano, Karoline von Günderrode, Rahel Varnhagen, and Caroline Schlegel-Schelling—constitute a vital part of German Romanticism. Their contributions span all genres characteristic of the period: the novel, literary criticism, poetry, drama, and letters. In each of these areas, they expand our traditional notions of German Romanticism.

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