scholarly journals “THEY ALL KNOW WHAT I AM”: LITERARY REPRESENTATIONS OF WOMEN AND ALCOHOL

2019 ◽  
Vol 2 (XX) ◽  
pp. 85-88
Author(s):  
Wojciech Klepuszewski
Keyword(s):  
Women Writers ◽  
Jean Rhys ◽  
Literary Representations ◽  
British Isles ◽  
Literary Works ◽  
Malcolm Lowry ◽  
Critical Attention ◽  
Fictional Representations ◽  
Representations Of Women ◽  
Thematic Context

Drink literature is something which has been drawing critical attention for a few decades. This is most transparent in the number of studies concerning various attempts to literarise alcohol, in whatever form or genre. What is immediately striking, though, is that most literary works fitting this thematic context are written by male writers, to mention Malcolm Lowry or Charles Jackson, and they usually feature male protagonists. Women seem to be inconspicuous here, both as authors and as literary characters, the latter usually limited to marginal figures who are victims of male drunkenness. This article targets the ‘neglected’ gender in the fictional representations of alcohol by briefly surveying the motif in the literature written on the British Isles and then focusing on two women writers, Jean Rhys and A.L. Kennedy.

scholarly journals From a double margin: Anglophone translation of women's writing from Croatia and Serbia

Reci, Beograd ◽  
2020 ◽  
Vol 12 (13) ◽  
pp. 29-41
Author(s):  
Sibelan Forrester
Keyword(s):  
Women Writers ◽  
Eastern Europe ◽  
Women's Writing ◽  
Literary Canon ◽  
Canon Formation ◽  
Literary Works ◽  
Global Context ◽  
Women’S Writing

This article examines Anglophone translations of women's writing from Eastern Europe with particular focus on writers from Croatia and Serbia. After outlining the presences and absences of these women writers in Anglophone translations, it raises some questions about the significance of gender in literary canon formation and the emergence of literary works into a global context through translation.

Australian Women’s Writing in Mid-Century Modernity

2017 ◽  
Author(s):  
Susan Sheridan
Keyword(s):  
Women Writers ◽  
National Identity ◽  
Social Responsibility ◽  
Historical Fiction ◽  
Civil Liberties ◽  
Indigenous Rights ◽  
The Social ◽  
Critical Attention ◽  
Children's Stories ◽  
Popular Writing

Women seem barely visible in the lively Australian literary scene of the 1950s and 1960s. Popular wisdom has it that after the war women were sent home and imprisoned in domesticity, but this was not entirely true. Significant numbers earned a living, and gained popular success, writing historical fiction, children’s stories, feature journalism, and radio and television scripts, but the growing separation of literary from popular writing meant that their work lacked serious critical attention, and still does. Others did not achieve publication for years, while those who did were rarely recognized as significant artists. As a writing generation, these women, in particular the novelists, were eclipsed from view, both at the time and in subsequent histories. One reason for this is that they tended to be detached from prevailing debates about national identity and from traditional Left-Right oppositions. Their sense of the social responsibility of writers led them to explore topics and ideas that were outside the postwar political mainstream, such as conservation, peace, civil liberties, and Indigenous rights. Four case studies offer some illustration of the range of literary activities undertaken by these women writers, and allow a consideration of the ways in which they engaged with their social and cultural milieux: Kylie Tennant (1912–1988), Nancy Cato (1917–2000), Judith Wright (1915–2000), and Kath Walker/Oodgeroo Noonuccal (1920–1993).

Orality and Improvisation

2018 ◽  
Author(s):  
Erik Simpson
Keyword(s):  
Women Writers ◽  
Literary Texts ◽  
Complex Relationship ◽  
Alternative Mode ◽  
Literary Works ◽  
Creative Processes ◽  
Theory And Criticism ◽  
Walter Scott

The presence of orality or improvisation in literary texts implies a process of remediation, or the reworking of one medium (speech) into another (print). This chapter addresses ways in which British Romantic writers effected this remediation, especially when portraying the creative processes of minstrels and improvisers in literary works. After introducing key works of theory and criticism bearing on Romantic orality, the chapter analyses the rise of literary minstrelsy in the work of writers such as Walter Scott, who used editorial paratexts to frame the content of minstrelsy in the scholarly conventions of print. It then examines the growth of improvisation as an alternative mode to minstrelsy and shows how literary improvisation was notable for the prominence of women writers in its creation and practice. The chapter closes with a treatment of later blackface minstrelsy’s complex relationship to Romantic representations of orality.

From The Grass is Singing to The Golden Notebook: Film, Literature and Psychoanalysis

2016 ◽  
Author(s):  
Laura Marcus
Keyword(s):  
Women Writers ◽  
Jean Rhys ◽  
Michelangelo Antonioni ◽  
Feminist Film ◽  
Dreams And Visions

This chapter discusses the place of cinema in Lessing’s early work, focusing in particular on The Golden Notebook (1962). Cinema first appears in Lessing’s work as a gendered site of communal spectatorship and distraction in The Grass is Singing (1950), in common with the work of other mid-century women writers such as Jean Rhys. But in The Golden Notebook, cinema and filmic consciousness increasingly acts as a privileged metaphor for the description of dreams and visions, influencing the novel’s striking descriptions of dreams and dreaming – a formal achievement of Lessing’s work often over-looked. This chapter suggests that this conflation of dreaming and cinematographic consciousness bears comparison with the work of psychoanalytic theorists such as Ella Freeman Sharpe, Bertram Lewin, and Didier Anzieu, and their concepts such as the ‘dream screen’ and ‘projection,’ and with the work of psychoanalytically-inflected feminist film theorists such as Laura Mulvey. Additionally, it explores the resonances of the descriptions of some of The Golden Notebooks imagined films with the techniques of postwar nouvelle vague directors such as Jean-Luc Godard and Michelangelo Antonioni.

Introduction

2019 ◽  
pp. 1-20
Author(s):  
Fiona Cox ◽  
Elena Theodorakopoulos
Keyword(s):  
Twentieth Century ◽  
Women Writers ◽  
Virginia Woolf ◽  
Classical Reception ◽  
Early Twentieth Century ◽  
Critical Attention ◽  
Simone Weil ◽  
Vera Brittain ◽  
Claude Cahun

The first half of this introduction provides some context for the variety of women’s responses to the Homeric epics discussed in the volume by tracing the origins of these responses back to earlier authors including Vera Brittain, Virginia Woolf, and Claude Cahun. It also discusses the paucity of critical attention paid to women’s receptions of Homer, and demonstrates how much is to be gained by rereading the Iliad and the Odyssey through the work of women writers since the early twentieth century. The second half offers an overview of the approaches and figures selected for discussion, women as diverse as Simone Weil and Kate Tempest, as Francisca Aguirre and Barbara Köhler, working in a variety of genres and radically altering the landscape of classical reception.

The Romance of Transportation in Wordsworth, Emerson, De Quincey, and Dickinson

Romanticism ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 45-57
Author(s):  
Li-Hsin Hsu
Keyword(s):  
Nineteenth Century ◽  
Atlantic Ocean ◽  
Walter Benjamin ◽  
Literary Representations ◽  
Time And Space ◽  
Literary Works ◽  
Aesthetic Experiences ◽  
The Future ◽  
Anglo American ◽  
Technological Sublime

This essay investigates diverging transatlantic attitudes towards mechanisation in the mid-nineteenth century by looking at the portrayals of steam engines in Anglo-American Romantic literary works by Wordsworth, Emerson, De Quincey and Dickinson. Wolfgang Schivelbusch notes how time and space are ‘annihilated’ with the speed of industrialization. Walter Benjamin, alternatively, indicates how the metaphoric dressing up of steam engines as living creatures was a retreat from industrialization and modernization. Those conflicting perceptions of what David Nye calls the ‘technological sublime’ became sources of joy as well as sorrow for these authors. The essay examines how the literary representations of transportation show various literary attempts to make sense of and rewrite the technological promise of the future into distinct aesthetic experiences of modernity. Their imaginative engagement with the railway showcases a genealogy of metaphorical as well as mechanic transportation that indicates an evolving process of Romantic thought across the Atlantic Ocean.

Suttee Sainthood through Selflessness

2011 ◽  
Vol 31 (3) ◽  
pp. 281-299 ◽  
Author(s):  
Susmita Roye
Keyword(s):  
Women Writers ◽  
Women's Rights ◽  
Women’S Rights ◽  
Indian Woman ◽  
Female Agency ◽  
Literary Works ◽  
Political Interpretation

The immolation of Hindu widows has generated much horror while remaining tenaciously mixed with clandestine admiration. Reported in many eyewitness accounts and literary works, the topic has given rise to highly contested sociocultural, legal and ideological debates, strongly linked to women’s rights. But the root question has not gone away: is suttee/sati just painful female victimisation or can it also reflect powerful female agency and the power of devotion? This article examines two literary works, Maud Diver’s Lilamani, in which an Englishwoman unreservedly idolises a suttee, and Krupabai Satthianadhan’s Kamala, where an Indian woman expresses deep pride in sutteehood. Engaging in a search for deeper meanings, this article asks what makes these two women writers revere a suttee so totally. Can one really be a suttee-saint through selflessness, or are there some deeper meanings yet to be uncovered? A wider political interpretation is suggested to re/present the root meaning of suttee.

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