scholarly journals In Dialogue with the Other Voice in Sixteenth-Century Italy: Literary and Social Contexts for Women’s Writing

2015 ◽  
Vol 35 (2) ◽  
pp. 281-284
Author(s):  
Julie D. Campbell (book editor) ◽  
Maria Galli Stampino (book editor) ◽  
Laura Prelipcean (review author)
2013 ◽  
Vol 35 (3) ◽  
pp. 119-122
Author(s):  
Julie D. Campbell (book editor) ◽  
Maria Galli Stampino (book editor) ◽  
Melinda J. Gough (review author)

2020 ◽  
Vol 6 (1) ◽  
pp. 6
Author(s):  
Muna Ali Sahli

This kind of research, especially in the field of comparative studies, is crucial, because it provides a better understanding of people, culture, thought, and their way of thinking, seeing and dealing with the other. Therefore, choosing to study the image of the foreigner in Emirati women’s writing can help to examine the deep dimensions of relationship with the other who does not belong to family, class, and homeland, in this society. The study, hence, aims to shed a light on women awareness and their ways to articulate their own issues, and experiences after long history of isolation and suppression that women in this country and region in general had witnessed. Moreover, the study focuses on Maysūn al Qāsimī and her first narrative controversial work Rayḥānah, aspires to reveal how the strict upbringing and education had its impacts on women’s personality and thinking, and thus their ways of looking at the stranger in their home or homeland. The expected results of this study are to demonstrate women awareness and capability to disclose, to certain extents, the depth of female agony in very complicated network of political, social, economic and cultural factors that would shape the history of the whole region in postcolonial time. In addition, the study is expected to help to reach better understanding of the different roles that the foreigners have played in this society, from the female locals’ point of views, and therefore, their narration.


2021 ◽  
pp. 135050682199591
Author(s):  
Camilla Schwartz ◽  
Rita Felski

How might the idea of recognition offer a fresh slant on contemporary women’s writing? In this essay, we bring theories of recognition into dialogue with two literary works: Chris Kraus’s widely reviewed memoir I Love Dick and The Other Woman by the well-regarded Swedish novelist Therese Bohman. Our analysis focuses on recognition within the texts as well as its relevance to relations between texts and readers. We seek to clarify how attitudes to heterosexual love, feminism and same-sex identification are entangled and the broader implications of such entanglements. We are interested in how the protagonists engage the world as readers and the role of literature in shaping their identifications and attachments. Yet, a comparative analysis can also bring to light how a feminist habitus is predicated on class and education, suggesting that these two texts may invite rather different experiences of recognition.


2018 ◽  
Vol 5 (1) ◽  
pp. 157-180
Author(s):  
Oleksandra Wallo

Until the last decade of the Soviet state’s existence, only very few Ukrainian women writers achieved literary fame. This study sheds new light on Soviet Ukrainian political, historical, and social contexts that contributed to the invisibility of Ukrainian women’s writing by examining the case of Lviv-based author Nina Bichuia (b. 1937). Bichuia’s career and the publication history of her works illustrate several characteristics and paradoxes of Soviet literary politics concerning the Soviet periphery—i.e., the non-Russian republics, such as Ukraine. In particular, this article analyzes the differences in permissible literary expression between Moscow the metropole, Kyiv, the centre of the Ukrainian periphery, and Lviv, the Western Ukrainian periphery. It considers gender politics and biases in the Soviet Ukrainian literary establishment and the strictures of the Soviet “Friendship of Peoples” discourse, which had a provincializing effect on Ukrainian literary production and the tastes of the reading public. The article offers a close reading of Bichuia’s last short story, “Kaminnyi hospodar” (“The Stone Master,” 1990), which reflects this author’s “final word” on the Soviet environment for writing literature in the Western Ukrainian periphery. By analyzing Bichuia’s use of important literary intertexts and employing recent theorizations about Soviet state discourse, I demonstrate how “The Stone Master” imaginatively represents and criticizes the regime of discursive monopoly established by the Soviet system. This regime is shown to force a Ukrainian female writer into silence, which can be strategic, but cannot result in greater literary visibility.


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