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The article is a review of John D. Lyons's book, "Women and Irony in Molière's Comedies of Marriage." The book explores the ways in which Molière's comedies highlight the tension between the cultural value placed on women's ability to speak well and their lack of power in choosing a husband. Lyons examines the use of irony by female characters to exert influence in the context of marriage. The review praises Lyons's scholarly expertise and his ability to connect Molière's works to broader social and philosophical questions. [Extracted from the article]

This study aimed to describe and interpret campus writers' experiences in using Grammarly as an AI-powered English writing tool. Campus writers used Grammarly to improve their writing performance, which included their grammatical accuracy and proper use of mechanics. The researcher used a phenomenological qualitative method by Moustakas (1994) to explore the phenomenon of the use of Grammarly as an AI-powered English writing tool by campus writers. The student participants of the study were five (5) SHS campus English writers. Purposive sampling was applied since the needed participants were students with distinct writing experiences in and out of the school. The researcher purposely chose students who were considered campus writers and users of Grammarly. The study revealed that Grammarly improved campus writers' writing performance as it helped them ensure grammatical accuracy and proper use of mechanics in their writing. However, comprehensively reviewing the suggestions provided by Grammarly was necessary to avoid misleading feedback that caused deviation from the original meaning of the text. Meanwhile, campus writers mentioned some considerations before accepting the suggestions. [ABSTRACT FROM AUTHOR]

The article delves into Yvonne Vera's novel "Butterfly Burning" from a postcolonial feminist perspective, examining themes of patriarchal oppression and female subjectivity. It explores how the protagonist, Phephelaphi, challenges societal expectations and seeks autonomy beyond traditional gender roles. Through nuanced storytelling and complex characters, Vera offers a fresh perspective on African women's experiences and voices, challenging conventional narratives of women's roles in society and the impact of colonial and patriarchal structures on their agency. [Extracted from the article]

The article examines the evolution of female authorship representation in film, moving from the traditional romantic genius to the emerging demotic author concept. It analyzes how women writers have been portrayed in movies, transitioning from romantic geniuses to madwomen and part of a female chorus. The feminist implications of the death of the author theory and the shift towards demotic authorship, characterized by collaboration and direct audience engagement, are explored using examples from the film "Colette." The analysis showcases how Colette's transition from traditional authorship to demotic authorship in the film signifies her liberation from patriarchal constraints and empowerment as a feminist writer. [Extracted from the article]

This article addresses the plurilingual writing practices of eighteenth-century women of letters through the case of Elizabeth Carter (1717–1806), a plurilingual poet and translator who mastered no less than ten different languages. To determine the forms and functions of plurilingualism in early modern women's letters, this article puts forward a methodological framework which combines insights from different fields of study. This framework moves beyond the notion of code-switching, and argues for a distinction between manifest and latent forms of epistolary plurilingualism. To determine the functions of plurilingualism in women's letters, it proposes a contextualised reading. The potential of this framework is then illustrated by a close analysis of Elizabeth Carter's plurilingual correspondence with Catherine Talbot (1721–1770). From this analysis, it appears that during the early years of their correspondence, Carter's use of plurilingualism was inspired by an awareness of the inherent differences between languages, and of the dynamic interplay between language and identity. Studying the plurilingual dimensions of eighteenth-century women's letters thus not only sheds new light upon women's linguistic capabilities, but it also gives more insight into the way in which early modern women (re)shaped their intellectual and/or literary self/ves through letter writing. [ABSTRACT FROM AUTHOR]

Despite her prolific publication history, Anne Dutton (1692–1765) has received little in-depth scholarly attention. Working with a select coterie of dissenting printers and booksellers in London from her home in Great Gransden, Huntingdonshire, Dutton published in nearly every genre popular with eighteenth-century women writers: diary, autobiography, hymns, poems, letters, formal religious discourse and polemical treatises. Her writings reveal a powerful voice that allowed Dutton to enter areas of pastoral ministry unknown to any other eighteenth-century Baptist woman. Her vivid and accessible prose made her one of the most popular religious writers during the Evangelical Revival of the late 1730s and early 1740s. Dutton exhibited a mature brand of authorial power as a woman writer across three decades and more than sixty volumes of printed letters and religious treatises on topics that few women of her day dared to approach, cleverly redefining the limits of public and private spheres for women writers in her two defences of the right of women to publish. Dutton's writings laid the groundwork upon which dissenting women like Maria de Fleury and Mary Hays would build in the latter decades of the eighteenth century. [ABSTRACT FROM AUTHOR]

This essay conducts a paleographic study of Egerton Manuscript 2614, more commonly known as the "diary" of Margaret Hoby. To date, all scholarly studies of this document have been based on one of two print editions of the text. Unfortunately, these editions regularly mistranscribe and misrepresent the early modern manuscript and reduce its palimpsestic complexity. This is the first systematic study of this manuscript as a manuscript and what this textual artefact with all of its scratches, blots, strikethroughs, rewrites, and unfamiliar layout can tell us about how and why Hoby wrote it, and how and why she spent considerable time returning to and amending it. I argue that by looking at never before considered manuscriptal evidence we can conclude that Margaret Hoby produced her manuscript via a multistep process of rereading and revision, and that by approaching her revisionary marks as a form of tattoo, that is, as a form of writing over the self, we can better understand these marks as evidence of an iterative early modern form of self‐making through self‐writing and rewriting. [ABSTRACT FROM AUTHOR]

This article presents our "multi‐vocal memory work" of collaborative researching and writing experiences as women academics in UK Business Schools. Set against the backdrop of the broken neoliberal academy, we use Daoism as an analytical lens to identify two emergent themes: 1) emotional contradictions and 2) institutional and social structures: micro‐creative and collective change. Examining ourselves and the academy as broken, we learn to find beauty in the flaws as they signify healing. Thus, sharing our emotions and vulnerability through collective research and writing enables us to "put ourselves back together." Methodologically, we draw on memory work to explore different ways of researching and writing. We argue that there is emergent hope in identifying and raising the profile of growing spaces within the academy for alternative forms of writing. [ABSTRACT FROM AUTHOR]

There exists only limited scholarship on Saudi novelists as producers of war literature. Research into Saudi fiction has focused on the questions of its historical development, universality, women's writing, and the reluctance of earlier writers to negotiate socio-political and psychological dimensions compared with the candidness and boldness of contemporary writers portraying these taboo subjects and daring to investigate unexplored regions of human consciousness. This article, however, diverges, using select novels to critique fictional treatment of the Gulf War by Saudi writers. Two prominent American war novels will be used as reference points through which to determine the similarities and differences between the Saudi war novel and its American counterpart. Putting Saudi novels that deal with the theme of war on a par with some American literature that has the same focus aims to uncover patterns of similarity and highlight differences. The goal is ultimately to show how Saudi fiction saw the war while establishing a war narrative that lends the story coherence and meaning. [ABSTRACT FROM AUTHOR]

The article explores Dollie Radford's poetry through an ecofeminist lens, challenging traditional gender roles and patriarchal structures. Radford's poems subvert the association between women and nature, highlighting the interconnectedness between women and the environment. By examining Radford's work, the study aims to stimulate interest in women's nature poetry and contribute to the field of ecofeminism and literature. The article also discusses the influence of Romantic writers on Radford's depiction of natural elements, emphasizing the empowerment and inspiration found in nature. [Extracted from the article]

Poet, editor, and critic Kathleen Fraser underscored the significance of Charles Olson’s seminal manifesto ‘Projective Verse’, emphasising the vital role the text played in expanding the methodological possibilities of Avant Garde writing by women in the 1970s to the present day. I ask why Fraser, who maintained great concern surrounding the neglect of the female writers who pioneered the modernist tradition, and editorially and pedagogically resisted the continued marginality of innovative women writers in her contemporary, might controversially position ‘Projective Verse’ as an ‘immense, permission giving’ moment. Gesturing toward the importance of Fraser’s HOW(ever) and How2 journals, I make a case for the continued significance of Olson’s projective poetics in relation to feminist poetic practice in North America and across the Atlantic in the United Kingdom. [ABSTRACT FROM AUTHOR]

During the Second World War, the British painter Prunella Clough composed a set of poems now preserved in her archive at Tate Britain, of which only two were published. This article prefaces the sixteen poems, situating them in relation to Clough’s avowed models in poetry of the period, and comparing them to poems by two women writing on the Second World War home front, Sylvia Townsend Warner and Lynette Roberts. Clough’s developing practice as a painter is considered in the light of her poems, which preceded her post-war commitment to painting as primary vocation. Clough’s paintings are analysed in their equivocal relation to abstraction, both American and British. Her later paintings’ singular focus on detritus staged before an undifferentiated background, is interpreted as consistent with her poems’ startling domination by the death drive, inviting the destruction of the Blitz. Clough’s peculiar sublime, whereby the act of seeing becomes death-dealing, is shown to be announced in her poems, and contrasted with the high capitalist abstract sublime exemplified in Peter de Bolla’s encounter with Barnett Newman. The article ends by associating Clough’s objectifying vision with the photography of Robert Mapplethorpe, using terms that draw on the writing of Roland Barthes. [ABSTRACT FROM AUTHOR]

The article examines the value of female voice and authority in contemporary women's writing focusing on the short fiction of Alifa Rifaat. Topics include the authors' contention that the silence of women in Rifaat's short fiction can be read as a normative practice of linguistic expression and resistance, their thoughts that this women's silence is not treated as a physical marker of social exclusion in Rifaat's work and views on the prevalent convention of silence in Middle Eastern culture.

The article analyzes the growing phenomenon of Anglo female critics who embed narratives of their own walking into their scholarly texts to examine the connections between contemporary Anglo women writing about walking and feminism itself as a movement. Topics include an examination of Rebecca Solnit's interdisciplinary study of walking "Wanderlust: A History of Walking" and other scholarly works that embed the walking experiences of women intellectuals such as Leslie Kern's "Feminist City."

"The Oxford Handbook of Islam and Women" is a comprehensive collection of surveys on various topics related to women in Islam, offering original contributions to the field. Divided into six parts, the volume covers foundational texts, legal questions, women in history, modern realities, women's writings, and post-feminist scholarship. The articles explore diverse perspectives on the Qur'an, Hadith, Islamic law, historical figures, devotional practices, and women's roles in literature and economics, providing a nuanced understanding of women's experiences in Muslim societies. The handbook aims to engage a wide readership, including scholars of religious studies, social sciences, and international relations, without aligning itself with any specific theological orientation. [Extracted from the article]

Using the term "queerbaiting," I describe a set of media industry tactics that suggest queer relationships between fictional characters (or real-life celebrities) by intentional hints and jokes to attract audiences. Such tactics are used to encourage online participation by fans of female danmei (literary writings describing homoerotic relationships among male characters, generally written by female authors for a female-dominated audience) in China. By analyzing this strategy, I examine the intersection between three different cultural forces in the Chinese mediascape: the censorship of queer themes, the media industry's attempts to profit from popular danmei stories, and fans who participate in online data labor. The heteronormative cultural environment in China turned so-called "queerbaiting" practices into a socially accepted and commercially profitable mental game denied of a physical outlet. The de-homoeroticized danmei media adaptations and the fandoms surrounding them show how the media industry and fans interact, negotiate and cooperate for their own interests. [ABSTRACT FROM AUTHOR]

This article provides a discussion of a previously unpublished letter in the Keats House Collections written by Sara Coleridge, the poet and editor, and the only daughter of Samuel Taylor Coleridge. Presented here is the first transcription of the letter to be printed – addressed to the artist Samuel Laurence (sometimes Lawrence) – and an analysis of its contents in relation to Sara's creative writing and life. The essay considers what the letter might be able to tell us about the author, her writing, her engagement with the arts, her position as a woman of letters in the late Romantic/early Victorian period in London, and her health, both physical and mental. [ABSTRACT FROM AUTHOR]

The article analyzes the book "Sobre Carto(corpo)grafías", edited by Fernanda Bustamante and Lorena Amaro, which examines Latin American narrative written by women in the 21st century. The book addresses topics related to corporeality and highlights different thematic blocks, such as normative motherhood, care and pregnant bodies, and child characters that defy norms in schools. The article also mentions the background of the book in other dossiers and academic journals. The article analyzes the dynamics of struggle and emancipation present in recent Chilean narrative, focusing on the texts of various authors, and explores topics such as the regulation of female bodies, feminist resistance to violence and patriarchal discourses, and denunciation of violence against women. It concludes by highlighting the importance of writing as a political praxis and feminist transformation in current Latin American narrative written by women. [Extracted from the article]

The article highlights the importance of making visible and studying poetry written by women in Spain. The book coordinated by Verónica Leuci and Facundo Giménez sheds light on little-studied authors and also incorporates the voices of contemporary poets. Theoretical reflections and analysis of the poetic production of Elena Medel, Mercedes Cebrián, Ángeles Mora, Ángela Figuera Aymerich, and the deconstruction of taboos in current female poetry are presented. The study of Rosalía de Castro's new self-representation in her latest poetry collection is highlighted, and the poetry written by women in post-war Spain is analyzed, focusing on the production of Gloria Fuertes. The book concludes with a selection of texts by women poets that demonstrate the breadth and possibilities of poetry written by women. [Extracted from the article]

Sketches are fundamental in design and crucial representations for ideation, problem-solving, and communication. In the realm of architecture, sketches encapsulate the evolution of ideas from conceptualization to construction. Hand-drawn sketches, characterized by their open-ended, ambiguous nature and rapid production, are indispensable in bridging the gap between abstract concepts and tangible designs, guiding the progression from early design stages to final product realization. However, despite their significant potential and pivotal role in the design process, hand sketches have often been overlooked and swiftly abandoned in the ongoing discourse surrounding traditional versus digital design methodologies, particularly with the widespread integration of computer technologies. This study endeavours to unlock the wealth of information embedded within hand sketches, from initial design concepts to intricate manufacturing details, using a hybrid digital form-finding tool. By employing swarm algorithms in the quest for form, it is anticipated that the boundaries of conceptual ideas delineated by hand sketches will be expanded. This is facilitated by an algorithm developed in Processing using the Java coding language, complemented by an intuitive interface. The research commences with a comprehensive literature review encompassing biomimetics, sketching techniques, and tools for transitioning hand sketches into digital realms. Subsequently, a thorough elucidation of the algorithm, crafted within the Processing environment, is provided. The tool's efficacy is assessed through experimentation involving adjustments of various parameters on identical sketches and application to seven architectural sketches representing built designs, with subsequent interpretation of the outcomes. It is posited that the adaptability of the algorithm's core logic, coupled with the development-friendly environment of Processing, holds immense potential for empowering designers to steer sketches in desired directions through tailored enhancements. [ABSTRACT FROM AUTHOR]

Emilie von Berlepsch was the first German woman to travel to Scotland and write a travelogue about it. From 1799 to 1800 she toured the country and published her experiences and thoughts in her travel book Caledonia (1802–04). This article illustrates von Berlepsch's endeavour to spread knowledge of British culture in her home country by means of the travelogue, with a particular focus on women. It argues that Caledonia can be considered a further example of von Berlepsch's advocacy of women's rights. Using the account of her voyage as a tool to reflect on the role of women both in Britain and Germany, von Berlepsch encourages her fellow countrywomen to increase their independence from men through intellectual pursuits such as writing. [ABSTRACT FROM AUTHOR]

The article "In Her Own Hand: Female Agency around 1800" from the Publications of the English Goethe Society explores the concept of female agency in the literary world during the 18th century. It discusses the challenges faced by women writers, such as the association of female agency with female authorship and the difficulties in preserving and editing their literary works. The text highlights the contributions of various women writers, including Ottilie von Goethe, Wilhelmine Müller, and Emilie von Berlepsch, shedding light on their strategies to navigate the male-dominated literary landscape. The article also delves into the role of women like Anna Maria Mozart in supporting their families and advancing their careers, showcasing the diverse ways in which women exercised agency in the literary and artistic spheres during that period. [Extracted from the article]

This article discusses the history and representation of gender in the James Bond film franchise. It highlights the contributions of women working behind the scenes, such as producers, casting directors, and wardrobe mistresses, and examines their impact on the making and presentation of the Bond films. The article also acknowledges the need for further research on women in below-the-line roles and women of color in the industry. Overall, the article aims to provide a more inclusive and diverse perspective on the women behind James Bond. [Extracted from the article]

AbstractTo say that the Niger Delta literature or the poetics of extraction in the Delta has attracted numerous scholarly engagements is an understatement. However, most of the critical works written about the Niger Delta have been by male writers such as Gabriel Okara, Ken Saro-Wiwa, Tanure Ojaide, Ogaga Ifowodo, Nnimmo Bassey and others who are known for drawing attention to the environmental despoilment and the suffering of the various Indigenous communities of the Delta. In this article, I am interested in the framing of the Delta by female poets from the region. Building on Gayatri Spivak’s concept of the subaltern, I ask, are Niger Delta women writing? And if so, how do they contextualise women and nature in their poetic imagination? Mindful of the complexities in the region, what literary devices do they employ to aid their navigation of the murky confluence of state power, multinational corporations, and environmental degradation that abounds in the region unabated? This work applies the theoretical positions of ecofeminist scholars to the close reading of select poems from Sophia Obi’s Tears in a Basket (2005), Ekaete George’s Saints and Scoundrels (2018), and Iquo DianaAbasi’s Coming Undone as Stitches Tighten (2021). [ABSTRACT FROM AUTHOR]

Two political and literary magazines allegedly written by women were published under female pseudonyms during the first half of the nineteenth century in Buenos Aires. One, La Aljaba, was received as an authentic representation of female writing while the other, La Argentina, was understood as a male impersonation. There is, however, no historical evidence that proves whether La Argentina was written by a man or a woman. This article analyses the discourses created in La Argentina alongside its use of a gendered pseudonym to understand what kind of femininity it created and how it conversed with the political context at the time. Further, the analysis uncovers how the performance of femininity constructed through the pseudonym appropriates discourses on fashion in ways that made descriptions and repetitions of the attire fundamental for gendered representation. [ABSTRACT FROM AUTHOR]

The article discusses the authorship of Christopher Marlowe's play "Doctor Faustus," suggesting that Marlowe wrote the serious parts while a collaborator handled the comic scenes. Possible collaborators include Thomas Nashe and Henry Porter. The analysis of linguistic patterns and shared phrases between "Doctor Faustus" and other plays supports the argument that Porter is a more likely co-author than Nashe. The study uses statistical data and qualitative evidence to make a case for Porter's involvement in the play. [Extracted from the article]

The International Lyceum Club is a women's cultural club active in Florence since 1908, where women meet to enrich and enhance their culture and to follow the many events of artistic, literary, musical and scientific interest organized by the Club. This study traces, in particular, some of the major events organized by the Literature section in the years between 1912 and 1970. The Literature Section presented to Club members the works and thoughts of writers and poets, novels, poetry collections, children's books, and staged plays on the Club stage. Evidence of each event is preserved in the archival papers kept in the Lyceum Club's headquarters. [ABSTRACT FROM AUTHOR]

Beatrice Lanza Branciforti was a sicilian countess who lived throughout the 19th century. She traveled extensively, managed her patrimonial and personal interests and, together with Lucio Mastrogiovanni Tasca, established the house of the Counts of Almerita. Her 13 diaries, along with the other documents that constitute her travel archive, provide a window into 19th-century trends: destinations, itineraries, encounters, and leisure activities are central to this narrative through text and images. [ABSTRACT FROM AUTHOR]

This article explores Goa-Gunggari-Wakka Wakka Murri artist Leah Purcell's recent multigenre project, "The Legend of Molly Johnson". Beginning as an adaptation of Henry Lawson's "The Drover's Wife", the project fundamentally defamiliarises and subverts Lawson's story from the standpoint of an Aboriginal woman. Evolving across different genres—from play to novel and film—Purcell's project is a unique case of adaptation, identity-making and transmedia world-building. This article considers Purcell's adaptations as a form of franchise storytelling, and central to her cultural and political interventions is the figure of Molly Johnson. As an iconic Aboriginal heroine, Molly is empowered by her deep connection with Country and her role as a mother. Central to the narrative is the theme of maternalism, which allows Purcell to weave her personal experiences and family history into the character of Molly, who encapsulates the strength and resilience of generations of Aboriginal women. Purcell's "Drover's Wife" project also mounts an intersectional critique of mainstream White feminism through the juxtaposition of Molly and Louisa Clintoff, a character introduced in the novel and film versions. [ABSTRACT FROM AUTHOR]

Shohalter's approach, known for its critique of the current state and tradition of women's writing, provides a platform for examining women's literature through the lens of gender differences. Shohalter analyzes literary content and structure by considering biological, linguistic, psychological, and cultural factors. The protagonist of this story is a lonely woman who is unjustly driven away from her home due to false accusations by her husband and becomes a wanderer in Tehran. In the novel, male characters, collectively or individually, play a role in the protagonist's tragic fate, while female characters, despite their futile efforts, strive to support her. The author creates an imaginary place called "Goran" to depict the historical oppression of women by a male-dominated culture. This study aims to analyze the characteristics of Iranian women's writing in the novel "Peyadeh" using Shohalter's fourfold approach through a descriptive-analytical method. The results demonstrate that topics such as pregnancy and childbirth, relationships with men, maternal attributes, and connections among women can be examined from a biological, psychological, and linguistic perspective based on Shohalter's framework. Furthermore, a notable stylistic feature of the text is its unique blend of native Iranian narrative style, combining third-person and first-person perspectives with the utilization of emotional sentences, reminiscent of storytelling among Iranian women. [ABSTRACT FROM AUTHOR]

This article delves into the world of collecting, collections, and collectors during the nineteenth century. It focuses on the English inclination to amass objects and the intricate networks that arose from this practice. The article explores how collecting encompassed a wide range of objects and served as both a material and intellectual pursuit, reflecting a desire for organization and display. It also delves into the connections between collecting and empire, material culture, natural history, and the origins of museums. The essays in the special issue cover various topics, including gender dynamics in collecting, the role of travel writing in understanding Japanese culture, and the intellectual practice of music collecting. The text further examines different aspects of collecting and curating in the nineteenth century, such as the aesthetic value of tobacco in gardens, the legacy of botanical illustrator Anna Atkins, the literary function of museums, the Ottoman Imperial Museum, the material and emotional aspects of collecting, and the curation of texts in a digital archive. The essays shed light on the complexities and contradictions inherent in collecting and curating, emphasizing the importance of critically examining these practices. [Extracted from the article]

For the past few years, I've been seeking out books that frustrate many readers—and sometimes myself among them. They are frequently described as sketchy, short, fragmented, diaristic—when the reader is being kind—and lazy, boring, or pointless when she is not. The official category (on the back of the book, right above the ISBN) sometimes reads Poetry, sometimes Novel, sometimes Memoir, sometimes Essay—or, sometimes Essay/Poetry or Essay/Literature. Some of the more famous examples include Sarah Manguso's Ongoingness, Maggie Nelson's Bluets, Claudia Rankine's Don't Let Me Be Lonely. In this essay, I will propose and define a new genre in contemporary literature: the lyric diary—a slender volume in which a depressed, middle-age, female first-person narrator records the mundane experiences of her everyday life alongside facts, ideas, and quotations in flat, affectless 'shreds' of prose. Blending elements of the confessional poem with the diary and other non-literary modes of historical women's writing, the lyric diary rejects plot and the narrative arc for the lyric's associative logic and the diary's serial, episodic movement. The lyric diarist does not narrate: she records. It is all that she, exhausted from working the double shift, can manage to do. [ABSTRACT FROM AUTHOR]

This document provides brief biographical information about various contributors to the journal "Early Modern Women: An Interdisciplinary Journal." The contributors come from diverse academic backgrounds and specialize in a range of topics related to early modern history, literature, art, and culture. Their research interests include women's history, gender studies, religious history, literature, art history, and more. The contributors have published books, articles, and edited volumes on their respective areas of expertise. [Extracted from the article]

This article examines the reception and interpretation of Jacopo Tintoretto's painting "Tarquin and Lucretia" in early modern Italy. It explores the depiction of the female nude in art and its potential for titillation, while also considering the emotional response it may have evoked in viewers. The article discusses the different perspectives on Lucretia, a noblewoman who was raped, and the varying treatment of rape in early modern Venice. Tintoretto's painting generates mixed reactions, symbolizing both the vulnerability of women in a patriarchal society and the fragility of social order in Venice. [Extracted from the article]

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues for the critical need to value the voices and creative work of contemporary women writers in Australia. Historically, women writing in Australia have endured erasure, dismissal, and suppression. I argue that there is still, in the modern period, a continued lack of awareness, recognition and education on Australian women's writing despite targeted awards and the achievements of the feminist movement. This piece reflects back across time, drawing on interviews I conducted and PhD thesis research with women writers in Australia at the turn of the twenty-first century, and maps how the legacies of gendered notions of writers impacted women at this pivotal era to consider what this may mean for women writing today. It also explores how feminist theories such as écriture féminine are helpful for framing and understanding the responses of Australian women writers to the shifting notions of sexual difference and agency in writing. This article aims to provide insights into the complexities of liberation for women from the past to modern times, and the impact of gender on creative expression in Australia across changing social periods. [ABSTRACT FROM AUTHOR]

This article details the inclusion of classical women poets Rābiʿah and Mahsatī in the Persian poetic canon. The limited details on both poets lives and works are presented in the article as well as a look at their reception and role in the female poetic tradition.

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1869, the year the Suez Canal was completed, visits to Egypt and, therefore voyages to the Orient were increased. Crowned royals such as Prince and Princess of Wales, French Empress, Prince of Prussia, Austrian Emperor, Prince and Princess of Holland, and Duke of Aosta went on these voyages, which included cities like Alexandria, Cairo, Istanbul, and Athens. What makes these crowned royal's travels to the Orient in 1869 distinguishing and worth investigating is the presence of women. Examining on the Istanbul part of the voyages, this research accepts women as historical actors. It aims to interpret European women's gaze on both Ottoman Istanbul and their 'other', local Muslim women, through their time-space experiences. This paper focuses on travel narratives produced by the women in the suite of British and French crowned royals in the 1869 travels to decipher women's real time-space experiences. Levant Herald (LH), a local newspaper published daily in Istanbul, was also examined to grasp locals' perspectives simultaneously. While emphasizing the [un]met expectations of both counterparts' (guest/local), this paper discovers diversifying positionalities of women towards their other and reveals their heterogeneous gaze. Although women's gaze -and thus narratives- contain many orientalist codifications, their gender privileged time-space experiences challenge and disrupt some of the stereotypes and prejudices prevalent in the male-dominated literature of the period. [ABSTRACT FROM AUTHOR]

The Sample Essay of Comparison and Reference Between Vernacular and Classical Chinese compiled by Liu Tieleng was a writing textbook born in the era of the May Fourth Movement of Vernacular Literature. By examining this book as a case study, one can theoretically reflect the influence of the era's trends on the author's writing teaching principles, as well as reflect the changes in the content and form of the book. "The Comparison and Reference Between Vernacular and Classical Chinese" in the book adapted to the advocacy of promoting vernacular writing, while "The Demonstration of the principles and techniques of writing through examples of literary style" also demonstrates the changes in genre classification and writing teaching during the transitional period, such as the juxtaposition of new and old styles, and the coexistence of "Actual Style" and "Teaching Style". These all vividly showcase the situation of writing education during this period. [ABSTRACT FROM AUTHOR]

Today, feminist ideas and images are a suitable tool for checking the feminist level of the work, its author and the extent to which it has a feminist structure. In the meantime, the theory of the four dimensions of "Elaine Showalter" including the biological, cultural, psychoanalytical and linguistic approaches provides this opportunity for women's criticism work, and by relying on it, the position of women can be in the literary works of female writers and male writers recognition. Therefore, the present research has selected a novel by by Ahlam Mosteghanemi "Body memory" and a novel by an Iranian female writer Nasim Marashi entitled "prune" for criticism of women's writing and based on the linguistic dimension of Elaine Showalter's theory. It can be said that both novels are in the stage of feminism. Therefore, due to the fact that the novels belong to the feminist and feminine writing tradition, they significantly have the characteristics of female criticism. In terms of the use of linguistic components, for example, the word hey related to colors and its abundant and combined use, as the main component of women, it has occupied the most place in both works. However, regarding the vocabulary related to women, this component has a lower frequency in both works. Detail and short sentences are widely used in both works. This linguistic component has been used explicitly and repeatedly with less interference from culture and the transfigured minds of village characters from the heart of cult significantly. [ABSTRACT FROM AUTHOR]

The article examines how sensory experiences or affects intersect with the everyday in Sarah Joseph's memoir, "Aaru Nee." Cited are how the connections between Joseph and her social relations animate her everyday life, the space-time of the memoir that can be seen as contesting the devaluation of everyday life, and critical engagements wherein the examination of ordinary affects in the memoir were built.

As a significant embodiment of Chinese subalternity, the subject formation of rural migrant women presents the multiple power dynamics emerging in the course of modernisation, industrialisation and urbanisation in post-reform China. Northern Girls, a novel written by contemporary Chinese female writer Sheng Keyi, provides a realistic account of survival for this marginalised group of women that is intertwined with class, gender and rural–urban disparities. This paper takes this novel as a case study, exploring how the female subaltern subject is discursively reconstructed through literary translation. Regarding the English translation as part of the transcultural flow of ideas between Western and indigenous Chinese feminisms, this paper examines its translation strategies, demonstrating how gender stereotypes, misogynous discourse, power relations and female agency in a gendered subaltern narration are rewritten in a hegemonic language. The analysis reveals that the English version rearranges the intersectional dynamics of power in post-reform China. While the gendered autonomy and agency are reinforced in the target text, the discursive construction of the Chinese female subaltern is simplified by a hegemonic formation of feminism and modernity that underplays the original 'reverse discourse' in non-Western women's writing. [ABSTRACT FROM AUTHOR]

This Paper endeavours to study the Role of Women in the selected Novels of Manju Kapur. This study proposes to attempt a detailed study and draw inferences which might offer a fresh perspective to this topic. Indian writing in English has undergone a lot of changes since its beginning. From being a foreign language, English over the time has been adapted and modified. It is no longer the administrative language but has become almost like a mother tongue for many Indians. Through theses authors, it has been proven time and time again that English is no longer an alien language it used to be once upon a time. Manju Kapur's novels focus on female protagonists struggling to break the shackles of patriarchy and are in quest of identity against the dogmas of social and cultural critical thinking. A major preoccupation in recent Indian women's preoccupation writing has been portrayal of inner life and subtle interpersonal relationship. They have to exist subjected to patriarchy. Manju Kapur is a postcolonial writer who intuitively perceives the situation of women in male dominated society. [ABSTRACT FROM AUTHOR]

Nayantara Sahgal is one of the most prominent Indian writers, whose works are predominant in raising voices against patriarchal society and gender marginalization in Indian writing in English. She is a journalist, political columnist, and writer and her writings advocate women's quest for Self-Identity, Individualism, Interpersonal Relationships, and Social and Political Issues against women. On the other hand, Alice Walker is a famous American novelist, short story writer, poet, and social activist-who is the first African-American writer to win Pulitzer Prize for fiction for her work "The Color Purple". Her womanist novels accord voice to the African American women who were subjugated to suppression. Walker herself prefers to call herself a womanist because according to her Womanism is far better than feminism as it prefers and appreciates women's strength, culture, and emotional flexibility. This paper attempts to examine and explore the portrayal of the feminine psyche and the quest for "self" in their works. The paper particularly illustrates the comparative study of Nayantara Sahgal's This Time of Morning and Alice Walker's Meridian and justifies how both writers are similar in voicing out for women's freedom, identity, and rights, against cultural and political upheavals or trauma. [ABSTRACT FROM AUTHOR]

Indian women novelists have expanded the literary canon of India. Indian Writing in English has increased over a period of time and has observed numerous modifications in the forms of writing. Women writers have integrated the often-expressed women experiences into their writings, thereby influencing the cultural and linguistic moulds and models of Indian literature. This infusion of feminist ideologies has gradually started to shape English Literature in India over the years. Women's writing has been reflected on as an influential means of modernist and feminist statements. Women writers focus on both contemporary topics that are highly relevant to women and concerns that have long been in society. Their articles offer an insight into the inaccessible, uncharted feminine psyche. They also portray the psychological anguish of the dissatisfied women. Githa Hariharan's writings are found to be postmodern multi-layering of differences in feminism. She aspires to represent the struggle of women in the transition between tradition and modernity. This is very evident in Githa Hariharan's novel The Thousand Faces of Night. This Paper discusses how Hariharan's traditional and modern women in The Thousand Faces of Night employ survival strategies to overcome the challenging situations by accepting the harsh realities surrounding them. [ABSTRACT FROM AUTHOR]

This article explores the representation of suicide committed for love in English popular print in the seventeenth and early eighteenth centuries. It shows how, within ballads and pamphlets, suicide resulting from failed courtship was often portrayed as romantic and an expression of devotion. Within this literature, however, young women often bore the blame for male suicide, influenced by early modern ideas about the innate characteristics of men and women. This examination interrogates a context in which suicide, rather than being condemned, was consistently depicted sympathetically. It also sheds crucial light on the representation and performance of masculinity and femininity in courtship and matters of love. [ABSTRACT FROM AUTHOR]