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Copyright of Arabic Language & Literature (1735-9767) is the property of University of Tehran 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.)

Margarethe 'Meta' Wedekind was one of the 'Universitätsmamsellen', a group of eighteenth–century German women who had access to a privileged academic education. In addition to numerous translations, in 1784 Wedekind published the epistolary novel Maria: Eine Geschichte in Briefen. What is striking about this text is that both its 'author' and 'editor' remain anonymous. This article argues that Meta Wedekind resorts to two main strategies to publish the novel: the so-called 'Herausgeberfiktion', and anonymity. Furthermore, this type of publication was likely inspired by Sophie La Roche's famous novel Geschichte des Fräuleins von Sternheim (1771). [ABSTRACT FROM AUTHOR]

Starting from the hypothesis that the wars of the 20th century are realized as key factors of cultural identification on the territory of Bosnia and Herzegovina and that the category of gender conditions distinctive features of cultural identity within a cultural community, the paper problematizes the narrative construction of female cultural identity in the novels Skretnice and Žene. Glasovi of Jasmina Musabegović. Based on cultural research on identity issues, the work shows that the narrative construction of cultural memory in Jasmine Musabegović's novels is dominantly linked to the intimacy of the (lost!) home and family life and that the cultural identity of the central female characters is doubly coded: on the one hand, it is determined by the patriarchal tradition, and, on the other hand, by the collective traumas of Bosnia and Herzegovina in the 20th century, in the foreground of which there are wars as key factors of cultural-identity de(con)struction.

This article analyzes the literary piece Marsolaire, published in 1941 by the Barranquilla writer Amira de la Rosa, based on the philosophical-literary proposal of Gilles Deleuze and Félix Guattari. The text is divided into three parts, the first delves into the concept of the short novel, its elements and its typological classification. The second, makes a synthesis of the work highlighting the characteristics that allow it to be differentiated from the short story narrative, and, finally, a cartographic reading of Marsolaire is proposed, as well as its affiliation to one of the short novel maps outlined from Deleuze-Guattarian theory. The article concludes that the work can be classified as a short novel and not as a story. [ABSTRACT FROM AUTHOR]

The masthead of The American Jewess (1895–99) advertised the magazine as "the only publication in the world devoted to the interests of Jewish women." While this may have been an overstatement, the impact of The American Jewess, while short-lived, is clear: as the first English-language magazine published by and for American Jewish women, The American Jewess reflected the political, cultural, and economic concerns of middle-class American Jewish women during a period of history marked by fast-paced social change and the exponential expansion of the American Jewish community. This article looks at the complicated history of the magazine, the brainchild of Austrian-born Rosa Sonneschein (1847–1932), a prominent figure in the Jewish communities in St. Louis and Chicago and the one-time wife of radical Reform Rabbi Solomon Hirsch Sonneschein, and the ways in which The American Jewess—in its uneven attitudes toward women's rights and egalitarianism, in its paradoxical vision of "ideal" American Judaism, and in its failure to anticipate the needs of its rapidly changing and acculturating readership—acts as a microcosm for the ambivalence and uncertainty that characterized the Jewish-American community at the turn of the twentieth century. [ABSTRACT FROM AUTHOR]

If we look at the history of Kannada Literature of one thousand five hundred years ago till the beginning of the 20th century, there is not much literature written by women that can be recognized as women's literature. Women were deprived of education and were not given many opportunities to participate in public life in a male dominated social system. A life of dependence without freedom was predominant for women. Due to many such reasons women have not been able to find their unique place in the mainstream of Kannada Literature for a long time. It is only in the 20th century that we see creative women being recognized. Since the time of Satavahanas, women undertook jobs in administration, affairs of the state etc. It is known that Vijayamahadevi, a Sanskrit scholar, was a great poetess and the daughter of Chandraditya, the son of Pulakesi of Badami Chalukya. Vijayamahadevi wrote the play Kaumudi Mahotsava. In Kannada literary history, the name of a Jain woman named Attimabbe is famous. She built 1500 "Jina basadis" and idols of Jina thereby earning the title of "Dana Chintamani". Kavi Ranna wrote the poem Ajita Purana. Ponna wrote and made a thousand copies of Shanti Purana and donated them. In the 12th century, the contribution of Vachana Karthis in Vachana Literature was immense. For the first time, women also responded to literary creation and cultural change. Women like Akkamahadevi, Gangamma, Sulesankavva, Lakkavve etcetera participated in Kannada Vachana Literature without discrimination. Yet in the beginning of the 20th century, women who had been schooled entered the field of literature with some interest such as Thirumalamba, Shantabhai Nilagara etcetera. [ABSTRACT FROM AUTHOR]

Middleton, Khanmalek, and Owen celebrate a collection of new cut- ting-edge critical and creative work responding to the impact and ongoing inter- ventions of Black, Kentucky-born writer/scholar Gayl Jones. Foremost among the issue's contents is Deborah E. McDowell's historically grounded reflections on founding the Beacon Black Women Writers Series in 1985 and initiating the reprinting of fourteen titles by Black women writers including Corregidora and Eva's Man. The introduction highlights Jones's place in the emergent scholarship in Mad Studies (Pickens and Soros) and "mad Black feminist poetics" (Imhotep). Additionally, Jones's focus on Afro-diasporic (Osei and Mundell) and interracial (Yang, Quezada) feminist solidarities are brought to life in essays that credit Jones's call for global, coalitional possibilities. Further, the introduction discusses "listen- ing as a method" (Gumbs and Wilkinson), Jones's archival presence (Carter), her sonic genealogies (Moore), and the uncomfortable relationship(s) between Black erotics and various forms of violence (Wachter-Grene, Onubogu, Firedancing). [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

The topographical turn in literary and cultural studies has shed new light on the deeply symbolic significance of the natural and urban places where stories unfold. This focus on spatiality is particularly evident in the South Asian literature by contemporary women writers, where locations acquire a personality and significantly contribute to the shaping of gender identities. Although most of these narratives portray female protagonists who develop strategies of resistance and sisterhood within traditional domestic spaces, the widely praised transnational novels Brick Lane and The Mistress of Spices show that women can also achieve independence and self-realization in the bustling urban environment. Drawing on cultural geography as well as gender and social studies, this essay argues that the global dimension of the city offers diasporic women the opportunity to forge new empowered selves in the above-mentioned books. First, the article maintains that London and Oakland, CA, where the main characters live, exert a centripetal force on women, thus triggering change and mobility, both in physical and psychical terms. Second, it claims that the two cities are gendered "heterotopias", i.e., heterogeneous spaces where border-crossing women, like those featured in the two novels at hand, can overcome alienation and develop creativity, resilience, and self-confidence. In conclusion, urban spaces serve as "safe houses" for immigrant women, where they can cure their emotional and physical diseases and become figures of adaptive hybridity. [ABSTRACT FROM AUTHOR]

The present article introduces a feminist and political analysis of Sylvia Plath’s novel The Bell Jar, considering it a cultural response to McCarthyism. In order to do that, the article focuses on the importance Plath gives to the Rosenberg’s case in the novel and particularly in the relevance Ethel Rosenberg’s death sentence had to awaken a female consciousness for the women of the 1950s in America. The female body turns fundamental for a feminist struggle that Plath creates in the novel to deconstruct the imposed female roles that helped McCarthy control the private lives of the Americans. Sixty years after Plath’s death and its publication, The Bell Jar becomes a fundamental text for understanding contemporary feminist literature.

The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm’s versions of “Cinderella” and “Snow White”. This paper argues that “Rapunzel” (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë’s Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of ‘wicked’ hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë’s specular study of feminine desire makes way for a productive and agential feminine speaking-I.

Copyright of Journal of Shenzhen University Humanities & Social Sciences is the property of Journal of Shenzhen University (Humanities & Social Sciences) Editorial Office 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.)

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla 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.)

The present article introduces a feminist and political analysis of Sylvia Plath’s novel The Bell Jar, considering it a cultural response to McCarthyism. In order to do that, the article focuses on the importance Plath gives to the Rosenberg’s case in the novel and particularly in the relevance Ethel Rosenberg’s death sentence had to awaken a female consciousness for the women of the 1950s in America. The female body turns fundamental for a feminist struggle that Plath creates in the novel to deconstruct the imposed female roles that helped McCarthy control the private lives of the Americans. Sixty years after Plath’s death and its publication, The Bell Jar becomes a fundamental text for understanding contemporary feminist literature. [ABSTRACT FROM AUTHOR]

The article presents a diverse spectrum of neighbour relations as depicted in recent Polish women's literature. Representations of neighbourhood in family sagas, herstorical and autoethnographic narratives, neo-post-settlement novels and pathographies are discussed (novels by Joanna Bator, Dominika Buczak, Agnieszka Kuchmister, Dorota Kotas, Aleksandra Zielińska). The article also address the problem of neighbourhood in a post-anthropocentric perspective, transcending interpersonal relations. [ABSTRACT FROM AUTHOR]

The ways Gothic fairy tales and fairy-tale feminism interact are not always clear. An undercurrent of feminist studies of fairy tales is fueled by the 1970s Lurie-Lieberman debate, which focused on the question of whether fairy tales liberate or repress women. Meanwhile, critics such as Lorna Piatti-Farnell and Lucie Armitt have offered studies of the interplay between Gothic horror and fairy tales. However, these studies have limits, often emphasizing the violence, self-mutilation, and cannibalism of women, like those in Jacob and Wilhelm Grimm's versions of "Cinderella" and "Snow White". This paper argues that "Rapunzel" (1812) is key for understanding the Gothic and feminist discourses of Charlotte Brontë's Jane Eyre (1847). Firstly, this paper argues that a self-reflexive and self-productive relationship between subjectivity and desire shapes and disrupts the Gothic, fairy-tale, and feminist discourses of Jane Eyre, resulting in a specular feminine-I that has inspired pluralistic readings of the text. Secondly, an analysis of the Rapunzelian metaphors of 'wicked' hunger and ideological towers unmasks the double consciousness that not only fetters feminine subjectivity but delimits the domestic structures of marriage and home. Multiplying the ways nineteenth-century Gothicism, fairy tales, and feminism may interact, Brontë's specular study of feminine desire makes way for a productive and agential feminine speaking-I. [ABSTRACT FROM AUTHOR]

The article is an account of girls growing up, based on two of Bjørg Vik’s short stories and a novel by Karin Sveen. After introducing the notion of female friendship and girlhood, it places the two authors against the background of Norwegian female authors writing about women and adolescent girls. It goes on to point out the importance of the environment for the girl friendships in the chosen works, and the power hierarchies based on looks that determine the girls’ allegiances. Finally, it comments on the girls’ shifting beliefs in freedom and solidarity as they grow older.

The Lovinescian spirit is perfected when he accepts to lead a literary magazine, at which point a new generation of writers will debut, Sburătorul contributing fundamentally to its affirmation. Although the initiative of the publication of the magazine belongs to Liviu Rebreanu, and Ion Minulescu proposes the title, Lovinescu is the one who will deal with the publication and close collaboration with the writers.

Sorana Gurian’s writing records the impossibility of a discourse of one’s own and unmasks the misogyny inherent in modernity. The Romanian short story O fată se plimbă pe stradă [A girl walks in the street] (1939) offers the author an opportunity to discuss the figure of the flâneuse, who, in its relations to modernity, public space or gender, seems to diagnose the condition of women within a modernising culture. The presence of these women in the text remains closely linked to their corporeality, constantly questioned and constrained by a hostile society. This is all the more visible in the case of a young girl with mobility disabilities: a close reading highlights the narrative function of walking, a physical activity that gives a temporal and rhythmic framework to the text.

Sorana Gurian's writing records the impossibility of a discourse of one's own and unmasks the misogyny inherent in modernity. The Romanian short story O fată se plimbă pe stradă [A girl walks in the street] (1939) offers the author an opportunity to discuss the figure of the flâneuse, who, in its relations to modernity, public space or gender, seems to diagnose the condition of women within a modernising culture. The presence of these women in the text remains closely linked to their corporeality, constantly questioned and constrained by a hostile society. This is all the more visible in the case of a young girl with mobility disabilities: a close reading highlights the narrative function of walking, a physical activity that gives a temporal and rhythmic framework to the text. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

ABSTRACTIn the 1990s, a new literary genre appeared – the chick lit – dealing with the stories of women in their 20s and 30s in the big city, including accessible and humoristic poetics. This article maps the characteristics of the genre as well as its origins: diary, journalistic writing, romance, glamor novel and Bildungsroman. Comparison between the Anglo-Saxon chick lit and the Israeli chick lit novel The Song of the Siren reveals that the genre is less successful in conservative societies than in liberal Western ones. However, its subversiveness is deeper and it promotes anti-stereotype themes regarding women’s singlehood (which becomes legitimate), in choosing a partner who enables the female character to be dominant and find her place and career in the public sphere.

An essay devoted to the novelistic diptych by Lithuanian writer Birutė Jonuškaitė (Volume 1: Maranta; Volume 2: Maestro). The author begins her considerations with a reference to Jonuškaitė's biographical text In Miłosz's Footsteps and then discusses both works, emphasizing that they can be characterized as psychological, existential or coming-ofage novels. Maranta is not only a family saga that addresses the topic less familiar to Polish readers, namely the Lithuanian minority in the Polish-Lithuanian borderlands. It is also an example of the popular genre of herstory - the stories dominated by a female perspective. The theme that connects both parts of the diptych is the influence of childhood traumas on the formation of an individual's personality. The essay also points out the numerous references to analytical psychology in Jonuškaitė's novels, including Jungian concepts, such as the "shadow", and highlights the original leitmotif of the fair-haired braid of Lithuanian women. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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.)

The letters of émigré woman writer Ekaterina Bakunia (1889 –1976) to the dramatist, director and theater historian Nikolai Evreinov (1879 –1953) are published for the first time. These documents are of great value: these letters encourage us to plunge into creative laboratory of Bakunina (her collection of poems entitled “Poems,” two novels — “The Body” and “Some love for six persons”), to discover her doubts and fears (description of human body and physical love in literature) as well as some details about literary émigré life. The correspondence with Evreinov enlightens its readers about a marginal status of the authors, especially women writers, who dare to raise prohibited questions. “Minor” women writers were systematically under pressure of literary canon and cultural rhythm of the epoch and therefore they were forced to characterize their texts as quickly and badly written and “minor.” The publication includes a very short introduction, the correspondence with comments and a list of references.

Yangzhou was known for its "women" but not for women's literature. Underlying literary imaginations about the beautiful women of Yangzhou were salt wealth and a commerce of women serving the wealthy during the late imperial period. The notoriety of this commerce seemed to exclude the possibility that Yangzhou might also boast accomplished women writers, like the cultural heartland of the Jiangnan region. This study revisits these assumptions in light of the literary sources and prominent cases that testify to the vibrancy of women's literary activities in Yangzhou. The city was a transregional literary center and a favored destination of sojourning poets and merchants, particularly those from Huizhou, creating opportunities for women to attain literary fame. Central to this discussion is a poetic language about sites and spaces that became current in Yangzhou during the Qing era. For a woman poet to place herself at the sites of Yangzhou that were repeatedly celebrated by poets was to claim membership in the elite networks or trends of cultural emulation formed on the basis of the sites. Viewed in transregional contexts, sites and spaces comprised the spatial imaginaries in women's literature—defined broadly as the spatial ordering of the world, and Yangzhou's place in it, as imagined and written about by women. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny 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.)

Today, many literary works can be analyzed from the perspective of feminist criticism. The main issue of the current research is the feminist criticism of two contemporary novels by two women writers with female literature, one is "Topchanar" by Ansieh Shah Hosseini1 and "And Others" by Mahbouba Mirqadiri2. The importance of the topic is the need of the current society, especially women, to be informed about the realization of their rights, as well as the value of the two mentioned novels, one in the field of rural literature and the other in the field of urban literature. The most important question ahead; What is the position of women in both rural and urban societies in the two mentioned novels and what is the approach of women to achieve their rights? The research hypothesis is the existence of patriarchy and the violation of women's rights in both novels and its acceptance by women. Some of the most important results of this research, which were provided in a descriptive-analytical way by comparing the two mentioned novels, are; Cases of the loss of women's rights in the rural novel "Topchanar": Disagreement with the continuation of girls' education, dissatisfaction with the birth of a daughter and marrying a child as a wife, but the first character is a hero who, despite poverty, actively It deals with personal and social problems. In the urban novel "And Others", while there is not much material poverty, there is still the neglect of women by the society and by themselves; Anonymity, not being important, being subservient to men, feeling shame and guilt due to puberty, sense of emptiness due to not having children. In this novel, unlike the previous one, the presence of passive women can be seen, especially the main character who seems to have accepted patriarchy. [ABSTRACT FROM AUTHOR]

In so-called “crisis novels” that appeared in Spain following the economic collapse of 2008, the city comes to represent not only the scene of the explicit dramatic situations of the characters (poverty, precarity, unemployment, evictions, homelessness, occupy movement, street protests, or gaps in social services) but also the imagery of decay and conflict. The city comes across as an uncomfortable space, characterised by inhospitable peripheries and abandoned constructions, which is consonant with the sense of helplessness and extreme loneliness of the protagonists. However, in contrast to the paralysis and the nervous breakdown evident in La trabajadora (2014) by Elvira Navarro (alienating perspective), Cristina Morales’s Lectura fácil (2018) represents the urban space as a battlefield that leads to the awareness-raising and the politicization of the experience of a crisis (revolutionary perspective).Both novels, focused on “the right to housing”, come to reveal a great deal of indignation and protest against the neo-liberal policies and the contemporary capitalist city, responsible for exclusion and inequality. Their demands coincide with the political proposal of “the right to the city” (Lefebvre, 1968; Harvey 2013), which raises the possibility of living a worthy life in the city, with an equitable distribution of resources and respect for different sensitivities.

The article examines the twin themes of arranged marriage and the East-West cultural tension through Kavita Daswani's chick lit novel "The Village Bride of Beverly Hills" which is set within the Indian diaspora in California. Topics include the hybrid identity created by the protagonist in the novel, a neoliberal choice feminism demonstrated in the work, and a discussion of the binary distinction regarding Indian tradition and Western and American culture established in the novel.

This article examines ʿAtaba thaqīlat al-rūḥ ("Threshold of heavy spirit," 2011), a novel by the new generation West Bank writer Māyā Abū l-Ḥayāt, who is considered one of the prominent new generation Palestinian West Bank writers, in which diverse and unique use of a dance motif is found. The article reviews the history of dance in Arab society and the meanings that it had in the past and currently has in Arab society and culture. It illustrates how Abū l-Ḥayāt uses each of these meanings throughout her novel in order to reveal the female soul and the status of women in Arab society. The article shows how Abū l-Ḥayāt incorporates this motif into her novel in a unique and original way, thus exposing woman's yearning for freedom, creating a new feminine language and undermining accepted norms. [ABSTRACT FROM AUTHOR]

Women's writing was formed at the beginning of the 20th century following the women's movement to assert their rights, but women have been writing for a long time. Women writers have always tried to project their ideas by using writing and emphasizing female themes, and their goal was to redefine identity, break stereotypes and change the pre-defined values of the patriarchal society. In this article, we are going to follow the social and literary activities of women in France by presenting a short history from ancient times to the present day, which leads to the improvement and promotion of women's position in society, then we will define women's literature, its characteristics and concepts. And finally, we will take a look at Persian women's literature, which changes a lot under the influence of French literature and currents such as feminism and the new novel, and we will show that Iranian women writers have also made great efforts to improve the social status of women. The purpose of this study is to provide a perspective of the historical course of women's literary and social activities, which can open the way for writers to conduct femalecentered literary research in the field of comparative literature, and also lay the groundwork for studies in the form of social, psychological and feminist criticism. [ABSTRACT FROM AUTHOR]

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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.)

From its first publication, Mary Shelley's novel Frankenstein has stirred discussions and controversies. The novel has been labelled as the first novel of several literary genres (such as science fiction or dystopia). Our argument is that Frankenstein is the first feminist dystopia, since it is influenced by feminist ideas, especially by Mary Wollstonecraft's (Mary Shelley's mother) and portrays a world that is a "bad place" for women. Could the exclusion of women from male narratives be read as a mere description of the society of that time or as a social commentary? [ABSTRACT FROM AUTHOR]

Copyright of Dacoromania Litteraria is the property of ACADEMIA ROMANA Filiala Cluj-Napoca Institutul de Lingvistica si Istorie Literara "Sextil Puscariu" 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.)

Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

The literature of the so-called Eastern Turn which dominates the German migration literature of the 21st century shows common thematic features regardless of the authors’ country of origin, but also differences related to the migration background of the author in question. German authors with Czechoslovak roots often refer to Franz KAFKA in their texts. This has a pragmatic function – writers from the East want to establish themselves in the (West) German market by referring to this world-famous compatriot. Allusions to Kafka reflect the peculiar reception of his texts in a country with a communist dictatorship. Moreover, the references to KAFKA IN REINEROVÁ, MONÍKOVÁ and WAGNEROVÁ are gender-specific: they are simultaneously an emancipatory settlement with a literary tradition shaped by men. [ABSTRACT FROM AUTHOR]

Copyright of Research in Educational & Human Sciences Arts & Languages is the property of Research & Development of Human Recourses Center (REMAH) 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.)

Manju Kapur's novels deal with the identity crisis of voiceless in the society by giving a detail description of their socio-economic conditions, humiliation, and physical torture. The resemblances and differences of their lifestyle, the struggle, the problems that they face and the solutions that they come out would be the main element of her writings. The study tries to show how Manju Kapur's handling of the themes is different from that of the other novelists to demonstrate her artistic merits. The hypothesis thus posited is validated on the basis of the textual evidence compiled from the selected novels of Kapur. The way she presented women might be having resemblance with feminist theory, but it is not synonymous with feminist theory. In fact, it assumes that women have a distinct experience, which requires separate analytical tools to understand, and it is preoccupied with understanding how women's literature both expresses and shapes this experience. The review attempts to find out wretched and pitiable condition of women in post-independence India. It shows the gagging closeness and dangerous limits of Indian family esteems. The review centers on worries and struggles, to find a suitable place for themselves in the society from the people that are trying to dominate by all possible means. [ABSTRACT FROM AUTHOR]

Введение. В настоящее время исследователей привлекает творчество авторов так называемого второго ряда, чьи литературные творения оказались незаслуженно забыты. Важным является то, какую роль сыграли эти произведения в литературном процессе своего времени. Материал и методы. Материалом исследования стали повесть М. С. Жуковой «Дача на Петергофской дороге» и глава «Княжна Мери» из романа «Герой нашего времени» М. Ю. Лермонтова, а также литературный и в целом культурный контекст XIX в. Методы исследования ‒ научное описание, контекстуальный анализ, сравнительный анализ текстов разных авторов с целью установления интертекстуальных перекличек, филологический анализ текста с акцентом на выявлении идиостилевых особенностей авторов, привлечение элементов дискурсивного анализа. Результаты и обсуждение. Сюжетный и текстовый анализ «женской» прозы показал не только перекличку главных образов и сюжетных мотивов повести М. С. Жуковой с предшествующими литературными произведениями, но и своеобразие подачи материала, а также особенности авторского идиостиля и идиолексикона. В условиях зарождающегося движения за права женщин писательница попыталась вынести на обсуждение общественности вопросы семьи и брака, роли женщины в обществе. Не имея возможности прямо поднять эти темы, автор-женщина для выражения собственной позиции использует определенные стилистические приемы (курсив, многоточие, вопросительные, восклицательные знаки), внутрисюжетные авторские отступления. Очень часто М. Жукова применяет скрытые цитаты и реминисценции на произведения известных авторов (А. С. Пушкина, В. А. Жуковского, М. Ю. Лермонтова). Главные герои в произведениях Жуковой обретают иную смысловую нагрузку. Созданный писательницей мужской образ, имея внешние черты классического героя-любовника (бывший гусар, князь, гвардеец), оказывается грансеньором, т. е. человеком, только создающим видимость джентльмена. М. Жукова показывает также другой взгляд на брак по расчету, когда циничная и волевая наследница богатого состояния сама устраивает семейный союз-сделку с князем. Отголоском романтической литературы является образ провинциалки Зои, чье безумие выступает показателем нежизнеспособности героини в современном мире. Заключение. Таким образом, сюжетная линия в творчестве писательницы становится более сложной, литературный замысел сливается с жизнью, а второстепенные персонажи имеют не только связующую функцию, получив свое дальнейшее развитие в последующих произведениях писателей-реалистов.

This article historicises Elena Ferrante's Neapolitan Series novels in terms of 1970s feminism. The novels provide a phenomenological account of the development of the autonomist Italian left in the 1970s, but unlike most histories of this process, they centre the gendered contradictions within that political milieu. This narrative arc demands to be contextualised with the ideas of Italian feminists Carla Lonzi, Mariarosa dalla Costa, and the major Anglophone thinkers of Marxist Feminism. The Neapolitan Series investigates the feminist potential of relationships among women, even women who have no political consciousness in the common sense of the term, a potential that is illuminated by contrast with the oppressive effect of the most ardent and sophisticated male Marxists. What is crucial however, and this is at the heart of this article, is the fact that Ferrante stages this skewering of male proletarian rebels amid the finely wrought depictions of the capitalist immiseration of working-class women's lives and the inanity of bourgeois feminism. In short, this essay uses Ferrante (and her sensational popularity) as a way of thinking about the current revival of interest in 1970s feminism as an expression of the desire to reconcile the central tenets of Radical and Marxist Feminisms. [ABSTRACT FROM AUTHOR]

Copyright of Oikos: Lithuanian Migration & Diaspora Studies is the property of Lithuanian Emigration Institute 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.)

Early in the development of ecofeminist literary criticism, white feminists borrowed shallowly and unethically from Indigenous cultures. Using that underinformed discourse to interpret Native American women's literature resulted in idealizing and silencing Indigenous women's voices and concerns. Native American feminist literary critics have also asserted that a well-informed, inclusive "tribal-feminism" or Indigenous-feminist critical approach can be appropriate and productive, in that it focuses on unique and shared imbalances created by white patriarchal colonization, thinking, and ways of being that affect Indigenous and non-Indigenous women and cultures and the environment. In her third novel, Gardens in the Dunes, Leslie Marmon Silko interweaves an ecological critique of white imperialist botanical exploitation of landscapes and Indigenous peoples globally with both a celebration of Native American relationships to the land and Indigenous women's resourceful resistance and an ecofeminist reclamation of European pagan/Great Goddess iconography, sacred landscapes, and white feminist autonomy. Expanding on earlier Indigenous-feminist readings, this ecofeminist analysis looks at a key trope in Gardens, the Ghost Dance, an environmentally and ancestrally focused nineteenth-century sacred resistance and reclamation rite. Silko's is a late-twentieth-century literary adaptation/enactment in what is the continuing r/evolution of the Ghost Dance, a dynamic figure in Native American literature and culture. [ABSTRACT FROM AUTHOR]