Search

Lília Momplé, a Mozambican author, portrays the coexistence between black and white men and women in her works. By contesting the colonial legacy, the author contributes to the subaltern's voice. In this paper, we discuss how black characters, women in particular, in the short story collection No One Killed Suhura, are oppressed by colonialist societies. This text addresses the violence of social, racial, and sexual inequalities and the power relations established between colonizers and colonized during the twentieth century in Mozambique. We will see that some of the literary strategies used include the omniscient focus of the narrator, the relationship between history and literature, and irony. [ABSTRACT FROM AUTHOR]

Copyright of Journal of English Studies is the property of Universidad de la Rioja, Servicio de Publicaciones 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 paper focuses on a ghost story originally published in 1861 and then incorporated into a memoir published in 1887–9 by the Hungarian woman writer and editor Mária Csapó (1828–96), better known as Mrs Vachott. With the examination of the ghost story's changing publications, the paper clarifies the process during which this apparently independent ghost story became a powerful metaphor for Mrs Vachott's strenuous life with haunting memories, as recorded in her published memoir. It appears that this same ghost story had been influenced by a Hungarian translation of Walter Scott's "The Tapestried Chamber" (1829) that Mrs Vachott read in a collection of short stories issued in 1836. Thus, the successful combination of the two narratives, the ghost story and the memoir, not only makes Mrs Vachott's experiment truly remarkable, but also gives valuable insights into Scott's influence on nineteenth-century Hungarian women's writing, and into the changing possibilities of the ever hybrid form of the Gothic. [ABSTRACT FROM AUTHOR]

Margita Figuli (1909 -- 1995), one of the leading Slovak women writers of the interwar period, is best known for her acclaimed novel Tri gaštanové kone (Three chestnut horses, 1940). At the time of its publication, her prosaic debut, the less widely popular collection of novellas Pokušenie (Temptation, 1937), also received favourable reviews. The period critics appreciated her ability to express emotionality and thematise the conflicting emotional and physical aspects of love as well as the stylistic qualities of her prose. Not so much attention was paid to the progressive ideological frame in which she focused on the role women played in a period when the society was looking for the meaning of life of the modern human being. Her debut collection presented her vision of the development of women who attempted at embracing their own potential. The texts advocate the value of women in the context of modernising efforts and emancipation movement of the 1930s. The article analyses Figuli's novellas in the context of her journalism published in the women's magazine Živena that thematises the „eternal feminine" in the new era. [ABSTRACT FROM AUTHOR]

Gynocritics aims to understand women's writing, according to Elaine Showalter, an American literary critic, feminist, writer on cultural and social issues. She studied women as writers, especially stressing the requirement to approach feminist criticism from a cultural perspective. Showalter shows the difficulty of the task to define the unique style of women's writing. She performs historical research and finds the ways to learn something new and real about the women's relatedness to literary culture. Gynocritics, feminine language, and feminine experience are of a high importance when reading and analysing Inga Ābele, a contemporary Latvian writer. She has been awarded several national literature prizes and the Baltic Assembly Literature Prize in 2008. Some of Inga Ābele's stories are included in the prose anthology Best European Fiction 2010, published in the USA. Her short stories and novels have been translated into several languages and published abroad. Her writing style is marked by richness of language and human psychology. The writer delves into her heroines' souls and loves them as they are. Her prose contains passion for the Latvian household and Latvian rural scenery. The aim of this study is to regard Inga Ābele's short story collection Balta kleita (White Dress) (2020) from the perspective of feminist studies and gynocritics, bearing in mind the feminine voice, feminine body, and feminine silence in the given cultural background that is colourfully described in Inga Ābele's texts. All nine heroines of the stories are females sharing their experience and understanding of the world and emotions in which they are wrapped in everyday reality. The symbolism for Balta kleita lies within the colours of white and red, as the blossom of the cherry tree and saucy berries. White signifies innocence, whereas the colour red symbolises blood and revenge of the bleeding soul. Within each cherry there is a stone - strong as the heroine herself. Another metaphor used in the stories is a bird. All nine stories mention a bird's name. The birds are different, their songs are written with different sounds, but all are to be wounded on their dream to get free. [ABSTRACT FROM AUTHOR]

Copyright of Genero is the property of Genero 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 IUG Journal of Humanitarian Research is the property of Islamic University of Gaza 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.)

Suwarsih Djojopuspito is among the most important early Indonesian women/feminist writers. This research intends to emphasize her rightful position among the first Indonesian feminist writers. Focusing on her very important novel Manusia Bebas (published originally in Dutch as Buiten het Gareel in 1940)3, one collection of short stories, Empat Serangkai (1954), and a novel written in Sundanese, Marjanah (1959), I argue that feminist spirits and ideas actually have existed and been elaborated in works by women writers in the era prior to the Indonesian New Order (1966-1998) as exemplified by Suwarsih's works. What is important in these works is that despite the unjust gender and sexual construction, the women protagonists and characters are shown to find their agency through their awareness of their particular situation. Suwarsih4 reestablishes the construction of femininity and attributes it not to total submission and acceptance to males and the patriarchal culture but to female agency, subjectivity, and intelligence. [ABSTRACT FROM AUTHOR]

The author discusses the teaching of literature by African American women writers. She mentions use of the book "Black-Eyed Susans," an anthology of short stories by African American women, the classification of these stories, and the complexity of the characters created.

The development of prose in the United Arab Emirates occurred much later than in other Gulf Countries. The local press started to develop only at the end of the 1960s. 'Abd Allah Saqr Ahmad was the author of a short story Qulub la tarham (Merciless Hearts) published at the end of the 1960s and the first collection of short stories in the history of Emirate literature entitled al-Khashaba (A Piece of Wood). The first literary attempts of the young generation of Emirate writers were published within the pages of the following periodicals: an-Nasr, az-Zamalik, ash- Shabab, al-Ahli. On the market appeared the journal al-Ittihad, the weekly Akhbar Dubayy and the monthly al-Majma'. The first stage of modern Emirate literature is constituted by a group of writers who started to publish their works in the years 1972-1975. Among them: 'Ali 'Ubayd 'Ali, Muhammad 'Ali al-Mirri, 'Abd al-Aziz Khalil as well as 'Abd al-Hamid Ahmad and Muhammad al-Murr. In the Emirates women publish their works alongside men. The most renowned names include: Shaikha Mubarak an-Nakhi, Salma Matar Yusuf, Layla Ahmad, Maryam Jam'a Faraj or Amina 'Abd Allah Bu Shihab. New generation is represented by: Basima Muhammad Yunis, Su'ad al-'Arimi, Asma' az-Zar'uni, Ibtisam al-Mu'alla and Rawda al-Balushi. Their short stories concern social matters i.e. the marriage of underage girls, the lack of respect for the opinions and aspirations of the young. What is more, in those stories we notice attempts at new topics connected with the introduction of a new life style which in turn is related to the economic and financial changes caused by the discovery of crude oil. [ABSTRACT FROM AUTHOR]