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We argue that historical femme life writing forms a rich resource for femme theory that contributes to, challenges, and extends contemporary academic femme literature. We focus on the experiences of femmes during the second-wave feminist movement, specifically within the context of 1970s and 1980s U.S. lesbian feminism. The texts we examine include My Dangerous Desires by Amber Hollibaugh (2000), A Restricted Country by Joan Nestle (1987), Minnie Bruce Pratt's (1995) S/he , and selections from The Persistent Desire: A Femme-Butch Reader, edited by Nestle (1992). Informed by Clare Hemmings' (2011) and Victoria Hesford's (2013) critiques that past feminisms are often retold using reductive narratives, we (re)read this femme life writing to foreground the ways in which femmes have historically troubled and resisted monolithic accounts of lesbian feminism, lesbian identities, femininity, and sexuality. By centering queer feminine voices from this period to highlight major themes of this life writing, and drawing on Andi Schwartz's (2018) positioning of femme cultural production as a basis for theory, we argue that earlier iterations of queer femininities are relevant to and important for contemporary femme theory. Ultimately, we analyze what historical femme life writing reveals about the place of femininity within the lesbian and feminist communities of their time, how these dynamics inform current perceptions of queer and femme politics, and how femmes resist their cultural and critical marginalization.

Copyright of Iberoromania is the property of De Gruyter 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.)

Miron Białoszewski, an acclaimed Polish poet and playwriter, and Lech Emfazy Stefański, a poet, dramatist, director, and since the early 1970s a key parapsychologist in Poland, met first shortly after World War II. They shared a passion for avant-garde theatre, literature, and music, and were also interested in psychic phenomena which, though, manifested itself in their lives and writings with quite different intensities. This article seeks to provide an introduction to the role of the esoteric elements in their biographies, while at the same time situating their relationship against the background of political and cultural changes in communist Poland. The first part of the paper outlines Białoszewski’s and Stefański’s youth experiences and their collaboration in the Theatre at Tarczyńska Street. The second part of the article addresses Stefański’s contribution to the propagation of psychotronics in Poland; it also touches upon his literary texts; while the last section examines the encounters of the former collaborators in the 1970s, placing emphasis on the role of the blind poetess Jadwiga Stańczakowa in bringing the two men back together. [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.)

Analyzing reading experiences represented in transnational literature clarifies how the author's story connects to a larger world literature. Building on the feminist and postcolonial work of Sarah Ahmed, and Elleke Boehmer, Rita Felski's study of the uses of literature, I investigate the signification of the representations of reading experiences in three contemporary Norwegian works. These center thematically on gendered and racialized identity processes, as well as politics and history, in the aftermaths of colonialism and migration: Shazia Majid, Ut av skyggene. Den lange veien mot likestilling for innvandrerkvinnene [Out of the shadows. The long road to equality for immigrant women]; Ivo de Figueiredo's A Stranger At My Table [En fremmed ved mitt bord. En familiehistorie] and Yohan Shanmugaratnam's work Vi puster fortsatt [We are still breathing]. My analysis of the reading experiences and the intersectional aspects in these works, explores how their stories refer to and enter into various networks of book communities: Feminist, imperialist, antiracist, Norwegian, English, American, Asian, African, 19th-century, colonial, black, white and more. The authors use their family history to tell a larger transnational story, leading to further explorations of how gender, ethnicity, nationality, class and religion form identities in transnational Norway. [ABSTRACT FROM AUTHOR]

his paper aims to explore what might be the limits of what we call today Biographical Novel, framed as Biographical Fiction or Life Writing, research that has as its central objective to find an answer to questions such as: what might be the features of the genre and what purpose do they serve today? How do we relate to past personalities in the present context and what can we extract from their lives – can we talk about censorship/ attributing an unrealistic context to a public personality? But more importantly, what is the relationship between fact and fiction constructed, given that the boundary between these is very vulnerable? All these questions are meant to guide the readers throughout the study. Even if the genre is not so much in demand among writers today, probably for reasons related to the economy of time, such writing can become interesting to study how the author chooses to present someone’s life, a choice that must first be well documented, and then fully assumed, with full responsibility for the facts shown. The points on which the paper will focus are related to the novel of Moni Stănilă Brâncuși sau cum a învățat țestoasa să zboare, the biography Constantin Brancusi by Sanda Miller and the „On Constantin Brancusi” study written by Dore Ashton, where the construction of Constantin Brâncuși’s personality, as it appears in their works, will be contextualized in World Literature. [ABSTRACT FROM AUTHOR]

Copyright of Maguaré is the property of Universidad Nacional de Colombia, Departamento de Antropologia 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 focuses on the memoir of Musine Kokalari, the first woman writer in Albanian literature. Her memoir La mia vita universitaria (My University Life) was written in Italian during her stay in Rome as a student at Sapienza University. It was published only in 2009 (Tirana) and in 2016 (Rome) as a result of the author being harshly persecuted by the communist regime and her work being banned in Albania for almost half a century. Kokalari's memoir is analyzed through a cultural and biographical approach as well as text analysis. Being a stranger and remaining one while living in Italy is a fundamental aspect of Kokalari's memoir as she narrates her journey toward the expression of the self as an Albanian woman writer in fascist Rome. [ABSTRACT FROM AUTHOR]

An essay about hypochondria, past and present. Beginning with the observation that for centuries hypochondria has been blamed upon various forms of reading, I attempt to take seriously this venerable relationship between hypochondria and literature. By bracketing the medical and moral concerns that encumber most treatments of hypochondria, I instead seek to understand the condition as a method of reading, a close textual engagement that is at once anxious and oddly clear-sighted about its own limits, and which bears some similarities to other, more familiar hermeneutic methods such as paranoid reading and 'too-close reading'. In the second half of the essay, I draw upon the lives and writings of Maurice Blanchot and Franz Kafka, two writers who were themselves plagued by mysterious and unexplained symptoms, and attempt to show how the imperatives of literature as understood by each writer could meaningfully be described as hypochondriacal. Above all, then, this essay looks more closely at a figure whom it is difficult to take seriously, and asks whether, viewed from a certain angle, the hypochondriac might in fact be said to be endowed with a perspicuous if discomfiting form of insight. [ABSTRACT FROM AUTHOR]

Copyright of ECCOM: Educação, Cultura e Comunicação is the property of ECCOM: Educacao, Cultura e Comunicacao 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 Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

Sydyk Karachev, who is among the generation that founded Modern Kyrgyz literature, studied at the new method (Usul-i Cedit) school. It is possible to find traces of this education in the thoughts reflected in Karachev's works. There are differences between the writings of some writers who were educated at Cedit schools and the Soviet Union’s view of literature. Many Kyrgyz writers have been subjected to criticism because their way of thinking does not match with Soviet ideology. One of these writers is Sydyk Karachev. In this study, the works written by Sydyk Karachev, criticisms of his works and his activities in the field of literature were emphasized. The changes between the mindset seen in the works written by Sydyk Karachev in the first years when he started writing, and the mindset that occurred after the government intervened in literature are remarkable. This change reflected in Sydyk Karachev's writing life was explained by giving examples from his works. These examples are important to understand the outcome of interventions to Karachev and the final point in his art. [ABSTRACT FROM AUTHOR]

Copyright of Autobiografia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego 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 Autobiografia is the property of University of Szczecin Press / Wydawnictwo Naukowe Uniwersytetu Szczecinskiego 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 study of a renowned work that can still offer researchers many paths of analysis and investigation proves to be a really challenging undertaking. It is well known that the work of Annie Ernaux has gained an important place in contemporary French literature and in the world literature through translations. This stems from its complex and innovative nature, lying outside the borders of literary genres. Annie Ernaux’s works touch upon the most sensitive spheres of human being. This article aims to highlight the most relevant perspectives expressed in literary criticism (academic, journalistic and media), but also to point out the thematic world of Ernaux’s work. Furthermore, the paper proposes new approaches of interpretation and research by questioning this act of creation at all its levels of manifestation, while highlighting the writer’s constant and conscious effort to orchestrate and harmonize them. [ABSTRACT FROM AUTHOR]

The paper explores the relational ways in how the identity of a creative person is constructed in exile, in dialogue with the relational environments and proximate others. The case study for the article is the writer and literary scholar of Estonian and Latvian heritage, Ivar Ivask (1927-1992), who fled Latvia during World War II, spent some years in displaced persons' camps in Germany, later on studied German literature and art history in Marburg (Germany), and starting from 1950 lived and worked in the United States. Ivask's journey suggests that at points in his life he could have been a Latvian, an Estonian, a Baltic-German or even an English-speaking American. The paper attempts to demonstrate the reasons why Ivask became, despite everything, an Estonian writer and how this had a great deal to do with the relational understanding of himself: his sensorial childhood experiences in southern Estonia and his mentors and other writers he admired (e.g. Bernard Kangro), who played a crucial role in his choosing Estonian to be the language of his poetry as well as his diaries. We further contend that by engaging himself with different literatures and authors from around the world in different languages, Ivask was constantly looking for new poetic and literary discoveries and perhaps therefore insights into himself. Reading other authors' work and relating himself to their writings meant he was therefore also engaging with his own identity. In this light, we contend that Ivask's literary criticism of other authors' work as well as his literary correspondences with them provides a model of how the social and literary self can be constructed in exile, in dialogue with the relational environments and influences of proximate others, including respected authors, some of whom served as role models and mentors. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED 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 Rónai - Revista de Estudos Classicos e Tradutorios is the property of Ronai - Revista de Estudos Classicos e Tradutorios 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 Anthropology / Anthropologie Sociale is the property of Berghahn Books 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.)