The period from 1680 to 1730 witnessed the creation of a wealth of women＇s fiction that has long been ignored or dismissed by historians and literary critics. Although the women writers in question were best sellers ...The period from 1680 to 1730 witnessed the creation of a wealth of women＇s fiction that has long been ignored or dismissed by historians and literary critics. Although the women writers in question were best sellers at the time, they were still not accepted within the traditional literary categories. This paper intends to doubt the appropriateness of the term ＂amatory＂ as a description of women＇s writing at the time as it is not proper to entitle them as ＂amatory＂ fiction only for the reason that they adopt similar amatory plot and write fictions about love.展开更多
This paper compares 18th and 19th century travelogues written by women and men travelling the cultural contact zones of the empire, as well as fictional recreations of such first encounters. A juxtaposition of the wri...This paper compares 18th and 19th century travelogues written by women and men travelling the cultural contact zones of the empire, as well as fictional recreations of such first encounters. A juxtaposition of the writers＇ reaction to the dynamics of gazing and the ethics of touch yields surprising results. Many women travellers have no problem to acknowledge the reciprocity of the gaze, accepting, as a matter of course, that the objects of their ethnological interest will gaze at them in return. In comparison, male travellers often exhibit unease at becoming an object of appraisal and observation. Even more interestingly, male travellers often shy away from haptic contact with members of the indigenous population, whereas many （though not all） women are more tolerant of touch and proximity. Regarded as ＂unwomanly＂ by their contemporaries, they carved out for themselves roles which allowed for a more intimate interaction with foreign ethnicities; also, they wrote in different genres--private memoirs instead of official reports. But even in their （semi） fictional writings male authors seem to imagine inter-cultural encounters in different terms from women and tend not let their protagonists enter into close bodily contact with the indigenous population.展开更多
The writers of this study are the Countess de Ségur,Louisa May Alcott and Maria Clarice Marinho Villac,from France,the United States and Brazil,respectively.It’s possible to identify a connection in their life t...The writers of this study are the Countess de Ségur,Louisa May Alcott and Maria Clarice Marinho Villac,from France,the United States and Brazil,respectively.It’s possible to identify a connection in their life trajectories―aristocratic and bourgeois families―and the ability to write their books.These publications address a specific audience,composed of children and young people,especially females.The representation of femininity in the narratives is related to the representation of family and religiosity,since it is up to the family to guide the girls in moral terms and this question is quite highlighted by religion.Analyzing the representation of femininity is due to the fact that the main books of female writers bring female protagonists,who exhibit a rebellious and mischievous behavior,which is observed and guided by adults.The representations of femininity is still valued and legitimized.For this reason,the narratives continue to be published and adapted to other languages,bringing to light these representations that remain until the 21st century in new clothing and updated vocabulary.Some adaptations for the Portuguese will also be analyzed,trying to identify longevity the works of these writers and their meaning in some epochs.展开更多
Throughout American literary history,women have experienced more transition in their roles,as a result of changing social norms,than any other class.At first,both society and the literary circles preached that women s...Throughout American literary history,women have experienced more transition in their roles,as a result of changing social norms,than any other class.At first,both society and the literary circles preached that women should be dependent on men and remain in the home,in order to guarantee stability in the community and the family.As time passed and attitudes changed,women were beginning to be depicted as characters that were eager to break away from convention.However,the subject role of women was never improved during the turbulent feminism movement.展开更多
This paper analyzes how the themes of magical realism and female divinity intersect in the novel The Puttermesser Papers （1997） by Cynthia Ozick. In the ＂Introduction＂, the writer defines magical realism and discu...This paper analyzes how the themes of magical realism and female divinity intersect in the novel The Puttermesser Papers （1997） by Cynthia Ozick. In the ＂Introduction＂, the writer defines magical realism and discusses its connections to Women＇s Studies. The next section, ＂The Bitter Butter Knife＂, discusses the protagonist＇s （Ruth Puttermesser） boring existence and pathetic attempts to connect to her Jewish ancestry. In ＂The Problematic Paradise＂, the author focuses on Puttermesser＇s attempts to take control of her life by creating the first female golem and the ups and downs of paradise. This author argues that the female protagonist of the novel utilizes magical realism as a tool of empowerment over personal oppression.展开更多
This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall o...This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall of Humanity. These novelists from Quebec, Marie-Claire Blais, Anne Hebert, and Gabrielle Roy, show that their female characters are unable to let go of this myth of the incarnation in their bodies of the temptations leading to Sin. Consequently, these heroines show a violent disgust for their bodies, and for all sexual manifestations （puberty, pregnancey, child-birth） that they describe very crudely. They reject their bodies and live in shame of their bodies. For this reason, they dress with modesty and have a neurotic fear of the Sin of the Flesh. This Sin makes them want to withdraw from the image of the temptress Eve and to identify themselves to Mary, the sublimated woman. For Quebec novelist Gabrielle Roy, the female debt cannot be repaid by a sublimation of women to Mary, but by a sublimation of women＇s own talents. Gabrielle Roy sees her late birth as a debt contracted towards her very impoverished and old parents. Fortunately, in her adolescence, she rebels against this unfair contract that her family and especially her mother imposes on her and that wrongs her because it forces her to follow the career path of a school teacher to repay the debts of her family. She withdraws from this debt by leaving for France and following the career path of a writer. She will redeem the debt of her family by writing her autobiography which is a monument in sublimation of her mother展开更多
●In the early 20th century, awakening women who ran from their feudalistic families found that the male-dominated society, where men managed the exterior affairs and women managed the interior ones, was indestructible.
文摘The period from 1680 to 1730 witnessed the creation of a wealth of women＇s fiction that has long been ignored or dismissed by historians and literary critics. Although the women writers in question were best sellers at the time, they were still not accepted within the traditional literary categories. This paper intends to doubt the appropriateness of the term ＂amatory＂ as a description of women＇s writing at the time as it is not proper to entitle them as ＂amatory＂ fiction only for the reason that they adopt similar amatory plot and write fictions about love.
文摘This paper compares 18th and 19th century travelogues written by women and men travelling the cultural contact zones of the empire, as well as fictional recreations of such first encounters. A juxtaposition of the writers＇ reaction to the dynamics of gazing and the ethics of touch yields surprising results. Many women travellers have no problem to acknowledge the reciprocity of the gaze, accepting, as a matter of course, that the objects of their ethnological interest will gaze at them in return. In comparison, male travellers often exhibit unease at becoming an object of appraisal and observation. Even more interestingly, male travellers often shy away from haptic contact with members of the indigenous population, whereas many （though not all） women are more tolerant of touch and proximity. Regarded as ＂unwomanly＂ by their contemporaries, they carved out for themselves roles which allowed for a more intimate interaction with foreign ethnicities; also, they wrote in different genres--private memoirs instead of official reports. But even in their （semi） fictional writings male authors seem to imagine inter-cultural encounters in different terms from women and tend not let their protagonists enter into close bodily contact with the indigenous population.
文摘The writers of this study are the Countess de Ségur,Louisa May Alcott and Maria Clarice Marinho Villac,from France,the United States and Brazil,respectively.It’s possible to identify a connection in their life trajectories―aristocratic and bourgeois families―and the ability to write their books.These publications address a specific audience,composed of children and young people,especially females.The representation of femininity in the narratives is related to the representation of family and religiosity,since it is up to the family to guide the girls in moral terms and this question is quite highlighted by religion.Analyzing the representation of femininity is due to the fact that the main books of female writers bring female protagonists,who exhibit a rebellious and mischievous behavior,which is observed and guided by adults.The representations of femininity is still valued and legitimized.For this reason,the narratives continue to be published and adapted to other languages,bringing to light these representations that remain until the 21st century in new clothing and updated vocabulary.Some adaptations for the Portuguese will also be analyzed,trying to identify longevity the works of these writers and their meaning in some epochs.
文摘Throughout American literary history,women have experienced more transition in their roles,as a result of changing social norms,than any other class.At first,both society and the literary circles preached that women should be dependent on men and remain in the home,in order to guarantee stability in the community and the family.As time passed and attitudes changed,women were beginning to be depicted as characters that were eager to break away from convention.However,the subject role of women was never improved during the turbulent feminism movement.
文摘This paper analyzes how the themes of magical realism and female divinity intersect in the novel The Puttermesser Papers （1997） by Cynthia Ozick. In the ＂Introduction＂, the writer defines magical realism and discusses its connections to Women＇s Studies. The next section, ＂The Bitter Butter Knife＂, discusses the protagonist＇s （Ruth Puttermesser） boring existence and pathetic attempts to connect to her Jewish ancestry. In ＂The Problematic Paradise＂, the author focuses on Puttermesser＇s attempts to take control of her life by creating the first female golem and the ups and downs of paradise. This author argues that the female protagonist of the novel utilizes magical realism as a tool of empowerment over personal oppression.
文摘This article will study the Quebecois novels of the 1960-1980＇s and especially the feeling of debt that women had because of the Christian Bible that condemned women as being the sinful Eve responsable for the Fall of Humanity. These novelists from Quebec, Marie-Claire Blais, Anne Hebert, and Gabrielle Roy, show that their female characters are unable to let go of this myth of the incarnation in their bodies of the temptations leading to Sin. Consequently, these heroines show a violent disgust for their bodies, and for all sexual manifestations （puberty, pregnancey, child-birth） that they describe very crudely. They reject their bodies and live in shame of their bodies. For this reason, they dress with modesty and have a neurotic fear of the Sin of the Flesh. This Sin makes them want to withdraw from the image of the temptress Eve and to identify themselves to Mary, the sublimated woman. For Quebec novelist Gabrielle Roy, the female debt cannot be repaid by a sublimation of women to Mary, but by a sublimation of women＇s own talents. Gabrielle Roy sees her late birth as a debt contracted towards her very impoverished and old parents. Fortunately, in her adolescence, she rebels against this unfair contract that her family and especially her mother imposes on her and that wrongs her because it forces her to follow the career path of a school teacher to repay the debts of her family. She withdraws from this debt by leaving for France and following the career path of a writer. She will redeem the debt of her family by writing her autobiography which is a monument in sublimation of her mother
文摘●In the early 20th century, awakening women who ran from their feudalistic families found that the male-dominated society, where men managed the exterior affairs and women managed the interior ones, was indestructible.
