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Journal articles on the topic 'Chick lit'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Montoro, Rocío, and Sena Hilal Zaganor. "Chick Lit." English Text Construction 16, no. 2 (December 31, 2023): 214–37. http://dx.doi.org/10.1075/etc.22028.mon.

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Abstract In this paper, we look at characterisation in the popular fiction genre Chick Lit by analysing laughter-talk in conversational humour. This is the first systematic analysis of how a variety of humour phenomena are linguistically realised in the genre despite humour being as aspect recurrently referred to as intrinsic to the genre. We use a combination of methods, both corpus-based and qualitative in nature, to identify instances in which laughter occurs, which we (broadly) associate with the presence of humour. Thus, with the use of self-compiled corpora, we assess the nature of humorous mechanisms in the genre. We conclude by arguing that humorous encounters are genre-defining and essential for characterisation. Humour analysis allows us to argue that Chick Lit protagonists are prototypically presented as non-aggressive, non-threatening individuals, which also contributes to the depiction of down-to-earth characters readers expect in the genre.

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2

Salinas-Moniz. "Teaching Resources-Chick Lit." Feminist Teacher 22, no. 1 (2011): 83. http://dx.doi.org/10.5406/femteacher.22.1.0083.

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3

Frangello, Gina, Cris Mazza, Jeffrey DeShell, Elisabeth Sheffield, Cris Mazza, Jeffrey DeShell, and Elisabeth Sheffield. "Chick Lit: Postfeminist Fiction." Chicago Review 43, no. 1 (1997): 117. http://dx.doi.org/10.2307/25304149.

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4

Leonard, S. "Chick Lit and Postfeminism." Contemporary Women's Writing 6, no. 1 (December 8, 2011): 79–81. http://dx.doi.org/10.1093/cww/vpr028.

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5

Rowntree, Margaret, Nicole Moulding, and Lia Bryant. "FEMININE SEXUALITIES IN CHICK LIT." Australian Feminist Studies 27, no. 72 (June 2012): 121–37. http://dx.doi.org/10.1080/08164649.2012.648259.

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6

Hagerty, Bill. "Book Review: Rock Chick Lit." British Journalism Review 30, no. 3 (September 2019): 72–74. http://dx.doi.org/10.1177/0956474819873581.

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7

LU, Yingru. "Chick Lit: Themes and Studies." Comparative Literature: East & West 21, no. 1 (June 2014): 103–12. http://dx.doi.org/10.1080/25723618.2014.12015464.

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8

Kasno, Kasno, and Erlis Nur Mujiningsih. "CHICK LIT DALAM DUNIA SASTRA INDONESIA." Pujangga 2, no. 1 (April 2, 2018): 121. http://dx.doi.org/10.47313/pujangga.v2i1.382.

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<p>ABSTRACT</p><p>Chick lit is a kind of literary works aimed at independent single young women is like the slogan printed on the<br />outside front cover. To learn more about chick lit, this study aims to describe the beginning of chick lit in the<br />world of Indonesian literature. This study uses a qualitative description to give an aid for the readers to know<br />what is happening in the environment, under observation, such as what the participants' point of views, events<br />and activities occuring in the setting. Theory referenced in this study is the theory of Seger‟ reception<br />aesthetics , which states that the aesthetic reception views the value of literature as a concept of constant<br />change depending on the system of readers‟ norms . The analysis conducted to describe the history of the<br />emergence of chick lit, the style of the author (authorship), and Indonesian readers‟ response . The<br />conclusion is that novels classified as chick lit written by women and aimed at female readers. Readers of the<br />novels are indeed mostly women, both women of mature aged and those who can be classified as beginner<br />readers.</p><p>Keywords: literature, style of the authors, women, beginner reader</p>

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9

Kennedy, Victoria. "“Chick Noir”: Shopaholic Meets Double Indemnity." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 19–38. http://dx.doi.org/10.1515/abcsj-2017-0002.

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Abstract In early 2014, several articles appeared proclaiming the rise to prominence of a new subgenre of the crime novel: “chick noir,” which included popular books like Gone Girl, The Silent Wife, and Before We Met. However, there was also resistance to the new genre label from critics who viewed it as belittling to women’s writing and to female-focused narratives. Indeed, the separation of female-centred books - whether “chick lit” or “chick noir” - from mainstream fiction remains highly problematic and reflects the persistence of a gendered literary hierarchy. However, as this paper suggests, the label “chick noir” also reflects the fact that in these novels the crime thriller has been revitalized through cross-pollination with the so-called chick lit novel. I contend that chick lit and chick noir are two narrative forms addressing many of the same concerns relating to the modern woman, offering two different responses: humour and horror. Comparing the features of chick noir to those of chick lit and noir crime fiction, I suggest that chick noir may be read as a manifestation of feminist anger and anxiety - responses to the contemporary pressure to be “wonder women.”

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10

Cheryl A. Wilson. "Chick Lit in the Undergraduate Classroom." Frontiers: A Journal of Women Studies 33, no. 1 (2012): 83. http://dx.doi.org/10.5250/fronjwomestud.33.1.0083.

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11

Farkas, Carol-Ann. "Chick-Lit: The New Woman's Fiction." Journal of Popular Culture 39, no. 5 (October 2006): 902–3. http://dx.doi.org/10.1111/j.1540-5931.2006.00314.x.

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12

Ilief-Martinescu, Alina. "Postfeminist Fiction in Chick Lit Novels." Gender Studies 14, no. 1 (December 1, 2015): 119–37. http://dx.doi.org/10.1515/genst-2016-0008.

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Abstract The intersection of postfeminist arguments with popular culture and popular cultural forms is of great significance for investigating representational politics and issues of identity. These elements are central for capturing the concept of feminist heterogeneity in its engagement with cultural theory, particularly postmodernism. This study considers postfeminism’s redefinition and reevaluation of popular culture, as an area of political and emblematic contestation.

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13

Wilson, Cheryl A. "Chick Lit in the Undergraduate Classroom." Frontiers: A Journal of Women Studies 33, no. 1 (2012): 83–100. http://dx.doi.org/10.1353/fro.2012.a472783.

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14

Fresno-Calleja, Paloma. "Chick-Lit Pasifika-Style or How to B(l)end the Formula: Lani Young’s Scarlet Series." Contemporary Women's Writing 13, no. 2 (July 2019): 203–21. http://dx.doi.org/10.1093/cww/vpaa003.

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Abstract This article focuses on Scarlet Lies (2015), Scarlet Secrets (2015), and Scarlet Redemption (2019), the popular romance series by Samoan writer Lani Wendt Young. The novels deploy the recognizable chick-lit formula to narrate the predicaments and romantic adventures of a young Samoan woman in what could be defined, following Selina Tusitala Marsh, as “‘Chick Lit’ Pasifika-style” (“Aotearoa Reads”). My main argument is that Young b(l)ends the conventions of chick lit both by hybridizing some of its defining features and by repoliticizing the formula. While dealing with commonplace preoccupations of chick-lit heroines, the novels serve as effective tools for social commentary as they raise criticism toward both Samoan and western societies, reflect on the neocolonial and neoliberal structures affecting the lives of her young Samoan characters, and introduce discussions on culturally specific issues.

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15

Farkas, Zita. "Chick Lit and Postfeminism by Stephanie Harzewski." Studies in the Novel 45, no. 2 (2013): 307–10. http://dx.doi.org/10.1353/sdn.2013.0026.

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16

Amorim de Castro, Luiz Guilherme, and Ana Beatriz Rodrigues Gonçalves. "Relações textuais nos gêneros Chick e Chica-Lit: vozes femininas na literatura em língua inglesa contemporânea e suas inspirações." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 26, no. 1 (September 15, 2022): 160–74. http://dx.doi.org/10.34019/1982-0836.2022.v26.38098.

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Este artigo tem por objetivo analisar como os gêneros Chick-Lit e Chica-Lit são diferenciáveis e relacionam-se intertextualmente, com o apoio das teorias conceituais de Michael Riffaterre (1981), Gérard Génette (1982) e Graham Allen (2000). Para atingir tal objetivo, breves análises literárias serão feitas sobre os romances O Diário de Bridget Jones (FIELDING, 1996) e The Dirty Girls Social Club (VALDES, 2003), considerados pioneiros dos seus subgêneros.

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17

Ishimbayeva, G. "The portrait of Jane Austen in chick lit style (“Jane in Love” by R. Givney)." Philology and Culture, no. 2 (September 17, 2023): 148–53. http://dx.doi.org/10.26907/2782-4756-2023-72-2-148-153.

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The article studies Rachel Givney’s novel “Jane in Love”, which conjectures the biography of Jane Austen who is considered to be the mother of chick lit. The study proves that Givney uses: 1) the principles and techniques of chick lit, a modern literary genre of the post-feminist era, at the same time revising the matrix of chick lit; 2) a fabulous narrative theme, discovered by V. Propp, which also undergoes some revision. Givney rethinks the happy ending conceptually important for chick lit and for the fairy tale with regard to a psychological novel devoted to an artist who has found his voice and his place in world literature. In her narrative about Jane Austen, a time traveler, the writer conceptualizes her significance for modern English culture and the Englishmen structuring her novel with formulas-codes of Jane Austen’s oeuvre. The main storyline of her novels is devoted to the complexities of love, and their plots assume a certain set of components. A love affair with a happy ending in the spirit of the Cinderella fairy tale is the main formula of Jane Austen’s novels, which is in demand in chick lit. R. Givney reduces this formula and fills it with a new content: her Jane Austen sacrifices a man for the sake of the future.

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18

Kaur, Dr Harpreet. "New Women in Selected Indian Chick Lit Novels: From Stereotypical Roles towards Modernity." International Journal for Research in Applied Science and Engineering Technology 11, no. 10 (October 31, 2023): 1871–74. http://dx.doi.org/10.22214/ijraset.2023.56343.

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Abstract: Women in India have had a challenging time developing in a male subjugated society, class and caste systems. But within time, women have become educated, emancipated and independent. In the era of globalization and change, Women are no longer confined to the walls of a house. They have become cognizant of the need to be modern and new woman. The image of woman in literature in recent decades as presented by Indian English writers is different from that past. The journey of women smashing the stereotypical roles and stepping ahead towards modernity and ‘new woman’ has been depicted by several Chick Lit writers in their writings. Being a Subgenre of Chick Lit, Indian Chick Lit is a genre of fiction written for and advertised to young women, particularly solitary and employed women in their twenties and thirties. This new genre has appeared as a different tendency especially for the young independent employed women who are struggling hard to find a space for themselves in the twenty first century. This paper highlights the journey of women from stereotypical roles towards modernity. It elucidates how the protagonists in Indian Chick Lit novels smash the stereotypes of self-sacrificing and self-effacing roles of women discussing the novels Piece of Cake by Swati Kaushal and and Salaam, Paris by Kavita Daswani. These leading characters of selected Indian chick lit novels are at great pains to get themselves free from the stereotypical and traditional roles

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19

Hache-Bissette, Françoise. "La Chick lit : romance du XXI e siècle ?" Le Temps des médias 19, no. 2 (2012): 101. http://dx.doi.org/10.3917/tdm.019.0101.

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20

Gupta, Pamila, and Ronit Frenkel. "Chick-lit in a time of African cosmopolitanism." Feminist Theory 20, no. 2 (February 28, 2019): 123–32. http://dx.doi.org/10.1177/1464700119826185.

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21

Davis‐Kahl, Stephanie. "The case for chick lit in academic libraries." Collection Building 27, no. 1 (January 18, 2008): 18–21. http://dx.doi.org/10.1108/01604950810846206.

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22

Gehrmann, Susanne. "Emerging Afro-Parisian ‘chick-lit’ by Lauren Ekué and Léonora Miano." Feminist Theory 20, no. 2 (February 24, 2019): 215–28. http://dx.doi.org/10.1177/1464700119831539.

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This article examines the novels Icône urbaine (2005, Urban Icon) by French-Togolese writer Lauren Ekué and Blues pour Elise (2010, Blues for Elise) by French-Cameroonian/Afropean writer Léonora Miano, with regard to their contribution to chick-lit in a broad sense. With a focus on urban working women, their love lives and consumerism, these novels fulfil a number of criteria of mainstream chick-lit. At the same time, however, a serious concern for structural power relations is inscribed into these texts. Both novelists make ample use of intermedial writing such as structural borrowing from and references to music, TV formats and the fashion press. I will analyse these narrative strategies and address how far Ekué and Miano copy, rewrite and reinvent the Anglo-American chick-lit genre from the transnational perspective of the African Diaspora in France and considering the peculiarities of black Paris as a space.

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23

Fasselt, Rebecca. "Crossing genre boundaries: H. J. Golakai's Afropolitan chick-lit mysteries." Feminist Theory 20, no. 2 (February 25, 2019): 185–200. http://dx.doi.org/10.1177/1464700119831538.

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Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others.

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24

Intan, Tania, and Vincentia Tri Handayani. "Formulasi Romansa dalam Beauty Case Karya Icha Rahmanti: Kajian Sastra Feminis." Madah: Jurnal Bahasa dan Sastra 10, no. 2 (October 24, 2019): 205. http://dx.doi.org/10.31503/madah.v10i2.924.

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This study aims to reveal the formulation of romance in chick lit Beauty Case (2005), the second work of Icha Rahmanti after Cintapuccino (2004). The methodological approach used is the study of feminist literature and structural analysis methods. Because chick lit always discusses women, the theoretical foundation of this research must be linked to women's perspectives, includes the ideas of Radway, Modlesky, Gill and Herdierckerhoff who were used to explore the narrative aspects of romance formulation, which included plots, characterization, and point of view. The results show that (1) although chick lit is a romance subgenre, the novel Beauty Case storyline does not follow the normative narrative standard of romance because there are changing plots. However, the end of the novel follows the romance formulation, which ends happily; (2) the main female figure in the novel does not really make a search for true love, but rather searches for identity. In addit ion, the portrayal of male characters also does not follow the formulation of romance that has exemplary characters; (3) the storyteller in this novel is the first single person, the main female figure, with an intimate, subjective, and limited nature of storytelling, according to the formulation of romance. Penelitian ini bertujuan untuk mengungkap formulasi romance dalam chick lit Beauty Case (2005), karya kedua Icha Rahmanti setelah Cintapuccino (2004). Pendekatan metodologis yang digunakan adalah kajian sastra feminis dengan metode analisis struktural. Karena chick lit selalu membahas perempuan, landasan teoretis yang menjadi kerangka penelitian ini harus dikaitkan dengan perspektif perempuan, di antaranya gagasan Radway, Modlesky, serta Gill dan Herdierckerhoff yang digunakan untuk mengupas aspek-aspek naratif dari formulasi romance, yang meliputi pengaluran, penokohan, dan sudut pandang. Hasil penelitian menunjukkan bahwa (1) walaupun chick lit merupakan subgenre romance, tetapi alur cerita novel Beauty Case tidak mengikuti standar narasi normatif romance karena ada beberapa plot yang berubah. Namun demikian, bagian akhir novel ini mengikuti formulasi romance, yaitu berakhir dengan bahagia; (2) tokoh utama perempuan pada novel tersebut tidak benar-benar melakukan usaha pencarian cinta sejati, melainkan pencarian identitas diri. Selain itu, penggambaran tokoh laki-laki juga tidak mengikuti formulasi romance yang memiliki karakter teladan; dan (3) pencerita dalam novel ini adalah orang pertama tunggal, tokoh utama perempuan, dengan sifat penceritaan yang intim, subjektif, dan terbatas, sesuai dengan formulasi romance.

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Singh, Sugandha S., and Abha Shukla Kaushik. "Chick Lit in India: A Step Towards Power Feminism." Indian Journal of Gender Studies 28, no. 3 (September 26, 2021): 369–84. http://dx.doi.org/10.1177/09715215211030405.

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Chick lit which is generally described as the modern-day fairy tale focuses upon the lives of young urban educated working women in search of a life partner. These books labelled as popular literature were summarily dismissed by the critics as frivolous and insignificant. A deeper study focusing upon transformed symbols and motifs with respect to the lives of women, offers an important insight into how 21st-century feminism is moving beyond a ‘victim feminism’ mindset to that of ‘power feminism’. This study is a semiotic study of Indian chick lit with a special focus upon four novels: Piece of Cake (2004) by Swati Kaushal, Girl Alone (2005) by Rupa Gulab, Almost Single (2009) by Advaita Kala and Losing My Virginity and Other Dumb Ideas (2011) by Madhuri Banerjee.

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26

Heinigová, Linda. "Žánr chick lit v současné ukrajinské literatuře pro ženy." Slavica litteraria, no. 1 (2021): 75–87. http://dx.doi.org/10.5817/sl2021-1-6.

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27

Sikora, Aleksandra. "The concept of paratextuality in literary genre Chick-lit." Forum Filologiczne Ateneum, no. 1(9)2021 (December 15, 2021): 195–208. http://dx.doi.org/10.36575/2353-2912/1(9)2021.195.

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This text is an analysis of the concept of paratext based on contemporary literature. In addition to the theoretical part concentrating on the idea of Gérard Genette, some information on the Chick-Lit genre appeared in the article. Among other things, genre characteristics, historical backgrounds and biographical notes of the authors of the analysed novels were described. Genette's theory clearly shows that an inseparable part of the book as a final product is its cover and what the reader finds on it. These are, among others, the title, abstract, of significance is also the colouring or even the location of the author's name. All these elements have been described in detail and analysed according Gérard Genette's concepts.

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28

Lee, Yeon. "Single Women and Women’s Beauty in Indonesian Chick-lit." Hankuk University of Foreign Studies Literature Studies 70 (April 25, 2018): 125–46. http://dx.doi.org/10.22344/fls.2018.70.125.

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29

Francis, Beverly Maria, and Cheryl Davis. "The Heroines of chick lit: Projecting ‘The Modern Woman’." Think India 22, no. 2 (October 25, 2019): 92–94. http://dx.doi.org/10.26643/think-india.v22i2.8677.

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Chicklit explains that chick lit genre reflects “the lives of the everyday working young woman” and appeals to readers who “want to see their own lives in all the messy detail, reflected in fiction today”. But some writers and critics describe it as a mere fluff or garbage and wastage of time. This present paper presents the characteristics of chicklit heroines and how their lives reflect the lives of the everyday working women,with the arguments in favour of “CHICK LIT” genre. It’s an important genre which deals with the problems of those women who are caught between the competing demands of feminism and being an independent woman. It is a via media which helps the women. It’s more like an escape, which helps the women too choose. This genre gives them a satisfaction that they are not alone with such and such problem; there are many more like them, to whom they can relate.

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30

Newns, Lucinda. "Renegotiating romantic genres: Textual resistance and Muslim chick lit." Journal of Commonwealth Literature 53, no. 2 (January 28, 2017): 284–300. http://dx.doi.org/10.1177/0021989416686156.

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The proliferation of images of “oppressed” and “downtrodden” Muslim women circulating via media discourses and popular memoirs leading up to and after 9/11 has led a number of British Muslim women to “write back” to such representations. However, these writers face a challenging politics of reception, aided by marketing tactics that attempt to reinscribe their voices within limited binaries of East and West, traditional and modern, Islamic and secular. Implicit in such binaries is the assumption of an inherent incompatibility between Islam and the “Western values” deemed necessary for fully-fledged citizenship in modern Britain, especially when it comes to gender equality. Leila Aboulela and Shelina Zahra Janmohamed are two writers who have been successful in negotiating this difficult terrain. Through their manipulation of secular romantic forms, they present readers with more nuanced articulations of Muslim womanhood that fuse feminist and religious concerns. Aboulela’s novel The Translator (1999) and Janmohamed’s memoir Love in a Headscarf (2009) appropriate the domestic novel and chick lit genres, respectively, and recast them within an Islamic signification system. In the shifting space between convention and innovation, their works enact a resistant aesthetic that draws attention to the sexism found in both traditional cultural mores and consumer-driven neoliberal gender regimes, offering personal faith and spirituality as a model for more equitable gender relations. In making a clear distinction between culture and religious belief, their works advocate for a form of Islam that coexists with other values and identities, including British, and clear discursive space for a more complex understanding of the intersection between gender and faith.

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Erkazancı Durmuş, Hilal. "Chick Lit ve Çeviri: Diyet Diyarından Sıfır Beden Cehennemi’ne." İstanbul Üniversitesi Çeviribilim Dergisi / Istanbul University Journal of Translation Studies, no. 17 (December 29, 2022): 39–59. http://dx.doi.org/10.26650/iujts.2022.1168385.

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32

Rachmijati, Cynantia, and Anita Anggraeni. "ANALISIS BAHASA INGGRIS DAN PEDAGOGIS NOVEL TEEN LIT SEBAGAI BAHAN PENDAMPING MATA KULIAH TRANSLATING DAN LITERATURE." P2M STKIP Siliwangi 4, no. 1 (May 31, 2017): 1. http://dx.doi.org/10.22460/p2m.v4i1p1-7.385.

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Penelitian ini bertujuan untuk mengetahui jumlah & tipe campur kode kata dan aspek pedagogis pada novel genre chick-lit, Aviredie karya Alline, Grow Up! karya Sucia Ramadhani, Pertama Kalinya! karya Sitta Karina dkk, dan Oppa and I karya Orizuka & Lia Indra dan novel genre lad-lit, Hidden Agenda karya Jacob Julian, Marmut Merah Jambu karya Raditya Dika, School of Chemistry karya Al Dhimas. Metode penelitian adalah pendekatan kualitatif. Hasil penelitian menunjukkan bahwa umumnya teen-lit tersebut mengandung lebih banyak ungkapan outer code mixing (Bahasa Inggris) dibandingkan dengan inner code mixing (Bahasa Indonesia informal), serta umumnya mengandung aspek pedagogis yaitu sosial, budaya dan moral. Ungkapan inner code mixing lebih sedikit ditemukan, demikian juga dengan aspek pedagogis dalam bentuk moral. Novel yang paling banyak mengandung ungkapan dalam bahasa Inggris adalah novel School Chemistry dan Pertama kalinya!. Bagi para pendidik terutama guru Bahasa Inggris, novel teen-lit ini dapat digunakan sebagai salah satu bahan ajar namun sebaiknya penggunaannya didampingi agar manfaatnya lebih positif dan penggunaan ungkapan bahasa Inggrisnya lebih efektif.Kata kunci: analisis, bahasa Inggris, aspek pedagogis, teen lit

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33

Spencer, Lynda Gichanda. "‘In defence of chick-lit’: refashioning feminine subjectivities in Ugandan and South African contemporary women’s writing." Feminist Theory 20, no. 2 (February 24, 2019): 155–69. http://dx.doi.org/10.1177/1464700119831544.

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Ugandan and South African contemporary women’s narratives reflect on the rapid pace of change in the social lives of women in two countries that are contending with the aftermath of conflict and violence. This article will interrogate how contemporary women writers such as Goretti Kyomuhendo ( Whispers from Vera), Zukiswa Wanner ( The Madams and Behind Every Successful Man) and Cynthia Jele ( Happiness is a Four-Letter Word) are embracing chick-lit as a form of writing, while simultaneously short-circuiting this genre to create an experimental form that allows them to reflect on the realities of women and engage with the contradictions, complexities and ambiguities of contemporary feminine subjectivities. Although chick-lit as a genre has been dismissed as trivial and frivolous, ostensibly because it deals with women’s experiences, this article argues that this particular form of chick-lit is more political and attempts to disrupt the original chick-lit by offering a critique of society. It articulates how women see themselves and their relationships with their parents, spouses and, most importantly, female friends; reflects on the challenges that modern women face in the work environment; interrogates women’s realities concerning love, marriage and motherhood; explores concepts of sexual desire and intimacy; and negotiates the dilemmas of a patriarchal society, while also confronting issues of class and race. These contemporary women writers are adopting this genre because it allows them to reflect on realities that are complex and uncertain, to transform gender relations, to redefine the roles of women and to construct new feminine subjectivities.

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Lim, Megan S. C., Margaret E. Hellard, and Danielle Horyniak. "Safe sex in chick lit: a ‘novel' analysis of sexual health references in popular women’s fiction." Sexual Health 15, no. 5 (2018): 468. http://dx.doi.org/10.1071/sh18017.

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Background Media, including fiction novels, influences health behaviours in women’s lives. This research measures the prevalence of sexual content and explores the portrayal of sexual health topics in ‘chick lit’, a genre of fiction characterised by neoliberal feminism. Methods: Fifty bestselling chick lit novels were identified from the book-related website, Goodreads. Information was extracted on sexual encounters taking place: characters involved, behaviours depicted, references to contraception and other (un)safe sex practices. Descriptive statistics were used to analyse key features of sexual encounters, and thematic analysis conducted to explore the portrayal of (un)safe sex. Results: Forty-five books (90%) contained at least one sexual scene (total: 199 scenes). 110 scenes explicitly described sexual behaviours, mostly commonly vaginal intercourse (72%), manual stimulation of a woman (28%) or oral stimulation of a man (15%) or woman (15%), and 53% of scenes implied sexual intercourse occurred but did not describe the event. Condom use was described in 43% of scenes with clearly described vaginal intercourse, almost exclusively in scenes involving dating or casual partners. Condoms were portrayed as a ‘necessary evil’; although use was normalised, they were described as having negative effects on pleasure and intimacy. Conclusions: Portrayals of sexual encounters in chick lit are realistic and recognise that safe sex does not always occur. Despite references to condom use being prevalent, the portrayal of condoms in a negative light could discourage young women from their use. Chick lit could provide a ‘novel’ opportunity to model positive behaviours and promote discussion of safer sex practices.

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Intan, Tania, and Vincentia Tri Handayani Tri Handayani. "Formulasi Romance dalam Beauty Case Karya Icha Rahmanti: Kajian Sastra Feminis." MADAH 10, no. 2 (September 23, 2019): 205–18. http://dx.doi.org/10.31503/madah.v10i2.13.

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This study aims to reveal the formulation of romance in chick lit Beauty Case (2005), the second work of Icha Rahmanti after Cintapuccino (2004). The methodological approach used is the study of feminist literature and structural analysis methods. Because chick lit always discusses women, the theoretical foundation of this research must be linked to women's perspectives, includes the ideas of Radway, Modlesky, Gill and Herdierckerhoff who were used to explore the narrative aspects of romance formulation, which included plots, characterization, and point of view. The results show that (1) although chick lit is a romance subgenre, the novel Beauty Case storyline does not follow the normative narrative standard of romance because there are changing plots. However, the end of the novel follows the romance formulation, which ends happily; (2) the main female figure in the novel does not really make a search for true love, but rather searches for identity. In addition, the portrayal of male characters also does not follow the formulation of romance that has exemplary characters; (3) the storyteller in this novel is the first single person, the main female figure, with an intimate, subjective, and limited nature of storytelling, according to the formulation of romance.

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남희진. "Chick-lit: Overcoming Its Limitations of a Female Popular Narrative." New Korean Journal of English Lnaguage & Literature 52, no. 2 (May 2010): 51–74. http://dx.doi.org/10.25151/nkje.2010.52.2.003.

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Ko, Jeongyun. "In Full Bloom as an Asian American Chick-lit Novel." Journal of Humanities and Social sciences 21 10, no. 2 (April 30, 2019): 1367–80. http://dx.doi.org/10.22143/hss21.10.2.97.

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Abu Ujum, Diana, and Jariah Mohd Jan. "Unraveling Conflict Amongst Muslim Female Characters in Malay Chick Lit." Women's Studies 51, no. 2 (February 2, 2022): 215–28. http://dx.doi.org/10.1080/00497878.2021.2025061.

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Ommundsen, W. "Sex and the Global City: Chick Lit with a Difference." Contemporary Women's Writing 5, no. 2 (July 1, 2011): 107–24. http://dx.doi.org/10.1093/cww/vpq014.

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Hunting, Kyra. "Women Talk: Chick Lit TV and the Dialogues of Feminism." Communication Review 15, no. 3 (July 2012): 187–203. http://dx.doi.org/10.1080/10714421.2012.702002.

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Intan, Tania, and Nur Afifah Vanitha Binti Abdullah. "Beauty Myths and Consumer Culture in Indonesian Chick-lit Novel." Eralingua: Jurnal Pendidikan Bahasa Asing dan Sastra 5, no. 2 (August 13, 2021): 284. http://dx.doi.org/10.26858/eralingua.v5i2.19269.

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Abstract. The discourse on women’s beauty and femininity are inseparable from the patriarchal cultural construction. Women are to constantly strive to achieve a standard, that is known as ‘beautiful’ to men. The purpose of this research was to study the myth of beauty and consumer culture in a ‘chick-lit’ novel entitled Beauty Case by Icha Rahmanti. Data for this study was gathered from fundamental research that used a qualitative research design. This study utilized the notion of beauty in the various context presented by Wolf and the interpretation of beauty in marketing and colonial discourse raised by Priyatna, as it’s a theoretical framework. Wilson and Wolby’s idea of consumer culture was also employed to examine female consumer culture in this novel. The finding of this study is that the myth of beauty in Beauty Case revolves around profession, culture, and sexuality. This study also concludes that the consumer culture of the main and other female characters in this novel is very much influenced by the myth of beauty constructed by men. The female characters constantly try to look young and seek recognition from men in matters regarding their appearance. Besides that, Rahmanti’s female characters also always try to gain the approval of their deeds from their society. Keywords: Myths of Beauty, Consumer Culture, Chick Lit, Beauty Case

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Gökduman, Tuğba. "Duygusal Bir Rehber Olarak Kadın Yazını: Chick-Lit Örneği Üzerinden Duygular, Cinsellik ve Özgürlüğe Bakmak." Feminist Tahayyul Akademik Arastirmalar Dergisi 3, no. 2 (August 1, 2022): 168–97. http://dx.doi.org/10.57193/feminta.2022.168.

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Bu makale “piliç edebiyatı” veya “çıtır edebiyatı” olarak bilinen chick-lit’in 1990’lı yıllarda Kuzey Amerika ve Avrupa’da ortaya çıkışından günümüze kadarki yolculuğuna kadın yazını, kadınlık deneyimleri, duygular, cinsel özgürlükler ve feminizmler perspektifinden bakıyor. Chick-lit’in kadın edebiyatı, kadın edebiyatınınsa erkeklerce tanımlanan “Edebiyat” içinde tarihsel olarak konumlandırıldığı yeri sorgulayarak chick-lit’e getirilen eleştirileri analiz eden makale, böylece chick-lit’in bir “tür edebiyatı” olarak neden ve nasıl küçümsendiğini tartışıyor. Ardından bu eleştirileri feminist hareketin, cinsel devrimin, tüketim toplumunun ve popüler kültürün yükselişe geçtiği sosyoekonomik bağlam içine yerleştirerek chick-lit’in nasıl “yeni” duygusal, cinsel ve toplumsal normlara ayak uydurmak konusunda kadınlara kılavuzluk eden bir rehbere dönüştüğünü inceliyor. Makale bu incelemeleri, chick-lit’in öncüsü sayılan Bridget Jones’un Günlüğü (1996) romanı üzerinden somutlaştırmayı ve kentli, ekonomik olarak bağımsız, 20-30’lu yaşlarındaki kadınların aşk, iş, arkadaşlık ve aile ilişkilerini nasıl yönettiğine dair bir çerçeve önermeyi hedefliyor.

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Hurt, Erin. "Deconstructing "Real" Love in the Classroom." Radical Teacher 113 (February 14, 2019): 94–96. http://dx.doi.org/10.5195/rt.2019.609.

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Hurt, Erin. "Teaching Note: Deconstructing “Real” Love in the Classroom." Radical Teacher 100 (October 9, 2014): 159–61. http://dx.doi.org/10.5195/rt.2014.133.

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Carvalho, Charmaine. "Flight from the Womb." positions: asia critique 27, no. 4 (November 1, 2019): 713–37. http://dx.doi.org/10.1215/10679847-7726955.

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Although chick lit, epitomized by novels such as Bridget Jones’s Diary, has been analyzed by feminist critics as an example of postfeminist culture, the transnational spread of the genre has resulted in transformations that invite fresh consideration. In the Indian context, chick lit emerged in the aftermath of economic liberalization, contributing to the configuration of a new feminine subjectivity—“the single woman in the city.” This article argues that the discourse of singleness in Indian chick lit is deployed not so much to solve the problem of singleness through marriage but to resolve the tension between the demands of “Indian tradition” on middle-class young women and their desire for a selfhood inflected by neoliberal discourses of autonomy. This dichotomy is symbolized in the novels in the tension between mothers and daughters and plays out primarily across the domains of choice of spouse, food, and dress. While tradition and modernity are conceptualized as binaries, the single women in these novels seem to be wrestling with a way of articulating a selfhood without having to pick a side. In their refusal to conform to ideas of Indian selfhood wherein individualism is circumscribed by autonomy, the “single woman” presents, if not ideally represents, the idea of synthesis.

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Morillas, Esther. "Hibridación de géneros y traducción: <em>La alumna</em> de Alessia Gazzola." Sendebar 33 (October 3, 2022): 65–82. http://dx.doi.org/10.30827/sendebar.v33.18503.

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El presente artículo tiene como objetivo analizar la traducción al castellano de la novela de Alessia Gazzola L’allieva (La alumna, traducción de Patricia Orts). La característica principal de esta obra es la hibridación de géneros, concretamente el policíaco-detectivesco y la chick lit. Partiendo de la idea de que cada género literario crea una serie de expectativas en el público lector, y de que quien traduce deberá dominar los recursos y mecanismos que permiten identificar a un género como tal, en las páginas que siguen se dará cuenta de los puntos de unión y divergencia en L’allieva entre la chick lit y la novela detectivesco-policíaca, y de cómo se ha abordado la traducción de sus particularidades dando prioridad a los elementos propios de esta última.

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Mazloomian, Maryam, Raihanah M. M., and Shahizah Ismail@Hamdan. "Love Relationships and Identity Development in Selected Asian American Chick Lit." GEMA Online® Journal of Language Studies 16, no. 2 (June 24, 2016): 155–71. http://dx.doi.org/10.17576/gema-2016-1602-10.

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Merle benbow, Heather. "Food, Gender, and Cross-Cultural Consumption in Turkish-German Chick Lit." Food and Foodways 23, no. 3 (July 3, 2015): 141–62. http://dx.doi.org/10.1080/07409710.2015.1066221.

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Muhamad, Siti Hawa, Raihanah Mohd Mydin, and Ruzy Suliza Hashim. "Spaces of Hope: Third Space Identity in Selected Muslim Chick Lit." GEMA Online® Journal of Language Studies 23, no. 3 (August 29, 2023): 190–204. http://dx.doi.org/10.17576/gema-2023-2303-11.

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Bozard, Laurent. "Défense et illustration de la chick BD." ALTERNATIVE FRANCOPHONE 1, no. 9 (February 22, 2016): 36–49. http://dx.doi.org/10.29173/af27211.

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À partir de 2010, des auteures de blog BD voient leur productions en ligne publiées en album. Cela n'a pas laissé le monde de la bande dessinée indifférent : auteurs, critiques, éditeurs, journalistes, beaucoup ont alors alimenté un débat autour de la qualité de ces productions. Cet article propose une étude de la situation de quatre auteures (Margaux Motin, Diglee, Pénélope Bagieu et Madeleine Martin) en considérant plusieurs axes de réflexion principaux : la question du (mauvais) genre et de la féminité proposée dans ce type d'œuvres, le lien avec leur support originel (le blog), les questions éditoriales et enfin leur parenté avec la "chick lit".

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