Relevant bibliographies by topics / Cinema. Literature, Romance. Women's studies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
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Academic literature on the topic 'Cinema. Literature, Romance. Women's studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Cinema. Literature, Romance. Women's studies"

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Juhasz, Suzanne. "Texts to Grow on: Reading Women's Romance Fiction." Tulsa Studies in Women's Literature 7, no. 2 (1988): 239. http://dx.doi.org/10.2307/463681.

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Joannou, M. "Women's Fiction 1945-2005: Writing Romance. Deborah Phillips." Contemporary Women's Writing 2, no. 1 (June 1, 2008): 86–88. http://dx.doi.org/10.1093/cww/vpn005.

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CAPRIO, TEMBY. "Women's Cinema in the Nineties: Abgeschminkt! and Happy Ends?" Seminar: A Journal of Germanic Studies 33, no. 4 (November 1997): 374–87. http://dx.doi.org/10.3138/sem.v33.4.374.

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Jinhua, D. "Invisible Women: Contemporary Chinese Cinema and Women's Film." positions: east asia cultures critique 3, no. 1 (March 1, 1995): 255–80. http://dx.doi.org/10.1215/10679847-3-1-255.

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Haggerty, George E., and Deborah Ross. "The Excellence of Falsehood: Romance, Realism, and Women's Contribution to the Novel." Tulsa Studies in Women's Literature 11, no. 2 (1992): 370. http://dx.doi.org/10.2307/464311.

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Ince, Kate. "From Minor to "Major" Cinema? Women's and Feminist Cinema in France in the 2000s." Australian Journal of French Studies 45, no. 3 (September 2008): 277–88. http://dx.doi.org/10.3828/ajfs.45.3.277.

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Mulhern, Chieko Irie. "Japanese Harlequin Romances as Transcultural Woman's Fiction." Journal of Asian Studies 48, no. 1 (February 1989): 50–70. http://dx.doi.org/10.2307/2057664.

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My country “is now wholly given over to a d—d mob of scribbling women,” goes one of the most frequently quoted gender-related adages. Japanologists might be tempted to attribute this uncourtly utterance to a learned nobleman of Heian Japan (794–1185) embittered by the outpouring of vernacular narratives from women's writing brushes that were eclipsing male endeavors to emulate Chinese classics, or to an exasperated modern Japanese novelist in reference to the neo-Heian phenomenon, namely, the renaissance of women's literature in postwar Japan. Actually it was Nathaniel Hawthorne (1855:141) who made the now infamous sexist remark in chagrin at American women who were churning out best-sellers in force. Thereafter, this phenomenon abated for a full century, but since the 1960s, Western women writers have made a glorious resurgence, marked by unprecedented degrees of output and worldwide market domination in a genre known as the romance fiction. The title of the first romance series and the name of its publisher, Harlequin, has become something like a generic term with multiple signification.
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Ghazoul, Ferial J. "Humanising Islam's Message and Messenger in Postcolonial Literature." Journal of Qur'anic Studies 16, no. 3 (October 2014): 196–215. http://dx.doi.org/10.3366/jqs.2014.0173.

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Recent postcolonial novels have touched on Islamic faith and the Prophet, presenting a humanised image of Islam and Muḥammad. Such fiction has succeeded in writing back to Orientalist dehumanisation of the Other and stereotypes of Muslims as well as writing against fundamentalist reactionary appropriation of Islam. Leila Aboulela in The Translator (1999) interprets Islam literally and metaphorically to non-Muslims in a fictional romance that takes the protagonists from Scotland to Sudan. Assia Djebar in Loin de Médine (1991) deals with the beginnings of Islam in Arabia. This historical novel concentrates on women's voices that have been marginalised or dropped altogether from accounts by male historians. Salim Bachi in Le Silence de Mahomet (2008), narrates the advent of Islam through multiple points of view: by two wives of the Prophet, Khadīja and ʿĀʾisha, as well as by two influential men, the Prophet's companion Abū Bakr and the military leader Khālid b. al-Walīd. This polyphonic novel allows the complexity and diversity of worldviews to be juxtaposed and intertwined. The three novels offer fresh humane portraits of iconic figures and of Islam's message while simultaneously highlighting human frailty and splendour.
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Roberts, Lisa-Jane. "Moulding Malvolio into Modern Adaptations of “Twelfth Night”." Journal of English Studies 17 (December 18, 2019): 299. http://dx.doi.org/10.18172/jes.3553.

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This paper explores how target-audience expectations and generic limitations on modern, mass-culture adaptations of Shakespeare’s comedy Twelfth Night mould the characterization of his officious steward Malvolio, and dictate the degree of centrality that his subplot holds in each different version. A trans-generic application of Shlomith Rimmon-Kenan’s work on characterization will expose how the character of Malvolio is constructed and presented, first in the original play and then in three modern adaptations of Twelfth Night into different popular genres. The works selected for contrastive analysis with the original play each represent different generic fields found on today’s mass-culture market – romance fiction, teen cinema and the web-comic. Respectively, they are: The Madness of Love, a contemporary romance novel by Katharine Davies, published in 2005; She’s the Man, a Hollywood teen film directed by Andy Fickman in 2006; and a web-comic retelling of Twelfth Night by Mya Lixian Gosling, which was published on her website Good Tickle-Brain Shakespeare in 2014.
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Thomas, Sarah. "Primed for Suffering: Gender, Subjectivity, and Spectatorship in Spanish Crisis Cinema." boundary 2 48, no. 3 (August 1, 2021): 215–51. http://dx.doi.org/10.1215/01903659-9155817.

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Examining three fiction films (Techo y comida, Ayer no termina nunca, and Magical Girl), this essay illuminates the traces of the economic crisis in recent Spanish cinema, focusing on how it is inscribed on female-gendered bodies and subjectivities. In exploring how female pain accumulates across the boundaries of genre in these disparate films, it asks what kind of gendered subjects these films construct, and what work women's suffering is asked to perform, both for the benefit of the film's plot and the spectator's engagement. It shows how, even in cinema sympathetic to those devastated by crisis, women are cast as disposable raw material, as it were, “primed for suffering.” At the same time, it argues, these films bring to light and embody experiences that are seldom revealed, enacting an ethical gesture of potential solidarity with those devastated by multiple forms of crisis.
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Dissertations / Theses on the topic "Cinema. Literature, Romance. Women's studies"

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Harper, Mark C. "The violent act of femininity sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210040.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2006.
Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0756. Adviser: Joan Hawkins. "Title from dissertation home page (viewed March 16, 2007)."
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Balma, Philip. "Literature in "Transit" the fiction of Edith Bruck /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290755.

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Thesis (Ph.D.)--Indiana University, Dept. of French and Italian Studies, 2007.
Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4724. Adviser: Andrea Ciccarelli. Title from dissertation home page (viewed May 22, 2008).
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Stow, Emily. "Is it really all about the mother? family systems theory in women-authored, post-Civil War Spanish novels /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3229578.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2006.
"Title from dissertation home page (viewed July 3, 2007)." Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 3003. Adviser: Maryellen Bieder.
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Dempster, Margaret M. "Writing, punishment and the self : a study of five twentieth-century French novels /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3268341.

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Thesis (Ph.D.)--Indiana University, Dept. of French and Italian, 2007.
Title from PDF t.p. (viewed Nov. 3, 2008). Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: . Adviser: Michael Berkvam.
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Hackbarth, Viktoria. "Novels of female development in postwar Spain." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319924.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2008.
Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3168. Adviser: Josep Miquel Sobrer.
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Ibarra, Rogelia Lily. "Redefining hegemonic divisions of space representations of nation in the novels of Gertrudis Gómez de Avellaneda and Emilia Pardo Bázan /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3386687.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2009.
Title from PDF t.p. (viewed on Jul 15, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4699. Adviser: Maryellen Bieder.
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Francis, David Stewart. "Moving Sensibility: Sex Work and Economies of Desire in Latin American Literature and Visual Cultures." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718759.

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This dissertation surveys diverse contexts in which sex and migratory labor are sold and conceptualized in, on, and across border zones since the 1990s. It examines texts by Pedro Lemebel, Fernando Vallejo, and Roberto Bolaño in conjunction with the museum installations of Teresa Margolles and films by Ishtar Yasin and Luis Mandoki. It concludes pointing to further research on works by Luisa Valenzuela, Beatriz Flores Silva, and Sebastiano d’Ayala Valva. The filmic narratives and rhetorical constructions I discuss mark what historian Brodwyn Fischer has called Latin America’s recent union of “dystopic terrors” and “deep optimism” or what I propose to be the discourse between a dystopic present and utopian dream. Engaging with narratives that concern a variety of border zones—in Mexico, Central America, Colombia, the Southern Cone, and Spain—I consider what Mary Louise Pratt describes as “a new phase of empire [that] unfurled across the planet,” concomitant with neoliberal economic policies like NAFTA and Mercosur at the end of the 20th century. Following representations of regional and international migratory movements, the thesis homes in on the predicaments of poverty and exploited labor at national dividing lines and in marginal urban spaces. Therein, I note an ongoing flux in literary and visual discourse not only about sex work, trafficking, and modern slavery, but about how the terms used to present migratory labor arise, often in contestation, at sites of intense political, economic, and ethical debate. Recognizing recent theories of love and violence in the so-called Latin American post-national imaginary, this comparative work suggests the need to understand Latin America’s migratory and marginal populations as ethically implicated in both national and transnational literary, visual, and economic discourse.
Romance Languages and Literatures
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Saidou, Amina. "Allegorie initiatique et engagement feminin a travers la litterature et le cinema francophones de l'Afrique subsaharienne et du Maghreb." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10814748.

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Saidou, Amina. Bachelor of Arts, Universite Abdou Moumouni de Niamey, Spring 2006; Master of Arts, Universite Abdou Moumouni de Niamey, Winter 2009; Bachelor of Arts (English/TESOL), Wilson College, Spring 2011; Master of Arts, University of Louisiana at Lafayette, Spring 2013; Doctor of Philosophy, University of Louisiana at Lafayette, Spring 2018 Major: Francophone Studies Title of Dissertation: Allegorie initiatique et engagement feminin a travers la litterature et le cinema francophones de l?Afrique subsaharienne et du Maghreb Dissertation Director: Dr. Amadou Ouedraogo Pages in Dissertation: 382; Words in Abstract: 380 ABSTRACT African women?s struggle for freedom can be thought of as an initiatory journey, an allegorical quest. Their long-lasting fight for emancipation happens to be about challenging and subverting traditional, patriarchal, and religious institutions. This research that focuses on female main characters analyzes the process of their emancipation as a journey. Through this study, we aim at deconstructing western feminist ideology and its stereotyping of African women. In doing so, we contribute to an understanding of African women identity(ies). Women in West and North Africa, just like westerners, often face misogyny and discrimination. Socio-cultural beliefs, religious, political, and historical standpoints are proven to be factors that contribute to undermining women?s self-fulfillment. Also, they are factors set to create discrepancies between African and Western feminisms as well as between African types of feminisms. Therefore, these factors should be taken into consideration when conceptualizing and analyzing African women. Although this can be true for most African women, authors construe and characterize their female characters as heroines. They discharge themselves of ?masculine domination.? This work first examines the representation of African women social status and interaction in francophone literary and cinematographic works. Next, based on critics like Pierre Bourdieu?s concepts of habitus and symbolic violence, the second chapter analyzes African women?s social behavior in reaction to oppression. Though violence is experienced through habitus, women who escape can free themselves through an undertaken journey. In this way, the third chapter examines women?s use of different strategies to resist oppression. Consequently, women need to overcome various challenges that they encounter. Overall, we ground our research on theories such as post-colonialism, deconstruction, feminisms, negofeminism, and the concept of ?everyday resistance? or cultural resistance. Also, we examine the authors? standpoints and purposes through their representation of heroines. African women are no more where/who they used to be. Nevertheless, because of deep-rooted and obsolete African cultural beliefs, they still have to fight hard for a more advanced emancipation. Unperceived violence can be more damaging for women who face challenges. Key fundamental aspects are the persistence in raising awareness and revisiting African traditions, values, and practices; encouraging women?s political and religious education; and fostering their economic enterprises for financial self-reliance. Most importantly, women?s self-awareness with regard to their ?reproduction of symbolic violence? is the key factor for this battle ground.

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Breuer, Heidi Jo. "Crafting the witch: Gendering magic in medieval and early modern England." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280400.

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This project documents and analyzes the gendered transformation of magical figures occurring in Arthurian romance in England from the twelfth to the sixteenth centuries. In the earlier texts, magic is predominantly a masculine pursuit, garnering its user prestige and power, but in the later texts, magic becomes a primarily feminine activity, one that marks its user as wicked and heretical. The prophet becomes the wicked witch. This dissertation explores both the literary and the social motivations for this transformation. Chapter Two surveys representations of magic in the texts of four authors within the Arthurian canon: Geoffrey of Monmouth, Chretien de Troyes, Marie de France, and Layamon. These writers gender magic similarly (representing prophecy and certain forms of transformative magic as masculine and healing as feminine) and use gendered figures to mitigate the threat of masculine power posed by the feudal patriarchy present in England and France in the twelfth century. Chapter Three explores representations of two magical characters who appear in a group of fourteenth- and fifteenth-century romances associated with Gawain: the churlish knight and the loathly lady. The authors of these romances privilege gender conventions radically different from those in earlier models and conjure a figure neglected by the earlier writers, the wicked witch. In particular, representations of the witch as a wicked step-mother reflect the anxiety created by expanding space for women (especially mothers) in previously exclusively male arenas of English society. In Chapter Four, I follow the romance tradition into early modern England, studying the work of Malory, Spenser, and Shakespeare. For these authors, the wicked witch (alternately represented as temptress or crone) is connected specifically to maternity; the severe anxiety about maternity in these texts is representative of widespread concern about mothers and motherhood in sixteenth-century England. Chapter Five traces the legislative policy governing prosecution of witches in England and offers suggestions about the relationship between legal climates and literary representations of magic. Though prosecution of witchcraft is now extremely rare in the U.S., filmmakers still rely on medieval and Renaissance models to inform their representations of witches. Once she arrived, the witch never left.
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Bjornsson, Nina Gudrun. "Aliens within: Immigrants, the feminine, and American national narrative." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284138.

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This study interrogates the figuring of the woman, and/or the feminized immigrant, in texts produced within the United States, in times of national dissonance, where the immigrant serves as the rupture in the text assuaging a contemporary cultural anxiety. I begin with the assumption that while cultural artifacts contribute to the construction of an "American" national narrative, one which I argue has traditionally sought to establish an originary "folk," and which sees capitalist expansion as necessary to that ongoing narrative, these texts point to the instability of this assumption. In examining two novels, Rebecca Harding Davis's Life in the Iron Mills (1861) and Willa Cather's My Antonia (1918) I argue that, as the novel form historically mimics the structure of the nation, these novels are sources for investigating the use of the woman/feminized immigrant as an intervening point in a divisive socio-political issues unique to the United States. Life in the Iron Mills uses the immigrant iron worker, to subtly argue against Abolition. My Antonia presents a personal solution to the divisive debate surrounding Eastern European immigration, suggesting that the Bohemian woman immigrant serves as keeper of a museum enclave, preserving an originary America in the face of industrialization. As film has become the most globally, widely consumed text, I examine a Science Fiction film, Species, and a Western (a quintessentially American genre) each juxtaposed with a contemporary response to immigration; Species addresses the hysteria surrounding increased Latino/a influx, resulting in the passage of Proposition 187 in California; Unforgiven uses seemingly marginalized immigrant figures to present a white, male, capitalist disseminator of "story," as the new American cowboy.
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Books on the topic "Cinema. Literature, Romance. Women's studies"

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Stubbings, Hilda Urén. Women in retrospect: A research guide to studies in English and Romance languages. Bloomington, Ind: Rubena Press, 1994.

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From Australia with love: A history of modern Australian popular romance novels. Fremantle, W.A: Curtin University Books, 2004.

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Wiltshire, John. Jane Austen and the body: "the picture of health". Cambridge [England]: Cambridge University Press, 1992.

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Rodríguez, María Pilar. Vidas im/propias: Transformaciones del sujeto femenino en la narrativa española contemporánea. West Lafayette, Ind: Purdue University Press, 2000.

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Heitmann, Annegret. No Man's Land: An Anthology of Modern Danish Women's Literature (Stockholm Studies in Cinema). Norvik Press, 1988.

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Women's Fiction 1945-2005: Writing Romance (Continuum Literary Studies). Continuum, 2008.

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Women's Fiction 1945-2005: Writing Romance (Continuum Literary Studies). Continuum International Publishing Group, 2006.

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Larcombe, Wendy. Compelling Engagements: Feminism, Rape Law and Romance Fiction. Federation Press, 2005.

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Bartow, Joanna R. Subject to Change: The Lessons of Latin American Women's Testimonio for Truth, Fiction, and Theory (North Carolina Studies in the Romance Languages and Literature). The University of North Carolina Press, 2006.

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Downey, D. American Women's Ghost Stories in the Gilded Age. Palgrave Macmillan, 2014.

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Book chapters on the topic "Cinema. Literature, Romance. Women's studies"

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Trotter, David. "Introduction." In The Literature of Connection, 1–18. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850472.003.0001.

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This chapter establishes a genealogy of the concept of ‘connectivity’ from the foundation of the US Army Signal Corps in 1860 (motto: ‘Getting the message through’) via cybernetics and information theory to the first stirrings of the World Wide Web in the 1990s (motto: ‘What matters is in the connections’). Three key terms are defined and briefly illustrated: signal, medium, interface. The book’s primary concern is with literature’s ability to illuminate from within the complex, vivid, unpredictable romance the principle of connectivity has woven through the enduring human desire and need for remote intimacy. It offers, in its first part, an alternative view of canonical ‘British’ writing from the Victorian era to modernism; and, in its second, case studies of European and African-American fiction, and of interwar British cinema, designed to open the topic up for further enquiry.
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