Relevant bibliographies by topics / FICTION / Contemporary Woen

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'FICTION / Contemporary Woen'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "FICTION / Contemporary Woen"

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Czarniawska, Barbara. "More complex images of women at work are needed: a fictive example of Petra Delicado." Journal of Organizational Change Management 33, no. 4 (November 27, 2019): 655–65. http://dx.doi.org/10.1108/jocm-02-2019-0045.

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Purpose The purpose of this paper is to convince the readers that more complex images of working women are needed, and that fiction may provide them. Design/methodology/approach In this paper, text analysis is done using a version of close reading. Findings Both media and research tend to simplify the images of working women, either in positive or negative way. Reality and some of its fictive representations offer more nuanced examples. Research limitations/implications Fiction can be treated as field material. Practical implications Women should dare more at workplaces. Social implications Researchers should join fiction writers in convincing society of the crucial role women play in contemporary organizations. Originality/value This paper belongs to the growing tradition of transdisciplinary organization studies.
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Becker, Lucille, Margaret Atack, and Phil Powrie. "Contemporary French Fiction by Women." World Literature Today 66, no. 1 (1992): 91. http://dx.doi.org/10.2307/40147882.

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Holmes, Diana. "Women’s Fiction in Postfeminist France: Léonora Miano, Camille Laurens, and Chick-Lit or Romances urbaines." Nottingham French Studies 61, no. 3 (December 2022): 294–306. http://dx.doi.org/10.3366/nfs.2022.0361.

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Women make up a significant majority of fiction readers, in France as elsewhere, and the novel has long been – and remains – a widely shared medium that both reflects and reflects on gender norms and their effects on women’s lives. My paper examines three contemporary female-authored novels covering the spectrum from ‘literary’ to popular fiction, each of which might be described as a postfeminist story for a postfeminist France. The texts are: Camille Laurens’ Celle que vous croyez (2016); Marie Vareille’s Je peux très bien me passer de toi (2015); Léonora Miano’s Blues pour Élise (2010). My analysis asks in what ways the contemporary ‘women’s novel’ reflects postfeminist culture, in its negative sense as a market-oriented co-optation of feminist aims and achievements but also in its more positive sense, as a new stage in feminist struggles. To what extent can pleasurable fictions not only acknowledge the realities of a postfeminist climate, but also question and challenge them?
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Smith, Verity, and Mirta Yanez. "Cubana: Contemporary Fiction by Cuban Women." Modern Language Review 94, no. 2 (April 1999): 580. http://dx.doi.org/10.2307/3737206.

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Maxey, Ruth. "Vigilante Women in Contemporary American Fiction." Contemporary Women's Writing 10, no. 2 (January 4, 2016): 303–4. http://dx.doi.org/10.1093/cww/vpv040.

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Riess, Barbara D., Mirta Yáñez, Trad Dick Cluster, and Cindy Schuster. "Cubana: Contemporary Fiction by Cuban Women." Chasqui 27, no. 2 (1998): 137. http://dx.doi.org/10.2307/29741449.

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Brownstein, Rachel M., and Esther Fuchs. "Israeli Mythogynies: Women in Contemporary Hebrew Fiction." Modern Language Studies 21, no. 1 (1991): 108. http://dx.doi.org/10.2307/3195125.

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Nolan, Emer. "Women and exile in contemporary Irish fiction." Irish Studies Review 22, no. 3 (July 3, 2014): 412–13. http://dx.doi.org/10.1080/09670882.2014.938935.

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Amyuni, Mona Takieddine. "Women in contemporary arabic and francophone fiction." Feminist Issues 12, no. 2 (June 1992): 3–19. http://dx.doi.org/10.1007/bf02685619.

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Mehmood, Sadaf. "Voicing The Silences: Women In Contemporary Pakistani Fiction In English." Pakistan Journal of Gender Studies 18, no. 1 (March 8, 2019): 113–28. http://dx.doi.org/10.46568/pjgs.v18i1.28.

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Indigenous women of Pakistan have long been struggling with the patriarchal norms. Categorization of their existence in the conventional oppressions connotes diversified victimization. Grappling with such assorted repressions and articulating the subsequent silences, women writers of Pakistan and the social activists are incessantly engaged to empower women from societal peripheries. The selected fiction exposes how the indigenous woman is controlled and exploited on the name of religio-cultural rhetoric. The present article outlines the historical developments in changing the social positioning of women after independence by highlighting the urgency of raising women consciousness in the academic sphere to form an alliance for collective identity. This article evaluates Ice Candy Man (1988), My Feudal Lord (1994) and Trespassing (2003) to explore the changing images of indigenous Pakistani women after partition. It aims to highlight the struggle and resistance of female characters against the patriarchal propriety of Pakistani society. The study is significant to highlight the struggles of women writers to articulate the silences of assorted exploitation buried under the hegemony of socio-historical discourses. The study concludes that through female characterization the women writers organize specific academic movement of awakening that provides situational analysis to relate with the turbulences of the fictional world to correspond the real challenges.
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Dissertations / Theses on the topic "FICTION / Contemporary Woen"

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Chivers, Marian. "The warrior woman in contemporary romance fiction." Thesis, Federation University Australia, 2014. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/96448.

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Master of Arts by Research
The warrior woman is a recurring figure in myth and history. She could be seen as an ambiguous character as she challenges patriarchal assumptions about gender roles with her capability for masculine aggression while being recognisably female and “feminine”. In the new millennium, she has reappeared as the action heroine in films, televisions, comics and video games and she has also infiltrated romance fiction, a genre often considered one of the most conservative genres in terms of gender roles and equality. The Silhouette Bombshell line was created by the multinational publisher Harlequin to capitalise on the popularity of “action heroines” in popular culture. The romance genre, perhaps the most derided of all scorned literature, is often accused, particularly by feminist critics, of reinforcing the patriarchal structure of society. This thesis examines how this character type in romance fiction can provide a means to question and even subvert traditional or patriarchal gender expectations. It will undertake the close examination of the first six books of the Athena Force series, which were published in 2004-2005 as part of the Silhouette Bombshell line. Both the warrior woman and the romance genre are defined and historically reviewed, together with an outline of the workings of the contemporary romance industry with regard to category, genre and publishing guidelines. There follows a detailed analysis of the warrior woman character as she appears in the Athena Force series with regard to agency, violence, sisterhood, professional career, performance of femininity and romantic relationships. This study of the warrior woman in romance fiction challenges many critical and social preconceptions about the romance genre in general, and its treatment of gender roles in particular
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Al-Harby, Nesreen Abdullah. "Veiled pearls : women in Saudi Arabia in contemporary fiction." Thesis, University of Leicester, 2018. http://hdl.handle.net/2381/42480.

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In comparison to other Arab/Muslim women, Saudi women are underexamined and/or often misrepresented. This thesis resists Saudi women’s obscurity and sheds light on their struggle to overcome domination and achieve emancipation. It analyses Hilary Mantel’s Eight Months on Ghazzah Street (1988), Rajaa Alsanea’s Girls of Riyadh (2008), Zoe Ferraris’s trilogy, Finding Nouf (2009), City of Veils (2011), and Kingdom of Strangers (2012), and Alys Einion’s Inshallah (2014). The thesis examines the significance of pre- and post-9/11 political and social contexts of representations of women in Saudi Arabia, compares depictions of Western (English, Welsh, and American) and Saudi women, and scrutinizes the effect of genre (the Gothic, the thriller, detective fiction and Chick Lit) on representations of women in a Saudi context. It draws on Arab/Muslim feminism to assess the degree to which the novels reproduce or challenge prevailing discourses of gender and Orientalism. This thesis argues that, through their employment of genre, the writers examined highlight women’s injustices. It contends that, although the novels analysed indicate that white women are not less oppressed than Saudi women, they provide an Orientalist representation of Saudi Arabia as a fearful space. Finally, this thesis demonstrates that Alsanea is the only writer that provides Saudi self-representation. However, she falls into self-Orientalism by restricting her depiction of Saudi women to the social elite. This thesis sheds light on Western representations of women in Saudi Arabia, broadens the very limited number of feminist studies of Saudi women, paves the road for more studies of gender in Saudi Arabia and provides much-needed material for international scholars interested in investigating the lives of women in Saudi Arabia.
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Vogt-William, Christine Florence. "Women and transculturality in contemporary fiction by South Asian diasporic women writers." Thesis, University of York, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489210.

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My thesis investigates how transculturality is articulated and theorised in contemporary fictional works from the 1990s onwards by South Asian diasporic women writers from England, Canada and America. Using the paradigm of transculturality, diasporic and postcolonial theories as well as gender concepts, the thesis takes a broadly chronological approach in addressing South Asian diasporic female identificatory processes in South Asian women's cultural production.
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Graham-Bertolini, Alison. "Home of the Brave: Vigilante Women in Contemporary American Fiction." LSU, 2009. http://etd.lsu.edu/docs/available/etd-04142009-191748/.

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Vigilante literature tells the stories of individuals who rectify injustice by taking matters into their own hands. Examples of this plot can be found in American literature dating from colonial times, when settlers made an effort to preserve their moral code without the aid of an established justice system. The popularity of this theme finds further currency in tales of the frontier and the Wild West, and more recently, Hollywood has capitalized on its popularity by drawing from the myth of American pioneer culture and the theme of the lone avenger. This project identifies an analogous theme in contemporary fiction by women writers, who in the twentieth century began frequently employing female avatars of vigilante justice to challenge (in an illegal or extralegal fashion) those who violate the economic, social, or political rights of women. This dissertation analyzes a collection of novels and short stories by contemporary American women who employ the avatar of the vigilante woman, and demonstrates how female avengers, warriors, bandits, and killers extend and amend the vigilante tradition in the United States.
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Strazds, Robert. "Contemporary Russian Soviet women's fiction, 1939-1989." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60088.

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A number of critics have observed that there is no tradition of women's writing in Russian. The writings of Lydia Chukovskaya, I. Grekova and Tatiana Tolstaya--the principle subjects of the present work--partially contradict this perception, and defy the restrictions imposed by ideological authoritarianism and of gender.
All three writers describe aspects of the Soviet, and human, condition, in unique ways. Lydia Chukovskaya's fiction portrays women, paralyzed by the scope of the Stalinist terror, who attempt to survive with dignity and accept their individual responsibility. I. Grekova writes about single women who maintain their autonomy through a balance between their professional and domestic lives. Tatiana Tolstaya's characters inhabit an atmosphere of lyrical alienation from which there is no exit.
This study examines in detail the work of these writers in the context of other Soviet men and women writers, as well as in the light of Western, feminist thought.
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Nicol, Rhonda M. Harris Charles B. "The spaces between feminism and postmodernism in contemporary women's fiction /." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196671.

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Thesis (Ph. D.)--Illinois State University, 2004.
Title from title page screen, viewed May 23, 2006. Dissertation Committee: Charles Harris (chair), Christopher Breu, Janice Neuleib. Includes bibliographical references (leaves 151-163) and abstract. Also available in print.
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李仕芬 and Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.

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Lau, Lisa. "Women's voices : the presentation of women in the contemporary fiction of south Asian women." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/2021/.

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This thesis contains a detailed study of the genre of contemporary South Asian women's writings in English. It is still a relatively young literary subculture, and thus the majority of the works here discussed are those produced from the 1980s onwards. The study takes into account the postcolonial legacy of a culturally, racially and religiously diverse South Asia as well as the current social changes and upheavals in the region. The study encompasses the works of those writing both from within and without South Asia, noting the different social patterns emerging as a result of the geographical locations of the authors. The research primarily investigates issues pertinent to these writers; as women writers, as South Asian writers, as South Asian women writers, and as South Asian women writers writing in English. One key issue is the negotiation by these writers between the English language and the South Asian reality. Because it is literature written by the women of a traditionally proudly patriarchal society where the position of women has mostly been one of subservience, another form of negotiation in the literature is that between the centre and the periphery, the Self and the Other. In the course of this study, it will be seen that South Asian women writers have carved out a space for themselves on the literary scene, and staked an intellectual, literary and emotional territory of their own. The thesis focuses in particular on the representation of women, within the genre as well as in other contexts. Their literature creates images and identities of and for South Asia, South Asians, and South Asian women. The diasporic writers in particular play a vital role in the promotion and distribution of these images. The research also considers how readers respond to this literature and how publishers market the same.
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Karekla, Melina. "Women look into love : reimaginings of heterosexual love in contemporary women's fiction." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/7742/.

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This thesis explores how contemporary women writers write about heterosexual love, considering not only the ways it has been implicated in patriarchal models and traditional romance plots, but also its portrayal in light of developments in feminism and fiction in the 1990s and 2000s. The thesis examines Carol Shields’s The Republic of Love (1992), Toni Morrison’s Jazz (1992), Louise Erdrich’s Love Medicine (1993), Nadine Gordimer’s The Pickup (2001), Ann Patchett’s Bel Canto (2001), Margaret Atwood’s The Blind Assassin (2000) and Doris Lessing’s Love, Again (1995). In this study it emerges that as well as illustrating continuities, the scope of the treatment of love is opened up further in recent fiction as aspects like age or social, economic and historical factors are centralised and considered in interesting ways. The thesis also identifies some positive approaches to heterosexual love, as in, for example, the emphasis on men’s capacity for emotions. However, this is not always the case, as a writer like Lessing further develops a vision of love without providing an affirmative view. Thus, the contemporary women writers’ work can be said to contribute to understandings of heterosexual love on many different levels, even as feminist criticisms of repressive, patriarchal forms of romantic relationship continue to remain relevant.
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Henninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Books on the topic "FICTION / Contemporary Woen"

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Graham-Bertolini, Alison. Vigilante Women in Contemporary American Fiction. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339309.

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Yáñez, Mirta, Cindy Schuster, and Dick Cluster. Cubana: Contemporary fiction by Cuban women. Boston: Beacon Press, 1998.

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1950-, Anderson Linda R., ed. Plotting change: Contemporary women's fiction. London: Edward Arnold, 1990.

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L, Middleton David, ed. Toni Morrison's fiction: Contemporary criticism. New York, USA: Garland Pub., 2000.

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King, Jeannette. Adventurous Women in Contemporary American Historical Fiction. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94126-0.

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McWilliams, Ellen. Women and Exile in Contemporary Irish Fiction. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137314208.

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1949-, Taylor Joe, and Jones Tina N, eds. Belles' letters: Contemporary fiction by Alabama women. Livingston, Ala: Livingston Press, 1999.

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L, Middleton David, ed. Toni Morrison's fiction: Contemporary criticism. New York: Garland Pub., 1997.

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Howells, Coral Ann. Contemporary Canadian women's fiction: Refiguring identities. New York, NY: Palgrave Macmillan, 2002.

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McLaughlin, Sigrid, ed. The Image of Women in Contemporary Soviet Fiction. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20371-0.

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Book chapters on the topic "FICTION / Contemporary Woen"

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Holland, Siobhán. "Re-Citing the Rosary: Women, Catholicism and Agency in Brian Moore’s Cold Heaven and John McGahern’s Amongst Women." In Contemporary Irish Fiction, 56–78. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287990_4.

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Graham-Bertolini, Alison. "Women Warriors and Women with Weapons." In Vigilante Women in Contemporary American Fiction, 55–91. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339309_3.

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Johnsen, Rosemary Erickson. "Medieval Women in Context." In Contemporary Feminist Historical Crime Fiction, 21–58. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983503_2.

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Hosmer, Robert E. "Paradigm and Passage: The Fiction of Anita Brookner." In Contemporary British Women Writers, 26–54. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22565-1_2.

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Schneider, Ana-Karina. "Contemporary American Women Writers in Romania." In Contemporary American Fiction in the European Classroom, 79–95. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94166-6_6.

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Johnsen, Rosemary Erickson. "Women and the Ever-Present Past." In Contemporary Feminist Historical Crime Fiction, 127–49. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983503_6.

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D’Amelio, Elena, and Valentina Re. "A ‘Bottom-Up’ Approach to Transcultural Identities: Petra and Women Detectives in Italian TV Crime Drama." In Contemporary European Crime Fiction, 229–51. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21979-5_13.

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AbstractIn her The TV Crime Drama, Turnbull (The TV Crime Drama. Edinburgh: Edinburgh University Press, 2014) argues that “the portrayal of women in the crime drama series has served as an index of women’s changing role in society while providing a catalyst for debate, both in the popular press and in the field of feminist media studies”. Moving from these premises, our aim is to analyse the Italian series Petra (Sky 2020–) within the larger context of contemporary European TV crime productions, to investigate the recurrences, similarities, and differences in the construction, representation, and consumption of TV female detectives, through a conceptualization of what has been called “mediated cultural encounters” (Bondebjerg et al. Transnational European Television Drama: Production, Genres and Audiences. Palgrave Macmillan, 2017). We consider Rosi Braidotti’s claim of the necessity of a “post nationalistic understanding of cultural identity” (2001) as a framework of analysis for the inter-related issues of gender, multiculturalism, and European identities.
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Kuhad, Urvashi. "Contemporary Indian science fiction writers and their works." In Science Fiction and Indian Women Writers, 58–130. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003058328-3.

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King, Jeannette. "Women and an Uncivil War: Paulette Jiles, Enemy Women." In Adventurous Women in Contemporary American Historical Fiction, 57–65. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94126-0_4.

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Hofer, Ernest H. "Enclosed Structures, Disclosed Lives: The Fictions of Susan Hill." In Contemporary British Women Writers, 128–50. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22565-1_7.

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Conference papers on the topic "FICTION / Contemporary Woen"

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Mihaila, Ramona. "SOCIAL AND CULTURAL APPROACHES TO TEACHING WOMEN'S WRITING BY USING DATABASES." In eLSE 2016. Carol I National Defence University Publishing House, 2016. http://dx.doi.org/10.12753/2066-026x-16-166.

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The present article intends to produce new historiography about the nineteenth century Romanian women's writing from transnational and relational perspectives. It also takes as its starting point not only the production aspect of women's literary writing, but their reception-- especially by readers or other women writers or translators contemporary to the publication. This approach takes into account all the contributions to the literary field of both canonical and non-canonical women writers. A second approach refers to the fact that women's writing is viewed from an explicitly transnational perspective, underlining the connections between women writers across the world at the literary and translation levels. By using these methods, the students get familiar with social and cultural contexts in which women's writing was produced, promoted, and translated. As a member of the European project Women Writers in History I have taken part into training schools, workshops and conference where along with my colleagues from other 25 countries I have worked for the Women Writers database (www.womenwriters.nl) as an electronic means for teaching literature. The present database contains information on the production of women writers from the Middle Ages up to 1900, and on the reception of their writing in the world. Thus the database offers students the possibility to study these women's writing in their international context and make connections concerning their transnational historiography. The entries for authors refer to biographical details, professional situation, writing achievements (fictional and non-fictional writings), translations, national and international critical reception, allowing the students to analyze women's writing from a comparative perspective.
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Trein, Fernanda, and Taíse Neves Possani. "Literature As a Mean of Self-knowledge, Liberation, and Feminine Empowerment: The Legacy of Clarice Lispector." In 13th Women's Leadership and Empowerment Conference. Tomorrow People Organization, 2022. http://dx.doi.org/10.52987/wlec.2022.004.

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Abstract: Access to books and literature is, above all, a human right. The acts of reading, creating, and fictionalizing are in themselves, acts of power. Accordingly, literature is a well-respected necessity in society; therefore, a universal human need. Thus, denying women the right to literature is also a form of violation. In this presentation, the author aims to reflect not only on literature by female authors but also its importance in the process of constructing women's subjectivity and identity, whether in reading fiction or in its production. To reflect on women's right to read and write literature, as well as their way of expressing their perception, anxieties, and ways of understanding the world, this presentation proposes a literary analysis of texts by the Brazilian writer Clarice Lispector. Her works evidence the potential of bringing light to the processes of self-knowledge and freedom. These processes can be ignited because these texts can trigger the process of self-awareness and can then generate female empowerment. By reading Clarice Lispector's writing, it remains clear that she reveals human dramas specific to the female universe, as she opens up possibilities for readers to know themselves as women and to project themselves as producers of literature. It would seem that these realities are founded worlds and realities apart from those that dominated male perceptions during the 1950s to 1970s when she was writing; however, many of those predominant male perceptions prevail in today’s contemporary society. Keywords: Women's Writing; Reception; Self knowledge; Clarice Lispector; Empowerment.
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Vidali, Maria. "Liminality, Metaphor and Place in the Farming Landscape of Tinos: The Village of Kampos." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-6.

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This research explores the farming landscape and village life in Kampos, a village on the Greek island of Tinos. Tinos is an Aegean island with a long history of agriculture. In Kampos, one of the oldest farming villages of Tinos, boundaries created by low stone walls and alleyways primarily define the farming landscape that permeates village life and its structure. The landscape appears semi-artificial, given the construction of countless rows of cultivation ridges and terraces. Boundaries on the island appear through texts, space, movement and habit, thus creating. a series of liminal spaces. They represent areas – or rather situations – allowing for multiple co-existing levels of interaction, which are both ambiguous and can be transformed through negotiation. Negotiation would not be possible without language and narrative: Language arises through communal metaphors, stories, and fictional beliefs that bind and connect a small community together in a farming landscape, a community that has retained a quality of life closely connected to nature, architecture, and private and public realms, all by exhibiting features that can be found in a contemporary way of living. Objectified and non-objectifiable boundaries – in relation to the villagers’ land, water, private and public spaces –, their absence, their negotiation, the life that flourishes in-between them, and their relationship to men and women, ownership, and bonding, are important aspects examined in research. The presence, the lack of, and the negotiation of these boundaries, all unfold through fictional stories, narratives and interviews of villagers from Kampos. Through these narratives, I argue that when boundaries are obscure or create an in-between space of negotiation and communication, when they become a liminal space, then a different situation of ownership and bonding arises. Here, the villagers claim their properties’ boundaries, and negotiate these and sometimes fall into conflicts. Conducting this research, I determined that stories created from the villager’s life, space, and landscape consist of a series of metaphors that define ‘dwelling’ in this part of the world, in this specific landscape, which has a contemporary way of living, but still connected with tradition and the past as an action mimetic of the present.
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