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Journal articles on the topic 'FICTION / Contemporary Woen'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Hall, Joan Wylie, Rosemary M. Canfield Reisman, and Christopher J. Canfield. "Contemporary Southern Women Fiction Writers: An Annotated Bibliography." South Atlantic Review 60, no. 2 (May 1995): 183. http://dx.doi.org/10.2307/3201317.

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12

Miles, Rosalind, and Barbara Hill Rigney. "Lilith's Daughters: Women and Religion in Contemporary Fiction." Yearbook of English Studies 16 (1986): 365. http://dx.doi.org/10.2307/3507875.

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13

Ortiz-Ceberio, Cristina, and María Pilar Rodríguez. "New Worlds of Fiction: Contemporary Basque Women Writers." Symposium: A Quarterly Journal in Modern Literatures 76, no. 2 (April 3, 2022): 55–60. http://dx.doi.org/10.1080/00397709.2022.2064629.

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14

Jones, Margaret E. W., Roberto C. Manteiga, Carolyn Galerstein, and Kathleen McNerney. "Feminine Concerns in Contemporary Spanish Fiction by Women." Hispania 72, no. 3 (September 1989): 549. http://dx.doi.org/10.2307/343493.

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15

Chernetsky, Vitaly, and Masha Gessen. "Half a Revolution: Contemporary Fiction by Russian Women." Slavic and East European Journal 40, no. 2 (1996): 396. http://dx.doi.org/10.2307/309492.

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16

Karriker, Alexandra Heidi, and Masha Gessen. "Half a Revolution: Contemporary Fiction by Russian Women." World Literature Today 70, no. 4 (1996): 983. http://dx.doi.org/10.2307/40152450.

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17

DAVIES, Rebecca Ufuoma. "Gender Issues for Social Reformation in Contemporary African Women's Fiction." European Modern Studies Journal 7, no. 2 (May 25, 2023): 54–60. http://dx.doi.org/10.59573/emsj.7(2).2023.06.

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Contemporary African women's fiction has been a significant site of exploration for issues of gender and its intersections with other identity markers such as race, class, and sexuality. This paper provides an overview of the gender issues present in contemporary African women's fiction and analyzes how these authors are engaging with feminist thoughts and theories in their works. The paper begins by exploring the patriarchal nature of African societies and how this has been challenged by African women writers through their portrayal of female characters who resist societal norms and expectations. The paper then analyzes the various forms of oppression that African women face, including sexual violence, female genital mutilation, and forced marriages. Additionally, the paper considers the role of African women in politics and how they are represented in literature. The paper argues that contemporary African women writers are challenging Western feminist thoughts and developing forms of feminist theory that are more inclusive and relevant to African contexts. The study concludes that African women's fiction is an important site of feminist discourse and offers valuable insights into the gender issues that affect African women today.

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18

Bohovyk, Oksana, Andrii Bezrukov, and Victoriia Yashkina. "Women about Women: Genderlect Manifestations through Positive and Negative Self-Stereotypes in Contemporary Fiction." Baltic Journal of English Language, Literature and Culture 13 (May 15, 2023): 18–34. http://dx.doi.org/10.22364/bjellc.13.2023.02.

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The article re-actualises genderlect as one of the key points of male-female differentiation and a relevant object in the humanities, not merely from the perspective of gender studies but linguistic and literary ones. Self-stereotypes in the speech of one or another gender may be considered the result of the complex interaction of collective identity and the subconscious. The excerpts from the selected novels by Salman Rushdie, Jennifer Crusie, Lisa Kleypas, Aleksandar Hemon, Zadie Smith and Candace Bushnell have provided a wide range of patterns of expressing self-stereotypes in the dimension of ‘women about women’. To emphasise the multicultural nature of genderlect self-stereotypes, the writers of different ethnic affiliations are represented. The article also classifies the criteria of self-stereotype polarisation in characters’ speech to explicate the strategies of women’s verbal behaviour. These criteria include marital status, maternal experience, professional activity, ageism and harassment. The impact of gender on verbal behaviour, observed in real life and adapted to fiction through literary representation, is manifested in communication stereotypes. This serves to illuminate the most representative speech self-stereotypes, which make certain images or ideas easier to interpret. The application of an interdisciplinary approach with a set of appropriate methods to theorising and practising genderlect reveals its role as a significant tool for reconstructing a linguistic worldview and contextualises both positive and negative self-stereotypes for the expressive evaluation of speech in fictional discourse.

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19

Armengol, Josep. "Sex and Text: Queering Older Men’s Sexuality in Contemporary U.S. Fiction." Innovation in Aging 4, Supplement_1 (December 1, 2020): 826. http://dx.doi.org/10.1093/geroni/igaa057.3018.

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Abstract This paper will explore the representation of men’s aging experiences in contemporary U.S. fiction. While most gender-ed approaches to aging have focused on women, which has contributed to the cultural invisibility of older men, this study focuses on men’s aging experiences as men, thus challenging the inverse correlation between masculinity and aging. To do so, the study draws on a selected number of contemporary U.S. male-authored fictional works, which question the widely-held assumption that aging is a lesser concern for men, or that men and women’s aging experiences may be simply defined as opposed. The literary corpus includes male authors from different backgrounds so as to illustrate how (self-)representations of aging men vary according not only to gender but also class (Richard Ford), race (Ernest Gaines), and sexual orientation (Edmund White), amongst other factors. The presentation will thus end up challenging the conventional equation of men’s aging processes with (sexual) decline, exemplifying their plurality as well as irreducible contradictions.

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20

PHILIPS, DEBORAH. "Healthy Heroines: Sue Barton, Lillian Wald, Lavinia Lloyd Dock and the Henry Street Settlement." Journal of American Studies 33, no. 1 (April 1999): 65–82. http://dx.doi.org/10.1017/s0021875898006070.

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Sue Barton is the fictional redhaired nursing heroine of a series of novels written for young women. Recalled by several generations of women readers with affection, Sue Barton has remained in print ever since the publication of the first novel in the series: Sue Barton, Student Nurse, written by Helen Dore Boylston, was published in America in 1936. Neither the covers of her four novels now in paperback, nor the publisher's catalogue entry, however, acknowledge Sue Barton's age: “Sue Barton Series – The everyday stories of redheaded Sue Barton and hospital life as she progresses from being a student nurse through her varied nursing career.”The catalogue entry for the series and the novels' paperback covers now claim Sue Barton as a contemporary young woman, poised for romance. Sue is, however, a pre-war heroine, and very much located within an American history and tradition of nursing. With her close contemporary, Cherry Ames, Sue Barton is one of the nursing heroines who were to establish a genre in popular fiction for young women, the career novel, and, more particularly, the nursing career novel.

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21

Shrutika, Shrutika. "Fluid Identities and Memories in Rivers Solomon's The Deep." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 267–71. http://dx.doi.org/10.22161/ijels.92.40.

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In recent years, there has been a noticeable shift in the realm of speculative fantasy fiction towards incorporating contemporary issues, particularly those concerning marginalized communities. Popular speculative fiction has become increasingly interested in exploring the experiences of marginalized people and how they make their way through a world that is frequently hostile to them. Rivers Solomon, in her 2019 novella, The Deep, skilfully explores the ongoing struggle of marginalized communities to reconcile their past with their present and future. Through this exploration, this study aims to gain a deeper understanding of the ways in which postcolonialism interacts in creative narratives, particularly in speculative fantasy fiction. Set in a deep underwater society inhabited by the descendants of pregnant African women who were thrown overboard during the transatlantic slave trade, this work grapples with the lasting impact of this traumatic history on the fictional “Wajinru” community while highlighting the novel's historical context. The characters and their experiences highlight the marginalization and resistance of individuals who occupy liminal spaces, while its narrative structure disrupts dominant traditional narratives. The aim of this paper is to delve into the intricate process of identity formation within the context of generational trauma portrayed in the novella.

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22

Price, Graham. "Ellen McWilliams, Women and Exile in Contemporary Irish Fiction." Irish University Review 46, no. 2 (November 2016): 408–11. http://dx.doi.org/10.3366/iur.2016.0241.

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23

Matthews, Jodie. "Daughters of Cyprus: Women, Contemporary Romance Fiction, and 1974." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 10 (May 1, 2017): 10. http://dx.doi.org/10.12681/syn.16241.

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The article considers twenty-first-century Anglophone romance representations of women set during the events of 1974 in Cyprus. It highlights the creative and political opportunities and ethical challenges of representing the Cyprus Problem in this genre. In representing a gap between the “desires of the feminine” and the motivating forces of ethno-nationalism, the novels remap women’s experience left out of the patriarchal assertions of war. While the novels reinscribe many of the discourses that normalise women’s absences from processes of official reconciliation, they might be seen as drawing popular attention to the issues at stake when considering women and war in Cyprus.

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24

Rubenstein, Roberta. "Bodily Harm: Paranoid Vision in Contemporary Fiction by Women." Lit: Literature Interpretation Theory 1, no. 1-2 (December 1989): 137–50. http://dx.doi.org/10.1080/10436928.1989.11082846.

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25

Aarons, Victoria. "The Outsider within: Women in Contemporary Jewish-American Fiction." Contemporary Literature 28, no. 3 (1987): 378. http://dx.doi.org/10.2307/1208628.

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26

Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.

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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.

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27

Cantrill, Aoife. "Growing Together: Yang Shuangzi's Queer Adaptation of Taiwan's Colonial Fiction." Comparative Critical Studies 20, supplement (October 2023): 60–79. http://dx.doi.org/10.3366/ccs.2023.0495.

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Readings of Taiwan's Japanophone colonial-era fiction are typically influenced by politicised interpretations of Japanese rule (1895–1945) on the island and its significance to contemporary Taiwanese identity. Till recently, these discussions often marginalised colonial-era texts by Taiwanese women, initially due to limited translation during Taiwan's period of martial law (1945–1987), and later due to the fragmentary nature of these short stories. This article explores how millennial author Yang Shuangzi (1984-) overcomes the anticipatory politics of reception surrounding colonial-era fiction by adapting a short story by Yang Qianhe (1921–2011) through the lens of ‘Girls’ Love’ (GL), a predominantly online subculture made up of media (fanfiction, manga, fanart) portraying queer relationships between women and girls. By understanding the text as an adaptation, it is possible to explore how contemporary Taiwanese authors read and relate to colonial fiction, breathing new life into such texts through interpretations grounded in contemporary culture. In Yang Shuangzi's case, I argue that she not only emphasises Yang Qianhe's importance to Taiwanese women's fiction through adaptation, but that she also creates space for literary play and creativity. The article focuses on the process of adaptation to develop an argument about literary connection between generations of Taiwanese women, whilst also outlining how online subcultures can revitalise literatures caught in the back-and-forth of nation-state politics by establishing their own practices of language and form.

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28

Lyons, Bonnie. "Israeli Mythogynies: Women in Contemporary Hebrew Fiction (review)." MFS Modern Fiction Studies 34, no. 4 (1988): 750–51. http://dx.doi.org/10.1353/mfs.0.0710.

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29

Howey, Ann F. "Queens, Ladies and Saints: Arthurian Women in Contemporary Short Fiction." Arthuriana 9, no. 1 (1999): 23–38. http://dx.doi.org/10.1353/art.1999.0049.

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30

Desnain, Véronique. "'La femelle de l'espèce': women in contemporary French crime fiction." French Cultural Studies 12, no. 35 (June 2001): 175–92. http://dx.doi.org/10.1177/095715580101203504.

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31

Dr. Sampath Kumar Chavvakula. "Feminism In The Novels Of Anita Desai." Journal of Namibian Studies : History Politics Culture 33 (May 20, 2023): 5462–70. http://dx.doi.org/10.59670/jns.v33i.4824.

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Feminism in western nations are epitomized in literature and different books, that is in composed shape however in the east, especially in nations like India, attributable to its oral tradition and more noteworthy lack of education, the effect of these investigations was limited to the urban populace. In any case, as of late, even the rural regions have been secured due to the regularly spreading wing of electronic media. Since the most recent couple of decades, women have been attempting their hands at writings and that too effectively. Anita Desai is a standout amongst other known contemporary women writers of Indian fiction in English. She has picked up qualification in investigating the human psyche and the enthusiastic sentiments of her protagonists. She has included a new dimension and great support to the contemporary Indian English fiction and has a huge place because of her creative topical concerns and arrangements in her fiction with feminine sensibility.

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32

Clark, Urszula, and Sonia Zyngier. "Women beware women: detective fiction and critical discourse stylistics." Language and Literature: International Journal of Stylistics 7, no. 2 (May 1998): 141–58. http://dx.doi.org/10.1177/096394709800700203.

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This article examines the work of four contemporary writers of detective fiction (P.D. James, Amanda Cross, Sara Paretsky and Ruth Rendell/Barbara Vine) from a critical discourse stylistics perspective with the objective of raising the reader's awareness of the ideological processes that are manifested in the language of these texts. It considers how these writers deal with stereotypical assumptions, how they cope with socially determined traditional roles and verify whether their choices result in the articulation of an alternative discourse. The investigation arrives at some identifiable cultural and linguistic characteristics which may be singular to this new group of writers. We suggest that by challenging traditional representations of women, these writers may be offering a reconstruction of the genre.

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33

Al Thobaiti, Fatmah. "Portraying the Male Abuser in Contemporary Women’s Fiction." ELOPE: English Language Overseas Perspectives and Enquiries 19, no. 2 (December 31, 2022): 197–210. http://dx.doi.org/10.4312/elope.19.2.197-210.

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Newspaper headlines show that awareness of intimate partner violence is a complicated issue that needs further examination. Works of fiction narrated by women trapped in abusive relationships are useful sites for the exploration of what intimate partner violence usually includes, and the identification of subtle behaviours that can be defined as violent and abusive but usually go unnoticed. This article submits two contemporary works of fiction, First Love and the Fifty Shades series, for a study of the covert mechanisms of emotional abuse. To understand such mechanisms, the article engages with feminist as well as postfeminist contemporary thinking on intimate partner violence. The analysis shifts the focus back to the male abuser by carefully depicting how he uses under-recognized, gendered forms of power to abuse his partner. The aim is to elucidate the capacity of first-person narratives to allow access to the abused woman’s mind, while simultaneously provoking questions about the abusers’ behaviours, making them a more powerful tool for understanding intimate partner violence than a newspaper report.

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34

Paterson, Susanne F., and Carolyn White Gamtso. "Interrogating representations of transgressive women: Using critical information literacy and comic books in the Shakespeare classroom." Art Libraries Journal 48, no. 3 (July 2023): 80–89. http://dx.doi.org/10.1017/alj.2023.14.

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How can instructors and librarians collaborate to provide the interpretive scaffolds for students to critically engage with visual primary materials? The authors, an English faculty member and a faculty instruction librarian at the University of New Hampshire at Manchester (UNH Manchester), used graphic fiction as the textual basis of information literacy (IL) instruction, encouraging students to interpret primary and secondary sources using visual literacy heuristics and critical inquiry skills. Their student-centered, inquiry-based IL session for a Capstone Shakespearean Adaptations course focused on critical thinking and research question design. Using woodcuts from primary historical texts and images from contemporary graphic fiction adaptations of Macbeth, the instructors decentralized the classroom, empowering students to ask probing questions about illustrations of witches in early modern English source materials. Students used their questions to explore interpretations of visual depictions of powerful women in historical primary texts and contemporary graphic adaptations of Shakespeare's Macbeth. Guided by the instructors, students decoded images using the metadiscourse of graphic fiction; generated questions to inform their own inquiry into the topic; applied their IL skills to new texts; and interrogated the biases of received narratives about women who transgress societal norms and expectations, both in the early modern period and in the contemporary world.

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35

Chatraporn, Surapeepan. "Food, Emotion and the Empowerment of Women in Contemporary Fiction by Women Writers." MANUSYA 8, no. 2 (2005): 67–82. http://dx.doi.org/10.1163/26659077-00802006.

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This paper aims to explore the connection between food and emotions and analyze how food empowers the women who cook and serve it. In the selected fictional bestsellers, which were made into successful films, food plays a vital role. Food functions as the title, the main theme, the dominant imagery, and distinctive figures of speech. Food has a direct impact on the emotions and behavior of those who consume the food prepared by these female cooks. Their food provides physical nourishment as well as emotional and spiritual sustenance. Food is used as a vehicle to communicate feelings, and an outlet for female creativity and artistic expression. The female cooks, who appear initially weak and inferior in status, grow to be influential and indispensable. Having derived their power from food, these female cooks eventually assume the roles of artistic chefs and, more importantly, saviors of body and soul.

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36

Omar, Noritah, Assia Alhasan, Zainor Izat Zainal, and Ida Baizura Bahar. "Subverting the Binary Oppositions concerning Female Agency in Alameddine’s An Unnecessary Woman." Arab World English Journal For Translation and Literary Studies 7, no. 1 (February 24, 2023): 301–12. http://dx.doi.org/10.24093/awejtls/vol7no1.22.

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This study explores woman’s agency in Alameddine’s fiction, An Unnecessary Woman (2013) concerning the normative state of agency in a communal structure that controls women’s behaviors and wishes set by suppression. The current study uses the deconstruction theory of French post-structuralists Jacques Derrida and Hélène Cixous, taken from a feminist perspective, which undermines gender dichotomies and interrupts “the unquestionable truth” in Western philosophy. In short, Rabih Alameddine’s fiction reveals the misconceptions about – and misrepresentations of – Arab women in contemporary Arab American fiction and disrupts the binary opposition which resembles the backbone of patriarchy.

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37

Bako, Alina. "Competing Memories and Space in Contemporary Romanian Fiction Written by Women." Comunicare interculturală și literatură 25, no. 1 (July 20, 2018): 103–21. http://dx.doi.org/10.35219/cil.2018.1.09.

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38

Lynch, Vivian Valvano, and James M. Cahalan. "Double Visions: Women and Men in Modern and Contemporary Irish Fiction." Canadian Journal of Irish Studies 26, no. 1 (2000): 169. http://dx.doi.org/10.2307/25515339.

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39

Rege, Josna E. "Gender Voices and Choices: Redefining Women in Contemporary African Fiction (review)." Research in African Literatures 31, no. 3 (2000): 209–10. http://dx.doi.org/10.1353/ral.2000.0096.

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40

Raddeker, Hélène Bowen. "Feminism and spirituality in fantastic fiction: Contemporary women writers in Australia." Women's Studies International Forum 44 (May 2014): 154–63. http://dx.doi.org/10.1016/j.wsif.2013.12.009.

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41

Cosslett, Tess. "Feminism, matrilinealism, and the ‘house of women’ in contemporary women's fiction." Journal of Gender Studies 5, no. 1 (March 1996): 7–17. http://dx.doi.org/10.1080/09589236.1996.9960625.

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42

Aliaga-Lavrijsen, Jessica. "Ectogenesis and Representations of Future Motherings in Helen Sedgwick’s The Growing Season." Atlantis. Journal of the Spanish Association for Anglo-American Studies 43, no. 1 (June 28, 2021): 55–71. http://dx.doi.org/10.28914/atlantis-2021-43.1.04.

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After the boom of feminist science fiction in the 1970s, many such novels have tackled the different sociocultural understandings of gender and sexual reproduction. Conventionally, patriarchal thinking tends to posit a biological explanation for gender inequality: women are supposed to be child bearers and the primary caregivers, whereas men should provide for the family through their work. However, if men could share procreation, would these views change? A recent work of fiction exploring this question from multiple perspectives is Helen Sedgwick’s The Growing Season (2017), a novel that presents a near future in which babies can be grown in artificial wombs that can be carried around. As an analysis of the novel will show, The Growing Season creatively explores the existing tensions among contemporary understandings of motherhood and feminism(s), as well as developments in reproductive biotechnology, through the different perspectives offered by the heterodiegetic third-person narration and multiple focalisation. Ultimately, the voices of the different characters in the novel convey a polyhedral vision of possible future feminist motherhood(s) where ideas of personal freedom and codependency are radically reconceptualised—a rethinking that becomes especially important nowadays, for the biotechnological elements of this fictional dystopia are already a reality.

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43

Kadam, Dipali M. "Diasporic consciousness in contemporary Indian women’s fiction in English: at a glance." RUDN Journal of Studies in Literature and Journalism 27, no. 3 (October 12, 2022): 532–40. http://dx.doi.org/10.22363/2312-9220-2022-27-3-532-540.

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Diasporic literature is a pivotal term in literature that includes the literary works of the authors who are the outsiders for their native country but their work is deeply rooted in homeland by reflecting native culture, background, displacement and so on. Indian women’s literary work is at the forefront of diasporic literature. The advent of Indian women novelists on the literary horizon is an important development in the Indian English literature. These women writers have also contributed to other genres, such as drama, poetry and short stories, not only in English but also in regional languages like Hindi, Marathi, Bengali, Punjabi, Tamil, Kannada and so on. Some modern women writers flourish their writing in the form of fables as a literary genre in an impressive way to focus on the specific themes. In last two decades, Indian women’s writing in English is blossomed, both published in India and abroad. The present paper is the review of diasporic consciousness in select works of contemporary Indian women novelists. It focuses on the attempt to highlight the quest for identity of those women who played a crucial role in defining themselves through their literary work in diasporic background.

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Lassner, Phyllis. "“The Dark Path Back”: Investigating Holocaust Memory in Sara Paretsky’s Novel Total Recall." Studies in American Jewish Literature (1981-) 41, no. 2 (September 1, 2022): 144–64. http://dx.doi.org/10.5325/studamerijewilite.41.2.0144.

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Abstract Women writers challenge the popular and critical entrenchment of male-authored literary detective fiction. A close reading of Sara Paretsky’s 2001 novel Total Recall demonstrates that the ongoing quest for social justice by her woman detective, V. I. Warshawski, is addressed through assertive women’s voices that have also transformed critical approaches to women’s crime fiction. In Paretsky’s novels, V.I. finds herself in a double bind reserved for women in both social and literary terms: having to prove her stability and effectiveness as a professional detective and as a reliable first-person narrator. Total Recall ’s investigations of contemporary corporate crime trace their origins to American slavery and the Holocaust: the novel transforms the generic mean streets of crime fiction into a transnational crimescape with a two-way trajectory between contemporary Chicago and Central Europe’s sites of mass murder. But instead of plotting a conclusion that declares triumph over such evil, the novel joins forces with historical accounts to investigate the staying power of legitimized oppression and the memory of its victims. Reading the Holocaust narratives embedded in Total Recall reveals a story of inhumanity so far reaching that it transforms Paretsky’s local Chicago crimescape into a global epic.

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Canet, Fernando. "Chop Shop and Foreign Parts settle on the fuzzy boundary between fiction and documentary: new representations of New York City in Contemporary Cinema." CINEJ Cinema Journal 2, no. 2 (June 4, 2013): 38–50. http://dx.doi.org/10.5195/cinej.2013.68.

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Capturing reality has been a constant aim of different movements throughout the history of the cinema. Historically, this challenge has been taken up by makers of both documentaries and fiction, through hybrid proposals that blended strategies from both fields. Even though these proposals have been ignored by traditional film historians, they constitute a persistent tendency from the cinema’s earliest times, as Rhodes and Springer pointed out in their book Docufictions: Essay on the intersection of documentary and fictional filmmaking (2006). There are good examples of these proposals in contemporary cinema that have even won awards at leading international film festivals, including the two movies referred to in this paper: the fictional Chop Shop made by Ramin Bahrani in 2007 and the documentary Foreign Parts by Verena Paravel and J.P. Sniadecki in 2010. Both movies try to portray the same reality in the form of the little known Willets Point (Queens, New York City). Both films aim to show the truth behind the reality portrayed by its inhabitants in real life situations. The main goal of this paper is to reveal their manner of doing this and to show how both movies, even though belonging to different genres, share the same strategies to such an extent that their images could be interchangeable.

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Quynn, Kristina. "Drudgery Tales, Abjectified Protagonists, and Speculative Modes in the Adjunctroman of Contemporary Academic Fiction." Genre 52, no. 2 (July 1, 2019): 85–108. http://dx.doi.org/10.1215/00166928-7585854.

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This essay presents an analysis of narratives of contingency in the contemporary academic novel, particularly the mode of the “adjunctroman.” It contends that adjunct protagonists frustrate the most recognizable mode of academic fiction—the “Professorroman”—with sagas of a Sisyphean lack of progress, unsympathetic or abjectified antiheroes, and tales of instructional drudgery and intellectual woe. Such recent academic fiction may be self-published and may feature protagonists who are adjuncts, non-tenure-track faculty, or workers just passing through the ivory tower on their way to better employment elsewhere. Providing readings of novels by well-known writers of academic fiction such as James Hynes and Alex Kudera alongside lesser known authors such as Geoff Cebula, Gordon Haber, J. Hayes Hurley, and Julia Keefer, the essay ultimately argues that the adjunctroman reveals and at its best revels in the “crises” of higher education to begin imagining the twenty-first-century professoriat anew.

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MOARCĂS, Georgeta. "Dracula Metaphysics. Exploring the Vampire Motif in Contemporary Women’s Fiction." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 188–96. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.12.

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Three women writers, Elisabeth Kostova, Doina Ruști, and Ruxandra Ivăncescu chose the vampire motif as the core of their historiographical metafiction. The principle of verisimilitude that dominates their prose writing in different percentages, transforms the narrative strategy into an initiation journey for interpreting various traces left behind by a mysterious character. They are blending into their prose writing historic archival facts, popular knowledge embedded in folktales and ballads, as well as important artifacts. As requested by the literary convention, their vampire becomes a time traveler, interested in maintaining power and offering protection to a few ones, a more intellectual and at times a good-natured character, stripped of his sensuality.

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Rađenović, Milica. "Class and Gender – The Representation of Women in Kingsley Amis’s Lucky Jim." Gender Studies 15, no. 1 (December 1, 2016): 183–95. http://dx.doi.org/10.1515/genst-2017-0012.

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Abstract Lucky Jim is one of the novels that mark the beginning of a small subgenre of contemporary fiction called the campus novel. It was written and published in the 1950s, a period when more women and working-class people started attending universities. This paper analyses the representation of women in terms of their gender and class.

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Horowitz, Sara R. "Mediating Judaism: Mind, Body, Spirit, and Contemporary North American Jewish Fiction." AJS Review 30, no. 2 (October 27, 2006): 231–53. http://dx.doi.org/10.1017/s0364009406000110.

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That Jewish literature in North America is an altogether secular venue has long been regarded as a truism among many influential literary scholars. Indeed, for much of the twentieth century, the fiction of Jewish immigrants and their progeny wrote its way into American and Canadian culture through narratives that captured the process of acculturation by distancing itself from Jewish traditional practices, construed mockingly or nostalgically as relics of a European life left behind, a wellspring of historical or textual memories that oppress or elevate. The few departures from this trend—fiction that represents Judaic ritual and experience sympathetically, with complexity and depth—are exceptions that prove the rule: Chaim Potok’s novels, for example, beginning in the late 1960s and continuing through the close of the twentieth century, and a handful of women novelists negotiating Jewish feminism in stories and novels of the 1980s and 1990s.

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Gilarek, Anna. "Marginalization of “the Other”: Gender Discrimination in Dystopian Visions by Feminist Science Fiction Authors." Text Matters, no. 2 (December 4, 2012): 221–38. http://dx.doi.org/10.2478/v10231-012-0066-3.

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In patriarchy women are frequently perceived as “the other” and as such they are subject to discrimination and marginalization. The androcentric character of patriarchy inherently confines women to the fringes of society. Undeniably, this was the case in Western culture throughout most of the twentieth century, before the social transformation triggered by the feminist movement enabled women to access spheres previously unavailable to them. Feminist science fiction of the 1970s, like feminism, attempted to challenge the patriarchal status quo in which gender-based discrimination against women was the norm. Thus, authors expressed, in a fictionalized form, the same issues that constituted the primary concerns of feminism in its second wave. As feminist science fiction is an imaginative genre, the critique of the abuses of the twentieth-century patriarchy is usually developed in defamiliarized, unreal settings. Consequently, current problems are recontextualized, a technique which is meant to give the reader a new perspective on certain aspects of life they might otherwise take for granted, such as the inadequacies of patriarchy and women’s marginality in society. Yet there are authors who consider the real world dystopian enough to be used as a setting for their novels. This is the case with Woman on the Edge of Time by Marge Piercy and The Female Man by Joanna Russ. Both texts split the narrative into a science fictional and a realistic strand so as to contrast the contemporary world with utopian and dystopian alternatives. Both texts are largely politicized as they expose and challenge the marginalized status of women in the American society of the 1970s. They explore the process of constructing marginalized identities, as well as the forms that marginalization takes in the society. Most importantly, they indicate the necessity of decisive steps being taken to improve the situation.

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