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Relevant bibliographies by topics / Ladino fiction

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Academic literature on the topic 'Ladino fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Ladino fiction"

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Washbourne, Kelly. "Authenticity and the indigenous." Babel. Revue internationale de la traduction / International Journal of Translation 62, no. 2 (August 10, 2016): 169–90. http://dx.doi.org/10.1075/babel.62.2.01was.

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This study will entertain considerations of authenticity and identity in translating Spanish American Neoindigenist fiction. Ladino writing and its translatability, its translinguistic and transcultural nature, are explored, particularly insofar as its context intersects with the oral and written traditions and their convergences and divergences. Notions about authenticity that adhere to these forms and expressions are considered. The translational origins of supposedly “pure” works of indigenousness, including the Popol Vuh, are traced in order to show an anti-essentialist hybridity that embraces an aesthetic realism rather than a mimetic one. The impure, then, describes the multivocal, multigeneric, and even multilingual texts from which translators work in this genre, creating in their turn “twice translated” texts. The tensions of these texts must be accounted for in translation. The glossary and other paratexts in Neoindigenismo and its precursor, Indigenismo, are surveyed as strategic repositories, sometimes of ideological slippages and always of contentions between worldviews. The goal of representing the cultural frame, the ecology of the source text, is championed, as are other considerations in the historicized and ethical presentation of difference.

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Palmer, Susan. "Romance Fiction and the Avon Ladies." Acquisitions Librarian 8, no. 16 (December 15, 1996): 119–31. http://dx.doi.org/10.1300/j101v08n16_12.

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Mulcahy, F. David, and Melissa Sherman. "A Symbolic View of Cigarette Holders." Issues in Social Science 3, no. 2 (October 4, 2015): 1. http://dx.doi.org/10.5296/iss.v3i2.8392.

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<p>The cigarette holder became a fashion accessory for women in the early 1920s and remained popular until the 1960s. <em>The New York Times</em> was used as a data base to evaluate its symbolism and function during this period. It is argued that the artifact became a symbol of assertiveness for many women both in real life and fiction including the ballet mistress Bronislava Nijinska, the mythical and fictionally portrayed Dragon Lady—who was a glamorous but larcenous female war-lord, the fictional Satin Doll, an astute potential lover who would not let herself be manipulated by men, young flappers in restaurants, great, gruff ladies who were ballet <em>aficionadas</em>, Sappho, an overbearing Russian governess, and Nathalie de Ville, a fictional female social predator. The article points out in detail how the cigarette holder was isomorphic, with and reflected in, the new 1920s women’s fashion silhouette which quickly replaced the somewhat “squat” Gilded Era women’s costume. It had no pinched waist, an almost nonexistent bodice and hips, and gave an overall tall, slim and graceful impression.</p>

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Schleiner, Louise. "Ladies and Gentlemen in Two Genres of Elizabethan Fiction." Studies in English Literature, 1500-1900 29, no. 1 (1989): 1. http://dx.doi.org/10.2307/450451.

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Davidson, Cathy N. "Critical Fictions." PMLA/Publications of the Modern Language Association of America 111, no. 5 (October 1996): 1063–79. http://dx.doi.org/10.1632/s0030812900177004.

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Throughout the first decade of the nineteenth century, Ethan Allen Greenwood, a rather pedantic young diarist, each day recorded the weather and the title of the book he was reading. He sometimes observed that a particular work was “instructive” or “entertaining” and occasionally noted the library from which the volume was borrowed–the Adelphi Fraternity Library, the Social Friends Library, or the unnamed circulating library he joined in 1806. His meticulous account of his activities and expenses–whether he was living at home in Worcester County, Massachusetts, or at Dartmouth College or later in Boston or traveling around the countryside as an itinerant painter–provides posterity with an unusually comprehensive portrait of “Ethan Allen Greenwood, his life and times.” Looking over the record that he left, we can well imagine that we know this serious and sober, parsimonious and abstemious young man Franklinesquely working his way toward fame and fortune. But then we encounter a curious diary entry: “Rode out with the ladies. Returned and spent the evening agreeably. What I do not write here will not be forgotten.”

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Stevenson, John Allen, and Joseph Andriano. "Our Ladies of Darkness: Feminine Daemonology in Male Gothic Fiction." South Central Review 11, no. 3 (1994): 69. http://dx.doi.org/10.2307/3190251.

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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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Jhansi, Mallavarapu, and Dr Madupalli Sureshkumar. "Conjugal Strife in Anita Desai's “Cry, The Peacock”." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i11.10094.

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Marriage is a supposedly sacrosanct establishment in each community. It is the perceived social organization for building up and keeping up the family as well as for making and supporting the ties of connection. Conjugal disharmony is characterized as a battle between individuals with contradicting needs, thoughts, convictions, qualities, or goals. The disharmonized character's quest for satisfaction is a typical theme in contemporary fiction. Anita Desai is considered an authority on uncovering the issue of present-day women in India. She is increasingly worried about the inward situation of her estranged protagonist in the modern, patriarchal society. In her novels, she has depicted the man-lady relationship and the untold sufferings of ladies out of the connubial disharmony. Desai's novel Cry, the Peacock is considered as the initial phase toward mental fiction in Indian writing in English. This paper talks about the connubial disharmony between Maya and Gautama and its outcomes in Anita Desai's Cry, the Peacock.

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Helen Hackett. "Suffering Saints or Ladies Errant?? Women Who Travel for Love in Renaissance Prose Fiction." Yearbook of English Studies 41, no. 1 (2011): 126. http://dx.doi.org/10.5699/yearenglstud.41.1.0126.

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Peiu, Anca. "Three Sophisticated Ladies and Their Turns of Discourse: Edith Wharton, Flannery O’Connor, Alice Munro." Acta Universitatis Sapientiae, Philologica 8, no. 1 (December 1, 2016): 49–66. http://dx.doi.org/10.1515/ausp-2016-0004.

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Abstract My paper focuses on certain “turns of discourse” which can make the main messages of literary masterpieces by Edith Wharton, Flannery O’Connor, and Alice Munro communicate, despite differences in time, space, culture. Thus the label of feminism may be superficial here. What these three writers of canonical world literature share is a fine gift for feminine irony, that is responsible for both their stylistic virtuosity and their thematic choices. I was particularly interested in their intricate views and ways of dealing with the difficulties of the mother-daughter relationship in their exclusively concise short fiction. The horror, (hurt) hubris, and humility of actually living such life experiences and then turning them into literary artifacts have represented my special concern here. The sweet sharp thorns of this classic challenge in real life can make of it the inexhaustible literary theme confirmed by each one and all of these “three sophisticated ladies” in their splendid works.

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Dissertations / Theses on the topic "Ladino fiction"

1

Franco, Sally. "Stories: Spain, Lovers and Crazy Old Ladies." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4734/.

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Müller, Nadine. "Ladies, lunatics and fallen women in the new millenium : the feminist politics of neo-Victorian fiction, 2000-2010." Thesis, University of Hull, 2011. http://hydra.hull.ac.uk/resources/hull:5377.

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Grizenko, Marisa Katherine. "Two drunk ladies : the modernist drunk narrative and the female alcoholic in the fiction of Jean Rhys and Jane Bowles." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43579.

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This thesis takes as its starting point the culturally potent figure of the alcoholic modernist, who, heroically facing existential despair, is predominantly gendered as male. Pointing to the absence of the female alcoholic as writer and subject in critical accounts of modernism, I argue that a drunk narrative, written by and about women, exists alongside the prototypical male narrative, and call for a re-examination of the modernist writer‘s relationship to alcohol. Exploring the historical and cultural contexts that have contributed to the gendering of alcoholism and drinking practices in general, as well as the gendering of the modernist artist in particular, I then consider how writers Jean Rhys and Jane Bowles articulate their vision of the drinking woman. Rhys‘s 1939 novel Good Morning, Midnight sees protagonist Sasha Jansen employing the discursive category of female drunk as a tool of resistance in Paris‘ patriarchal and capitalist urban economy. I situate her as tactically capitalizing, in a de Certeauan fashion, on her abjection and visibility. Bowles‘s 1943 novel Two Serious Ladies extends Sasha‘s individual drunkenness to an overarching, abstracted drunkenness that reflects the worldview of the text. I trace how drunkenness functions thematically and linguistically in the two female protagonists‘ existential quests. While identifying existing gaps in the scholarship, I also hope to gesture to rich areas of potential research and model a reading practice that explores female interventions in the male modernist drunk narrative.

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Bureaux, Guillaume. "Union et désunion de la noblesse en parade. Le rôle des Pas d'armes dans l'entretien des rivalités chevaleresques entre cours princières occidentales, XVe-XVIe siècles (Anjou, Bourgogne, France, Saint-Empire)." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR142/document.

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Apparus en 1428 en Espagne, le Pas d’armes est un parfait exemple de l’indéniable intérêt porté par la noblesse, de la fin du Moyen Âge et du début de la Renaissance, aux arts martiaux, littéraires et théâtraux. Il s’agit, en réalité, d’une évolution de la joute et du tournoi au cours duquel un ou plusieurs chevaliers est volontaire pour garder un carrefour, une porte ou tout autre lieux symbolique. Pour différencier ces exercices des joutes, les organisateurs publient des chapitres, ou lettres d’armes, plusieurs mois en avance. Ils sont souvent constitués de deux parties, la première venant placer les chevaliers assaillants et défenseurs dans un univers magique et fantastique, le seconde présentant les règles du jeu. Notons également que la majeure partie des Pas plonge les chevaliers dans un monde fictionnel, en particulier inspire de la légende arthurienne, grâce aux chapitres, aux décors et, naturellement, aux costumes. Témoignages des contacts transculturels existent entre les cours d’Anjou et de Bourgogne avec celles d’Espagne, les Pas d’armes sont organisés à des moments décisifs pour les cours, qu’il s’agisse de mariages, de traités de paix ou d’un temps d’après-guerre ; et tous remplissent un rôle commun : mettre en lumière l’unité chevaleresque autour du Prince et de son pouvoir. Invariablement, c’est le Prince qui sort vainqueur des événements qui ont lieux au sein de sa cour. Il s’agit essentiellement pour le prince de mettre en scène son pouvoir dans ce « jeu-mimique » où l’important n’est pas tant le combat que le spectacle et la mise en lumière du pouvoir princier, tant culturel, financier que militaire
Appearing in 1428 in Spain, the Pas d’Armes are a real example of the undeniable interest held by the nobility of the end of the Middle Ages and the beginning of the Renaissance in the arts of warfare, in literature, and theater. It is in reality an evolution of the joust and tournament in which one or several knights volunteer to keep a crossroad, a door or another symbolic place. To differ from the joust, the organizers publish chapters, or letters of weapons, several months in advance. They consisted of two parts, the first one coming to place the knights defenders and aggressors in a magic and fantastic universe, the second containing rules to be followed. It is also necessary to note that the great majority of Pas place the knights in a fictional world, in particular regarding Arthurian legend, by means of chapters, present scenery around the lists and, naturally, costumes. Testimonies of transcultural contacts between the Valois ‘courts of Anjou and Burgundy and Spanish courts, the Pas d’armes are organized at courtly decisive moments like marriages, treaties of peace or just after a war, all the Pas d’armes had a common role : to highlight the unity of knighthood around the Prince and his power. On each occasion is the Prince who emerges victorious from all the entertainment organized at his court. Essentially, it is a way for the prince to dramatize his power in this “game – mimicry” where the important thing was not so much the fighting but the scenery and the highlighting of cultural, financial and military power of the court

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Sitler, Robert Kenneth. "Through Ladino eyes images of the Maya in the Spanish American novel /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/34009031.html.

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Okang'a, Nancy Achieng'. "A cosmopolitan national romance: a study of In Dependence by Sarah Ladipo Manyika." Thesis, 2017. https://hdl.handle.net/10539/23823.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts. Johannesburg 2017
This research report uses In Dependence by Sarah Ladipo Manyika to demonstrate that African romance fiction is not necessarily escapist fantasy. It does this by focusing on the exploration of gender, racism, national and cultural identity in the post-colonial era in this novel that uses the romance template. The close textual analysis that is at the core of this reading is guided by an eclectic theoretical framework made out of several notions, the most important of which are: Ngugi wa Thiong’o’s idea of fiction as a form of language; the understanding that gender and race are socially constructed and can thus be remade or unmade; cosmopolitanism, and particularly the variety known as Afropolitanism. The research report is divided into five chapters. Chapter I, the introductory chapter, plots what the research report is about, explains how the research that led to the writing of the report was carried out, and locates the report in its appropriate intellectual contexts. Chapter II engages with the formal characteristics of In Dependence. Evidence is assembled to support the argument that in In Dependence Manyika creatively enhances the popular romance in the process forging a “fiction language” that she uses to communicate significant social and political messages in a rhetorically powerful manner. Chapter III analyzes the manner in which Manyika uses an inter-racial heterosexual relationship in the novel to explore gender and racism. The key argument pursued in the chapter is that in In Dependence Manyika challenges racialized patriarchal ideologies and envisions a cosmopolitan world in which the genders interact in a humane and fair manner. Chapter IV demonstrates that the story of an interracial romantic relationship that is used to structure the novel problematizes cultural identities and their attendant prejudices such as sexism and racism, and ultimately raises cosmopolitanism as the solution to the problem of intercultural interaction. Chapter V is the Conclusion. The arguments and conclusions of the core chapters of the research report – Chapter II, Chapter III and Chapter IV – are rehashed here. Also stated in this final chapter are the reading’s general conclusions on the novel and its contribution to the romance genre in the broader context of African literature.
MT 2018

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Books on the topic "Ladino fiction"

1

León, Luis. Herencia sefardí: Refranes, lengua y costumbres. Ciudad de Buenos Aires: Centro de Investigación y Difusión de Cultura Sefardí, 2009.

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2

Servants of the map: Stories. New York: W.W. Norton & Co., 2001.

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Our ladies of darkness: Feminine daemonology in male gothic fiction. University Park, Pa: Pennsylvania State University Press, 1993.

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The ladies. London: Grafton, 1986.

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Grumbach, Doris. The ladies. New York: Norton, 1993.

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Grumbach, Doris. The ladies. London: Hamilton, 1985.

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Ladies' night. London: Virago, 1990.

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Bowers, Elisabeth. Ladies' night. Tokyo: Shin Ju Sha, 1996.

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Ladies' night. Seattle, Wash: Seal Press, 1988.

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Crazy ladies. Atlanta, Ga: Longstreet Press, 1990.

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Book chapters on the topic "Ladino fiction"

1

Hoffman, Megan. "Ladies of a Modern World: Education and Work." In Gender and Representation in British ‘Golden Age’ Crime Fiction, 113–56. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53666-2_5.

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Cook, Sylvia Jenkins. "The Prospects for Fiction." In Working Women, Literary Ladies, 106–31. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195327809.003.0004.

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"Ladies and Gentlemen?" In Reading Corporeality in Patrick White’s Fiction, 162–80. Brill | Rodopi, 2018. http://dx.doi.org/10.1163/9789004365698_007.

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"Of Monkey Kings and Fox Ladies." In Empowering Contemporary Fiction in English, 172–85. BRILL, 2021. http://dx.doi.org/10.1163/9789004448773_011.

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"6. Urban Confessions and Tan Fantasies: The Commodification of Marriage and Sexual Desire in African American Magazine Fiction." In Ladies' Pages, 113–39. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813542522-008.

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Pfeffer, Miki. "May Distractions." In Southern Ladies and Suffragists. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781628461343.003.0016.

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This chapter describes the notable men who arrived in New Orleans to render optimism and to divert attention from the turbulence around Julia Ward Howe and the Woman's Department. Among them was ex-governor John Wesley Hoyt of the Wyoming Territory who expressed supposed for woman suffrage. Although Hoyt claimed that he had never before made a speech on the voting rights of women, he cited “fourteen years of observation and experience” as evidence for his testimony. Two eminent northeastern editors—Charles Dudley Warner (editor and proprietor of the Hartford Courant) and Richard Watson Gilder (editor in chief of Century Magazine)—also brought unexpected promise for southern, and perhaps western, women to earn money from home through fiction writing.

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"Keeping Abreast of Series Fiction Publishing: A Challenge for Children's Literature Bibliographers." In Pioneers, Passionate Ladies, and Private Eyes, 59–70. Routledge, 2013. http://dx.doi.org/10.4324/9780203046852-7.

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"Chapter Two .Fictional Ladies And Literary Fraternity." In Textual Masculinity and the Exchange of Women in Renaissance Venice, 57–82. University of Toronto Press, 2015. http://dx.doi.org/10.3138/9781442619524-004.

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Henry, Nancy. "‘Ladies do it?’: Victorian Women Investors in Fact and Fiction." In Victorian Literature and Finance, 111–32. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780199281923.003.0007.

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Kelaita, Jasmin. "Housekeeping and the Fiction of Subjectivity in Eva Trout." In Elizabeth Bowen, 165–81. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474458641.003.0011.

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This chapter examines how Bowen’s final novel, Eva Trout, amplifies the issue of the domestic and the ‘things’ that build subjective containment and betray non-normative, unstable and difficult narrative subjects, by claiming that Eva Trout is such a subject: difficult and utterly indeterminate. In order to draw on the value-laden potency of ‘home’ for women in fiction the chapter calls upon Bowen’s contemporary, one who might be described as the quintessential author of homelessness, Jean Rhys. Rhys’s novel Good Morning, Midnight (1939) to show how the issue of domestic space becomes paramount to the workings of narrative for women writers and their female protagonists. Unlike Rhys’s protagonist Sasha Jensen, who does not attempt to make any specific space her home but rather moves between rented rooms in a hope for nominal protection, Eva Trout repeatedly attempts to make herself in relation to domestic spaces. Eva is unable to establish a stable domestic existence in accordance with conventional gender expectations. The way that women make homes and, in very material and embodied ways, occupy space is significant in Bowen’s fiction, where objects, ephemera and domestic stability are crucial to the development of character and narrative.

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Conference papers on the topic "Ladino fiction"

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Riera Retamero, Marina. "Touki Bouki: (des)encuadres políticos de la diáspora estética." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10292.

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La presente comunicación propone un acercamiento al filme Touki Bouki (1973) del director senegalés Djibril Diop Mambety, utilizando las siguientes figuras sensibles de la filosofía de Jacques Rancière como prisma epistémico: la fiction documentaire (Rancière, 2001); le régimen esthétique de l’art (Ibíd., 2011); la police, la politique et le politique (Ibíd., 2003). Así, esta investigación se propone explorar las temporalidades de una ficción documental (Rancière, 2001), que resalta una ambivalencia contrariada entre; por un lado, imágenes representacionales de un contexto post-Independencia o postcolonial (Césaire, 1950) en la ciudad de Dakar (Senegal); y por otro, la proclamación de una traslación de los espacios de la diáspora (Lao-Montes, 2007) hacia una «diaspora estética» (Peffer, 2013); a través de una puesta en escena que reensambla los recursos tácitos propios de las Nouvelle Vague con un dispositivo político y social de visibilidad (Rancière, 2001) que se sabe capaz de suspender la lógica historiográfica de la subalternidad colonial (Spivak, 1985). Asimismo, pensar el filme como una propuesta de desplazamiento hacia los márgenes «pasivos» del activismo político (Rancière, 2010). Un desplazamiento hacia prácticas no-discursivas, sino estéticas. Ya no son las imágenes documentales que pretenden dotar de «mayor realidad» (Sontag, 2003) a una situación determinada, propias de la militancia del Tercer Cine (Getino & Solanas, 1969); sino, por el contrario, la correspondencia entre formas de identificación estéticas capaces de desactivar los dispositivos policiales (Rancière, 2003) y coloniales de las retóricas amo-esclavo (Han, 2005) / opresor-oprimido (Freire, 1968). Aquí, una consecución visual que oscila entre la acción política determinante y verosímil; y la vida sin razón, propia del arte estético (Rancière, 2001), que identifica formas emancipatorias basadas en la libertad del “no saber” (Mambety, 1999).

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