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Journal articles on the topic 'Nineteenth-century american women writers'

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Published: 4 June 2021

Last updated: 8 February 2022

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1

Glade, B. "African American Women Writers of the Nineteenth Century." Journal of American History 102, no. 1 (2015): 333–34. http://dx.doi.org/10.1093/jahist/jav222.

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Elbert, Sarah, and Susan Coultrap-McQuin. "Doing Literary Business: American Women Writers in the Nineteenth Century." Journal of American History 78, no. 3 (1991): 1076. http://dx.doi.org/10.2307/2078858.

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Singley, Carol J., Susan Coultrap-McQuinn, and Susan Goodman. "Doing Literary Business: American Women Writers in the Nineteenth Century." American Literature 66, no. 1 (1994): 177. http://dx.doi.org/10.2307/2927459.

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Karcher, Carolyn L. "Reconceiving Nineteenth-Century American Literature: The Challenge of Women Writers." American Literature 66, no. 4 (1994): 781. http://dx.doi.org/10.2307/2927700.

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Cogan, Frances B., and Susan Coultrap-McQuin. "Doing Literary Business: American Women Writers in the Nineteenth Century." American Historical Review 97, no. 1 (1992): 296. http://dx.doi.org/10.2307/2164731.

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6

Rogers, Mary F., Susan Coultrap-McQuin, and Wendy Lesser. "Doing Literary Business: American Women Writers in the Nineteenth Century." Contemporary Sociology 21, no. 4 (1992): 523. http://dx.doi.org/10.2307/2075903.

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7

Zagarell, Sandra A. "Nineteenth-Century American Women Writers: A Biobibliographical Critical Sourcebook (review)." Resources for American Literary Study 26, no. 2 (2000): 279–82. http://dx.doi.org/10.1353/rals.2000.0033.

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8

Okker, Patricia, and Susan Coultrap-McQuin. "Doing Literary Business: American Women Writers in the Nineteenth Century." New England Quarterly 64, no. 2 (1991): 322. http://dx.doi.org/10.2307/366132.

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9

Fetterley, Judith. "Commentary: Nineteenth-Century American Women Writers and the Politics of Recovery." American Literary History 6, no. 3 (1994): 600–611. http://dx.doi.org/10.1093/alh/6.3.600.

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10

Glazer, Miriyam, and Diane Lichtenstein. "Writing their Nations: The Tradition of Nineteenth-Century American Jewish Women Writers." American Literature 66, no. 1 (1994): 176. http://dx.doi.org/10.2307/2927458.

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Hyman, Paula E., and Diane Lichtenstein. "Writing Their Nations: The Tradition of Nineteenth-Century American Jewish Women Writers." American Historical Review 99, no. 1 (1994): 303. http://dx.doi.org/10.2307/2166321.

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12

Riley, Glenda, and Susan Coultrap-McQuin. "Doing Literary Business: American Women Writers in the Nineteenth Century. Gender and American Culture." Journal of Southern History 58, no. 2 (1992): 343. http://dx.doi.org/10.2307/2210879.

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13

Sherly. H, Ms Monica, and Dr Aseda Fatima.R. "Patriarchal Oppression in Pearl S Buck’s Novel The Good Earth." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 5. http://dx.doi.org/10.24113/ijellh.v8i2.10406.

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The story of American literature begins in the early 1600’s, long before there were any “Americans”. American literature blossomed with the skillful and brilliant writer during 1900s. Pearl S Buck was born to the family of Presbyterian missionary in 1892 in West Virginia. Being a successful writer in nineteenth century, she published various novels and she was the first female laureate in America and fourth woman writer to receive Nobel Prize in Literature. Oppression is an element that is common in patriarchal society where the women are always subjugated by the men in the family. This paper is to depict the men’s oppression in the novel through the character Wang Lang and how the female character O-Lan is surviving from all the struggles that she faces from her own family members. Literature always anticipates life. It does not copy it, but moulds it to its purpose. Literature is the reflection of mind. It is the great creative and universal means of communicating to the humankind. This creativity shows the difference between the writers and the people who simply write their views, ideas and thoughts. American literature began with the discovery of America. American literature begins with the orally transmitted myths, legends, tales and lyrics of Indian cultures. Native American oral literature is quite diverse. The story of American literature begins in the early 1600’s, long before there were any “Americans”. The earliest writers were Englishmen describing the English exploration and colonization of the New World.

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Michael, Maria. "Typical Life of American Wife of the late 1800s: An Analysis of Kate Chopin’s “Story of an Hour” and Charlotte Perkins Gilman’s “The Yellow Wallpaper”." SMART MOVES JOURNAL IJELLH 9, no. 5 (2021): 400–406. http://dx.doi.org/10.24113/ijellh.v9i5.11076.

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The life of the typical American women in the late 1800s was strictly confined to the four walls of a house. For a wife, marriage, husband and family were the destiny. She had no legal political right or voice in public sphere. They were not supposed to involve in any intellectual pursuits but only in domestic chores like cooking, sewing, cleaning etc. The condition of women in any class (upper, lower or middle) was more or less same. Charlotte Perkins Gilman and Kate Chopin were noted American writers of nineteenth century. Both writers outrageously expressed their strong views on women, marriage and sex. They were revolutionaries of their time. This paper is going to analyse how Kate Chopin’s “Story of an Hour” and Charlotte Perkins Gilman’s “The Yellow Wallpaper” depict typical public expectations about marriage and women of late 1800s. It also distinguishes the representation of women and wife in the nineteenth century patriarchal American society.

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Felden, Tamara, and Dorothea Stuecher. "Twice Removed: The Experience of German-American Women Writers in the Nineteenth Century." German Quarterly 65, no. 1 (1992): 73. http://dx.doi.org/10.2307/406818.

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16

Morey, Ann-Janine. "In Memory of Cassie: Child Death and Religious Vision in American Women's Novels." Religion and American Culture: A Journal of Interpretation 6, no. 1 (1996): 87–104. http://dx.doi.org/10.1525/rac.1996.6.1.03a00050.

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This article investigates the contribution of several twentieth-century women writers to the legacy of women's writing about child death and scriptural consolation. The suffering and death of children constitutes the most intractable of religious problems, and recent studies of parental grieving support women's literary treatment of child death. Thus, just as child death creates a unique religious space, it may also demand its own literary category and aesthetic. By considering the unique dimensions of parental grieving, and by looking at how Perri Klass, Toni Morrison, and Harriette Arnow handle this subject, it is possible to gain fresh literary perspective on the fiction of nineteenth-century American women, many of whom also addressed the problem of child death and scriptural consolation. Women writers create children who are more than literary or symbolic commodities, and, in so doing, these writers challenge us to reevaluate scriptural and social perspectives on child death.

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Kilcup, Karen L. ""I Like These Plants That You Call Weeds": Historicizing American Women's Nature Writing." Nineteenth-Century Literature 58, no. 1 (2003): 42–74. http://dx.doi.org/10.1525/ncl.2003.58.1.42.

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In spite of the flowering of anthologies and criticism concerning American women's nature writing, ecocritics have concentratedon a small group of writings and on twentieth-century authors. The reasons for such omissions are numerous. Many nineteenth-century women's writings remain relatively inaccessible, in spite of the exponential growth in recent years of collections and reprint series. Moreover, in earlier writing the author's attitude toward nature is frequently ambiguous or complicated, making the literature resistant to recuperation, especially by critics seeking a relatively unproblematized, even idealistic, connection between women and nature. Much of this writing also evinces a high degree of genre hybridity, rendering it amenable to interpretation within a number of different literary traditions. Finally, critics of American women's nature writing have omitted consideration of nineteenth-century works because of the absence of satisfactory critical tools. Advocating the continued expansion of genres and modes in our understanding of American women's nature writing, this essay underscores the synthetic vision of nineteenth-century women writers, who are often more likely to regard nature in the context of gender politics or struggles for social amelioration than as a separate political or cultural concern. As a whole, the essay considers representations of women and nature; enlarges the tradition of American nature writing; and broadens its theoretical foundation.

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Harde, Roxanne. "‘What should we do in America?’: Immigrant Economies in Nineteenth-Century American Children's Fiction." International Research in Children's Literature 4, no. 1 (2011): 59–72. http://dx.doi.org/10.3366/ircl.2011.0007.

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This essay examines narratives about immigrants in a sampling of nineteenth-century American children's texts and grows out of my work on reform writing by major women authors. Many of the stories they published in the leading children's periodicals seem to welcome the immigrant contributor to American society even as they defined that immigrant's place in economic/class structures. The goal of this paper is to trace certain strains of the systematic discipline by which American culture tried to manage the immigrant in terms of class. I therefore consider the role of economics in immigrant stories written for children by a number of American women writers, with analyses of the ways in which these stories situate the dependent and independent immigrant in the marketplace.

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Samuels, S. "Style, Gender, and Fantasy in Nineteenth-Century American Women's Writing / Radical Spiritual Motherhood: Autobiography and Empowerment in Nineteenth-Century African American Women / Antebellum American Women Writers and the Road: American Mobilities." American Literature 84, no. 4 (2012): 872–74. http://dx.doi.org/10.1215/00029831-1901481.

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Kurjiaka, S. "Family, Kinship, and Sympathy in Nineteenth-Century American Literature; Making the "America of Art": Cultural Nationalism and Nineteenth-Century Women Writers." American Literature 79, no. 1 (2007): 186–88. http://dx.doi.org/10.1215/00029831-2006-079.

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21

Shapiro, Michael. "Writing Their Nations: The Tradition of Nineteenth-Century American Jewish Women Writers (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 13, no. 1 (1994): 184–85. http://dx.doi.org/10.1353/sho.1994.0087.

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Putzi, Jennifer. "Nineteenth-Century American Women Poets: An Anthology, and: A Sweet, Separate Intimacy: Women Writers of the American Frontier, 1800-1920 (review)." Legacy 18, no. 1 (2001): 109–11. http://dx.doi.org/10.1353/leg.2001.0012.

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CUMMINS, AMY. "Earl Yarington and Mary De Jong, ed.Popular Nineteenth-Century American Women Writers and the Literary Marketplace." Women's Studies 40, no. 5 (2011): 702–4. http://dx.doi.org/10.1080/00497878.2011.581554.

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Paudel, Kishor. "Existential Angst in Kate Chopin’s The Story of an Hour." NCC Journal 4, no. 1 (2019): 97–99. http://dx.doi.org/10.3126/nccj.v4i1.24742.

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The present article on Kate Chopin’s The Story of an Hour (1894) explores women’s anxieties and struggles for self identity within the arena of strict social and traditional structures deeply rooted in the then American society in the late nineteenth century. Through this short story, Chopin portraits her feminist view and uses her own inspiration for surviving normal life in the mind of the American women for whom existing freely realizing their identity and potentiality had been far cry. Thus, drawing upon the idea of Simone de Beauvoir and other writers, this paper examines the desire and struggle of the female protagonist, Mrs. Mallard for her meaningful existence in the male-dominated society in America.

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25

Glazener, N. "Sex Expression and American Women Writers, 1860-1940; Uncommon Women: Gender and Representation in Nineteenth-Century U.S. Women's Writing." American Literature 82, no. 2 (2010): 423–25. http://dx.doi.org/10.1215/00029831-2010-008.

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26

MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

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27

Liu, Yan. "A Special Forum on “20th Century American Women Writers”." Comparative Literature: East & West 14, no. 1 (2011): 75–76. http://dx.doi.org/10.1080/25723618.2011.12015555.

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Gilfoyle, Timothy J. "The Hearts of Nineteenth-Century Men: Bigamy and Working-Class Marriage in New York City, 1800–1890." Prospects 19 (October 1994): 135–60. http://dx.doi.org/10.1017/s0361233300005081.

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In 19th-century america, the bigamous marriage became a controversial subject and repeated cultural metaphor. From popular fiction to sensationalistic journalism to purity reform literature, writers repeatedly employed bigamy as a moral signpost warning readers of the sexual dangers and illicit deceptions of urban life. Middle-class Americans in particular envisioned the male bigamist as a particular type of confidence man. Like gamblers and “sporting men,” these figures prowled the parlors of respectable households in search of hapless, innocent women whom they looked to conquer and seduce, dupe and destroy. Such status-conscious social climbers deceptively passed for something they were not. Most authors depicted the practice in Manichaean terms of good versus evil, innocence versus corruption. Bigamy thus enabled writers to contrast the nostalgic, virtuous, agrarian republicanism of postrevolutionary America with the perceived urban depravity of the coarse, new metropolis. Such illegal matrimony, editorialized one newspaper, “speaks volumes for man's duplicity and woman's weakness.” Pure and simple, bigamy was “mere wickedness.”

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29

Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.

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James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.

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Etcheverry, Gabrielle. "Border Work: Resituating Twentieth-Century Latin American and Caribbean Women Writers." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 37, no. 73 (2012): 221–26. http://dx.doi.org/10.1080/08263663.2012.10817034.

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Skinner, Carolyn. "“The Purity of Truth”: Nineteenth-Century American Women Physicians Write about Delicate Topics." Rhetoric Review 26, no. 2 (2007): 103–19. http://dx.doi.org/10.1080/07350190709336704.

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Harris, Trudier. "Christianity’s Last Stand: Visions of Spirituality in Post-1970 African American Women’s Literature." Religions 11, no. 7 (2020): 369. http://dx.doi.org/10.3390/rel11070369.

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Christianity appealed to writers of African descent from the moment they set foot on New World soil. That attraction, perhaps as a result of the professed mission of slaveholders to “Christianize the heathen African,” held sway in African American letters well into the twentieth century. While African American male writers joined their female counterparts in expressing an attraction to Christianity, black women writers, beginning in the mid-twentieth century, consistently began to express doubts about the assumed altruistic nature of a religion that had been used as justification for enslaving their ancestors. Lorraine Hansberry’s Beneatha Younger in A Raisin in the Sun (1959) initiated a questioning mode in relation to Christianity that continues into the present day. It was especially after 1970 that black women writers turned their attention to other ways of knowing, other kinds of spirituality, other ways of being in the world. Consequently, they enable their characters to find divinity within themselves or within communities of extra-natural individuals of which they are a part, such as vampires. As this questioning and re-conceptualization of spirituality and divinity continue into the twenty-first century, African American women writers make it clear that their characters, in pushing against traditional renderings of religion and spirituality, envision worlds that their contemporary historical counterparts cannot begin to imagine.

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33

Maunder, A. "Nicola Diane Thompson, Victorian Women Writers and the Woman Question; Caroline Field Levander, Voices of the Nation: Women and Public Speech in Nineteenth Century American Culture." English 49, no. 194 (2000): 195–200. http://dx.doi.org/10.1093/english/49.194.195.

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LEWTHWAITE, STEPHANIE. "“Writing Reform” in Early Twentieth-Century Los Angeles: The Sonoratown Anthologies." Journal of American Studies 41, no. 2 (2007): 331–64. http://dx.doi.org/10.1017/s0021875807003507.

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In early twentieth-century Los Angeles, Anglo-American women writers documented the emergence of a metropolis. Perceptions of race, ethnicity and culture became embedded in the struggle to depict and interpret a new urbanism. In capturing the changing cityscape, women writers constructed Sonoratown, the old Mexican Quarter of Los Angeles, as a place in the social imagination. This article examines representations of Sonoratown and its Mexican inhabitants in two anthologies. Women writers, many of whom moved in civic and reform-minded circles, rendered Sonoratown ambiguously: as a “picturesque” place to be preserved and yet a space earmarked for renewal, Sonoratown became entwined with the drive for social reform, assimilation and urban development.

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Ian, Marcia, and Elizabeth Ammons. "Conflicting Stories: American Women Writers at the Turn into the Twentieth Century." American Literature 64, no. 4 (1992): 829. http://dx.doi.org/10.2307/2927658.

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Tiryak, Mary, Elizabeth Ammons, and Paula Rabinowitz. "Conflicting Stories: American Women Writers at the Turn into the Twentieth Century." Tulsa Studies in Women's Literature 12, no. 1 (1993): 140. http://dx.doi.org/10.2307/463766.

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Styler, Rebecca. "Mary McCartin Wearn (ed.). Nineteenth-Century American Women Write Religion: Lived Theologies and Literature." Christianity & Literature 64, no. 2 (2015): 217–20. http://dx.doi.org/10.1177/0148333114566772.

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38

Bramen, Carrie Tirado. "Transatlantic Women: Nineteenth-Century American Women Writers and Great Britain ed. by Beth L. Lueck, Brigitte Bailey, Lucinda L. Damon-Bach (review)." Modernism/modernity 20, no. 1 (2013): 153–55. http://dx.doi.org/10.1353/mod.2013.0013.

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Gundersen, Joan R. "The Local Parish as a Female Institution: The Experience of All Saints Episcopal Church in Frontier Minnesota." Church History 55, no. 3 (1986): 307–22. http://dx.doi.org/10.2307/3166820.

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In recent years historians have begun exploring the feminization of religion in nineteenth-century America. While much of the published debate has centered on the particular definition presented by Ann Douglas in her study, The Feminization of American Culture, other scholars have adopted the term but applied it in different ways. Douglas based her argument on a small sample of liberal Protestant female writers and clergymen in New England whom she saw as giving cultural expression to a new popular theology. She did not explore its impact upon any particular congregation, and much of the controversy surrounding her thesis has focused on the narrow base upon which she made expansive claims. The concept of a feminized church, however, has attracted a number of scholars. Some, like Gerald Moran, have found evidence of the process much earlier in New England, while Mary Ryan and others have explored church membership during the Second Great Awakening of the early nineteenth century. The research continues the Northeastern focus, however, in terms of both geography and denomination. Thus historians still have no sense as to the universality of these trends. In addition, the focus has remained on church membership and cultural perceptions of women's religious role. We have precious little information on how women translated ideas about their role into the life of an ongoing religious institution.

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Draine, Betsy. "Unlikely Heroines: Nineteenth-Century American Women Writers and the Woman Question, and: Boundaries of the Self: Gender, Culture, Fiction (review)." MFS Modern Fiction Studies 34, no. 2 (1988): 327–29. http://dx.doi.org/10.1353/mfs.0.0390.

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Corkin, Stanley, and Phyllis Frus. "An Ex-centric Approach to American Cultural Studies: The Interesting Case of Zora Neale Hurston as a Noncanonical Writer." Prospects 21 (October 1996): 193–228. http://dx.doi.org/10.1017/s0361233300006530.

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The authors of these passages share more than a belief in the efficacy of the category of “race” and a need to assert pride in their African-American heritage. Both have, of late, experienced notable recognition and affirmation from constituencies that typically evince little interest in black Americans and their culture. Zora Neale Hurston is one of only three or four 20th-century writers who have achieved canonical status, with the result that her works invariably appear in courses offered in American literature or American Studies, not just in more narrowly de-fined courses, such as African-American Writers or American Women Writers. Clarence Thomas, as the second black Supreme Court Justice, holds the highest position in government ever held by an African American. Arguably, his judicial position and her supreme reputation are the result of the affirmative action and desegregation programs (and in his case, the “multicultural” mandate) they oppose. Perhaps their opposition to these programs is what fits them for this crossover appeal. In effect, they deny the reality of the effects of segregation – unequal funding, and therefore poorer education and continuing secondary employment, housing, and so on – on most black Americans.

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Porte, Joel. "Diana Lichtenstein. Writing Their Nations: The Tradition of Nineteenth- Century American Jewish Women Writers. Bloomington: Indiana University Press, 1992. x, 176 pp." AJS Review 20, no. 1 (1995): 263–65. http://dx.doi.org/10.1017/s0364009400006711.

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Titus, M. "The Wilderness Within: American Women Writers and Spiritual Quest; Artist and Attic: A Study of Poetic Space in Nineteenth-Century Women's Writing." American Literature 72, no. 2 (2000): 438–39. http://dx.doi.org/10.1215/00029831-72-2-438.

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Pickle, Linda Schelbitzki, and Dorothea Diver Stuecher. "Twice Removed: The Experience of German-American Women Writers in the 19th Century." German Studies Review 15, no. 2 (1992): 390. http://dx.doi.org/10.2307/1431192.

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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.

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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.

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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.

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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.

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Shapiro, Ann R. "A Breath of Life: Feminism in the American Jewish Community. Sylvia Barack FishmanWriting Their Nations: The Tradition of Nineteenth-Century American Jewish Women Writers. Diane Lichtenstein." Signs: Journal of Women in Culture and Society 22, no. 1 (1996): 234–36. http://dx.doi.org/10.1086/495151.

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Fruzińska, Justyna. "American Slavery Through the Eyes of British Women Travelers in the First Half of the 19th Century." Ad Americam 19 (February 8, 2019): 113–21. http://dx.doi.org/10.12797/adamericam.19.2018.19.08.

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My paper investigates 19th-century travel writing by British women visiting America: texts by such authors as Frances Trollope, Isabella Bird, or Frances Kemble. I analyze to what extent these travelers’ gender influences their view of race. On the one hand, as Tim Youngs stresses, there seems to be very little difference between male and female travel writing in the 19th century, as women, in order to be accepted by their audience, needed to mimic men’s style (135). On the other hand, women writers occasionally mention their gender, as for example Trollope, who explains that she is not competent enough to speak on political matters, which is why she wishes to limit herself only to domestic issues. This provision, however, may be seen as a mere performance of a conventional obligation, since it does not prevent Trollope from expressing her opinions on American democracy. Moreover, Jenny Sharpe shows how Victorian Englishwomen are trapped between a social role of superiority and inferiority, possessing “a dominant position of race and a subordinate one of gender” (11). This makes the female authors believe that as women they owe to the oppressed people more sympathy than their male compatriots. My paper discusses female writing about the United States in order to see how these writers navigate their position of superiority/inferiority.

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Bustamante Bermúdez, Gerardo. "Notas sobre los aportes de Aralia López González a la crítica literaria: una breve revisión." Interpretatio. Revista de Hermenéutica 5, no. 1 (2020): 89–103. http://dx.doi.org/10.19130/iifl.it.2020.5.1.0008.

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This paper is a brief review of the contribution of Aralia López González as historian of Latin American literature, with particular emphasis on the Mexican narrative and its particular development in women writers born at the beginning of the last century and texts published until the nineties. Attentive to the issue of feminine writing, the researcher dedicated a large part of her academic life to observe, from the perspective of literary and cultural studies, the critical and editorial reception of women’s writing, as well as the themes and aesthetics in which consecrated and even marginalized women writers flourish. The possibility of studying this textual corpus was a way of making female voices visible, including that of the researcher herself and that of other writers and literary critics.

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Bukhina, O. B. "American and Russian children’s literature at the beginning of the 21st century. The diversity of possibilities." Bibliosphere, no. 4 (February 18, 2021): 80–88. http://dx.doi.org/10.20913/1815-3186-2020-4-80-88.

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Comparing changes in publication policies, the influence of translated books, and an important role that women writers play now, author analyzed new tendencies in American and Russian children’s and teens’ literature. The author concludes that American picture books reflect the varieties of contemporary experiences, and the Russian ones thrive with poetry and non-fiction. The comparison of teens’ literature of both countries shows a lot of similarities; both encompass more sensitive topics, such as illness, death, suicide, drugs, psychological trauma, and bulling.

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