Academic literature on the topic 'Postmodernism (Literature) Women'
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Journal articles on the topic "Postmodernism (Literature) Women"
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Ershova, Iuliia. "The technique of postmodernist simulation game in the novel “Supernova: The Knight, The Princess, and The Falling Star” by Indonesian writer Dewi Lestari (2001)." Litera, no. 5 (May 2021): 88–96. http://dx.doi.org/10.25136/2409-8698.2021.5.35544.
Full textAbstract:
This article examines the modern Indonesian women’s prose and its interaction with the elements of postmodernist paradigm. The object of this research is the novelistic writing of the prominent Indonesian author Dewi Lestari on the example of the novel "“Supernova: The Knight, The Princess, and The Falling Star” (Supernova: Ksatria, Puteri, dan Bintang Jatuh, 2001), which is part of the series “Supernova” (2001-2016). Fiction, as the “median” field in literature, embraces various codes of language art. Relying on the tested patterns of popular literature, it can also appeal to postmodernism. In the latter case, the works are characterized by the presence of deconstructive and game (including simulation) principles. The example of application of the codes of fiction and postmodernism is the novel of under review. An important role in the research is played by the literary-theoretical, typological, and descriptive methods. The work of Dewi Lestari has not yet been considered from the perspective of postmodernist game technique and involvement of the concept of simulacrum. An attempt to do this on the example of her most famous works defines the novelty of this research, as well as the noticeable place of postmodernism in Eastern literatures makes relevant it analysis based on the original Indonesian literature. Reference to the poetics of postmodernism through borrowing the simulation game technique allowed Lestari to create a commercially successful product. The perception of the text by each reader in accordance with their worldview, and engagement in the game proposed by Lestari, correspond to the ideas of the postmodernist interpretation of the literary text, as well as to the laws of the market. This is why modern Indonesian writers refer to the postmodernist paradigm.
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Peterson, Nancy J. "History, Postmodernism, and Louise Erdrich's Tracks." PMLA/Publications of the Modern Language Association of America 109, no. 5 (October 1994): 982–94. http://dx.doi.org/10.2307/462966.
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The deconstruction of history by poststructuralists and some philosophers of history has occurred at the moment when women and indigenous peoples have begun to write their own historical accounts. Louise Erdrich's historical novel, Tracks, brings into focus the necessity and the difficulties of writing Native American history in a postmodern epoch. The novel addresses two crucial issues: the referential value of history (If it is impossible to know the past fully, is it impossible to know the past at all?) and the status of history as narrative (If history is just a story, how is it possible to discriminate between one story and another?). Erdrich's novel suggests the need for indigenous histories to counter the dominant narrative, in which the settling of America is “progress,” but also works toward a new historicity that is neither a simple return to historical realism nor a passive acceptance of postmodern historical fictionality.
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Hariharasudan, A., and S. Robert Gnanamony. "Feministic Analysis of Arundhati Roy's Postmodern Indian Fiction: The God of Small Things." GATR Global Journal of Business and Social Science Review (GJBSSR) Vol.5(3) Jul-Sep 2017 5, no. 3 (June 23, 2017): 159–64. http://dx.doi.org/10.35609/gjbssr.2017.5.3(17).
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Objective - The aim of the research is to identify the feminist strains in the postmodern Indian Fiction The God of Small Things (TGST). The researcher has planned to investigate the text systematically for seeking feministic values. Methodology/Technique - The study reviews previous literature. Findings - Gender bias and feminism are relevant themes explored by postmodernists. Arundhati Roy portrays the predicament of women through her female characters belonging to three generations in this novel. In the novel, a sense of antagonism and division also infuse the difference senses of identity among the different generation of women. It also generates a line of the clash between the older and the younger generation. Family and political customs play a key role in disadvantaging women. Social constrains are so built up as to sanctify the persecution of women. This is because, in most of the civilizations, social structures are basically patriarchal. Arundhati's novel challenges this position, though her avowed feminist stance. Novelty - Women across the globe worldwide, nationwide, regionally and may be capable of holding the influential note of feminism and being capable of deconstructing a constructive implication of their own femaleness and womanhood after reading this paper. Type of Paper: Review Keywords: Feminism; Gender Bias; Patriarchal; Postmodernism; Downtrodden. JEL Classification: B54, H83.
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Prihantono, Kahar Dwi. "PUISI “ODE TO PUBIC HAIR” KARYA GWERFUL MECHAIN DAN PUISI “AKU MENCINTAIMU DENGAN SELURUH JEMBUTKU” KARYA SAUT SITUMORANG: SEBUAH TELAAH BANDINGAN." MABASAN 12, no. 1 (October 15, 2018): 43–63. http://dx.doi.org/10.26499/mab.v12i1.33.
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Penelitian ini mencoba membandingkan puisi “Ode to Pubic Hair” karya Gwerful Mechaindan“ Aku mencintaiMu dengan seluruh jembutKu” karya Saut Situmorang dalam kerangka postmodernisme. Dua puisi tersebut dipilih karena keduanya unik, yakni memasukkan diksi “jembut” dan imajinasi seks dalam karya puisi. Pendekatan yang dipakai adalah pendekatan sastra bandingan Sussan Bassnet, pendekatan pragmatisme puisi Vahid dkk., dan beberapa pendekatan postmodernisme Pilliang dan Craig Calhoun. Hasil penelitian ini menunjukkan bahwa Puisi “Ode to Pubic Hair” dan “Aku mencintaiMu dengan seluruh jembutKu”sama-samamengungkap tiga idiom postmodernisme, yakni parodi, camp, dan skizofrenia. Idiom-idiom tersebut digunakan untuk menyatakan maksud penyair, yakni mengungkap imajinasi seks walaupun terdapat sedikit perbedaan yang mana Mechain mengimajinasikan coitus (yakni persenggamaan genetalia pria dan wanita) dan cunnilingus (aktivitas seksual dengan menjilat organ seksual wanita untuk memberikan kesenangan dan kenikmatan), sedangkan Saut mengimajinasikan seks oral fellatio (aktivitas seksual mengulum atau menjilat genetalia pria untuk memberikan kesenangan dan kenikmatan). Dari kedua imajinasi seks yang mereka pilih, Mechain mengungkap pemberontakan terhadap gejala sosial masyarakat patriarki dan ketatnya pengaruh gereja. Saut dengan imajinasi fellatio memperkukuh eksistensi patriarki. Dalam hal eksistensi dalam dunia sastra, Mechain mengungkap esensi perjuangan kesamaan hak atas kenikmatan seks dan wanita sebagai pengendali seks pria (feminisme eksistensialis), Saut mengungkap pemberontakan terhadap kaidah dan norma sastra modern sekaligus mengukuhkan alat eksistensi diri yang membedakannya dengan penyair-penyair lain. The research attempted to compare two poems, "Ode to Pubic Hair" by Gwerful Mechain and "Aku mencintaiMu dengan seluruh jembutKu" by Saut Situmorang, in a postmodernism framework. The two poems wereselected because of the uniqueness of theirs, both poems presented the diction of "pubic hair" and sexual imagination. The research applied Sussan Bassnet’s comparative literary approach, Vahid’s pragmatics approach to poetry analysis, and postmodern approaches of Pilliang’s and Craig Calhoun’s. The results of the study indicated that both poems revealed three postmodernism idioms, namely parody, camp, and schizophrenia. Those presented idioms expressedpotentialmotives of the poets’, namely to uncover the sexual imagination although there was a little difference in which Mechain imagined coitus (physical union of male and female genetalia) and cunnilingus (sexual activity of moving the tongue across the female sex organs in order to give pleasure and excitement), while Saut imagined fellatio (the sexual activity of sucking or moving the tongue across the penis in order to give pleasure and excitement). Of the two sexual imaginations they selected, Mechain revealed an uprising against the social phenomena in patriarchal society and the strict church’s influence. Saut, with his fellatio imagination, reinforced the existence of patriarchal values. In terms of their existence in world literature, Mechain revealed the essence of the equal rights struggle for sexual enjoyment and women as male’s sexual controller (existentialist feminism), Saut revealeda rebellion against rules and norms of modern literature as well as establishing his self-existence that distinguishedhim among poets.
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Larson, Wendy. "Women and the Discourse of Desire in Postrevolutionary China: The Awkward Postmodernism of Chen Ran." boundary 2 24, no. 3 (1997): 201. http://dx.doi.org/10.2307/303713.
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Abbasova, Sadagat. "THE CHARACTERISTICS AND APPROACHES OF IMMANENCE CRITICISM IN DORIS LESSING’S NOVEL OF “THE GOLDEN NOTEBOOK”." SCIENTIFIC WORK 15, no. 2 (March 9, 2021): 6–10. http://dx.doi.org/10.36719/2663-4619/63/6-10.
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Unlike the XIX century, literary culture of the XX century made a strong aesthetic leap in women’s identity. This process has caused to the emergence of a large number of new generation women writers in world literature and moreover, these writers had succeeded in revealing a real and contemporary literary phenomenon, such as “immanence- immanentism” which is focused on female landscapes in their stories and novels. In general, the works of “immanence” authors have a feminist background. As a doctrine, imamnence is used to explain the connection with the spiritual world, which is confirmed by some philosophical and metaphysical theories and critics. But later, immanence was replaced by Kant as a philosophical concept, and this awareness began to include a philosophical disposition perceived by the senses on the basis of personal experience. Lessing, who donated many works to world culture, created a portrait of the physical and spiritual characteristics of people (especially women) with her strong logic and talent in all her stories and novels and tried to explain in detail the special feelings that exist in them. With the help of this concept, Lessing aimed not only to represent the love experiences and emotional vibrations of women in her novels, but also to present a strong and courageous woman in a socio-cultural and political context, unlike female literature. In this paper is discussed, the feature elements of immanent culture in Doris Lessing’s novel in (“The Golden Notebook”). In the novel, Lessing interprets the classic drama of a woman of art who is free ones like as herself and in their examples, examines the potential and profiles of creative women seeking their place in social society. In her works, Doris Lessing reproduces the female perspective in the universe by thinking from the prism of immanentism and pays particular attention to the psychology of female characters and the identification of their inner states of heroes. Based on all of these, the author also refers to the expanding principle of women sovereignty regarding the rights and the status of women in society. At the same time, Lessing also explores the possibility of a relationship based on the concept of mundane reality as an alternative to romantic love parodies of postmodernism, and with this in mind, she erects a “protective wall” against the expansion of the “Western world” in Rhodesia (Zimbabwe). Key words: existence, immanence, Sufism, "The Golden Notebook", socio-cultural
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Galytska, Iuliia. "Alias in women's literature: feminist aspects in a gender context." Grani 23, no. 4 (July 5, 2020): 28–35. http://dx.doi.org/10.15421/172038.
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The problem of the identity of the woman hiding her gender under a male pseudonym makes us recollect U. Eco’s arguments about the truth and the purpose of literature as well as A. F. Losev’s ideas about the name and the meaning, the theories of the feminist literary critics K. Millett, M. Ellman, T. Moi, E. Showalter, etc. who have presented "women`s writing" and "writing about women" in the feminist field. As one of the central principles of feminist criticism is that no scientific view can ever be neutral, the problem of pseudonyms occupies an important place in the contemporary gender studies, explicitly or implicitly highlighting the artificially constructed debate, which divides "serious male literature" and "superficial and secondary female writing". On the one hand, this is the problem of feminism itself, on the other, it is a question of the role and place of the woman in the world` culture and history. In this kind of the analysis we cannot ignore such an epiphenomenon of postmodernism as "label change" with the postmodern emphasis on the sociocultural role of the context, which is especially relevant in aspects of the gender "name problem". The last one, undoubtedly, is included in the problematization of postmodern culture on the whole, since all cultural narratives have always been gender "stories". Today an individual construct his or her gender-reflecting reality, still the modelling of the new gender system is far from being complete. The created sign systems are ambivalent, the meanings are very unstable and can easily be hermeneutically interpreted. However, the role of hermeneutics in analyzing the relationship between the author and the sociocultural context is in the core of the gender aspects of literature, in general, and in the problems of the pseudonym as a change of "name", in particular. The latter is by all means relevant and important. Undoubtedly, one of the main incentives for feminist scholars in their turn to women's literature is connected with the patriarchal demand for women's "silence", their "dumbness" in culture and, accordingly, in literature. Obviously, there are two main interpretations of the concept of "female literature" in feminist criticism. The first one is the representation of female subjectivity in its difference from the male one. The second approach is the representation of "non-essentialist" female subjectivity, which is understood as the logical structure of the difference. In general, in the patriarchal dichotomy of the femininity and masculinity "women who write" are always dangerous. "Three strange sisters" – Anne, Charlotte and Emily Bronte wrote their novels under disguise of male pen names, exactly specifying two conceptual motives: the "Other" concept and the image of "Veil". In this context the motive of androgyny is also important from the point of view of both analysis and literary criticism. In ХIXth century George Sand (Aurora Dupin), having most vividly represented this concept, became an example for many subsequent generations of feminists – writers, actresses and media representatives. However, in our era of gender plurality, the question of the pseudonym as a problem of "genders" is not so relevant; more likely it is still a question of the priorities in the feminist theory. In the contemporary discourse of literary criticism many of the author’s socially significant features are perceived as gender neutral. In the postmodern paradigm the question of the androgynous identity of the man/woman writer requires its further actualization as the androgynous is often replaced by the bisexuality (J. Irving` "In One Person"). In general, it should be recognized that postmodern approaches to gender identity, which paint a "picture of the world" today, transform the female experience of being as the "Other", secondary and insignificant with a conceptual orientation to a fundamental variety of postmodern cognitive perspectives.
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Liou, Liang-Ya. "Taiwanese Postcolonial Fiction." PMLA/Publications of the Modern Language Association of America 126, no. 3 (May 2011): 678–84. http://dx.doi.org/10.1632/pmla.2011.126.3.678.
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When the Japanese Nobel Laureate in literature KenzaburŌ Ōe visited Taiwan for a symposium held in his honor in December 2009, he hardly anticipated the political controversies into which he was thrown. Even before the conference, politicians accused the Academia Sinica, the organizing institution, of kowtowing to China by reducing a trilateral symposium involving Japan, Taiwan, and China to a “cross-strait event” and by replacing the Taiwanese novelist who was to act as Ōe's interlocutor with one more acceptable to China. Aside from the China factor, the underhanded politics tapped into ethnic tensions in Taiwan and the problematic national identity of Taiwan. While the original interlocutor, Li Ang, and her substitute, Zhu Tienwen, are critically acclaimed women novelists just a few years apart in age, Li is of Minnan ancestry and Zhu a second-generation Chinese mainlander whose father fled with the Chinese Nationalist or Kuomintang (KMT) government to Taiwan in 1949 after losing China to the communists. More important, Li is a postcolonial writer, whereas Zhu deploys postmodernism to resist decolonization.
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Nicholls, Peter. "Sexuality and Structure: Tensions in Early Expressionist Drama." New Theatre Quarterly 7, no. 26 (May 1991): 160–70. http://dx.doi.org/10.1017/s0266464x00005431.
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In the first of two essays, Peter Nicholls explores connections between ideas of an ‘absolute’ or non-representational theatre and the forms of narrative and discursivity which have traditionally invested dramatic forms. In one of the earliest Expressionist plays – Oskar Kokoschka's Murder, Hope of Women – the tension between these ideas is powerfully in evidence. Nicholls shows how Kokoschka's formal experimentalism is grounded in contemporary polemics about gender and sexuality, tracing the ways in which theatrical innovation seeks to evade the Oedipal constraints of plot and narrative. That tension, he believes, informs subsequent Expressionist drama, where an almost obsessive preoccupation with the working-through of family histories is contested by forms of theatrical ‘affect’ which undermine structure from within. Peter Nicholls's second essay will pursue the ‘anti-Oedipal’ implications of Dada and Surrealist theatre. The author teaches English and American literature at the University of Sussex, and his publications include Ezra Pound: Politics, Economics, and Writing, and articles on postmodernism, contemporary poetry, and French Cubism. His Modernisms: a Literary Guide will be published by Macmillan later this year.
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Oliveira, Maria Aparecida de. "VIRGINIA WOOLF E A CRÍTICA FEMINISTA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 18–27. http://dx.doi.org/10.34019/1982-0836.2019.v23.29177.
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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina.
Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina.
Referências
AUERBACH, E. Brown Stocking. In: ______. Mimesis: a representação da realidade na literatura ocidental. São Paulo: Perspectiva, 1971.
BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.
______ (ed.). Women and writing. London: The Women’s Press, 1979.
BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997.
______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992.
CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991.
COELHO, N. N. Dicionário crítico de escritoras brasileiras. São Paulo: Escrituras, 2002.
______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993.
GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987.
GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979.
______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000.
______. The war of words. vol.1 of No man’s land: the place of the woman writer in the twentieth century. New Haven: Yale University, 1988.
HUSSEY, M. Virginia Woolf: A to Z. New York: Oxford University, 1995.
JONES, S. Writing the woman artist: essays on poetics, politics, and portraiture. Pennsylvania: University of Pennsylvania, 1991.
MARCUS, J. Art and anger: reading like a woman. Columbus: Ohio State University, 1988.
______. Virginia Woolf and the languages of the patriarchy. Bloomington: Indiana University, 1987a.
MINOW-PINKNEY, M. Virginia Woolf and the problem of the subject: feminine writing in the major novels. New Brunswick: Rutgers University, 2010.
MOERS, E. Literary women: the great writers. New York: Doubleday, 1976.
MUZART, Z. L. Escritoras brasileiras do século XIX. Florianópolis: Mulheres, 2005.
OLSEN, T. Silences. New York: Seymour Lawrence, 1978.
RICH, A. Of woman born: motherhood as experience and institution. New York: W W. Norton, 1995.
ROSENBAUM, S.P. Women and fiction: the manuscript versions of A room of one’s own. Oxford: Blackwell, 1992.
SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007.
SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015.
STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991.
WALKER, A. In search of our mother’s gardens. In: ______. In search of our mother’s gardens: womanist prose. San Diego: Harcourt Brace Jovanovich, 1983.
WOOLF, V. A room of one’s own and Three guineas. Introd. Anna Snaith. Oxford: Oxford University, 2015.
WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.
Dissertations / Theses on the topic "Postmodernism (Literature) Women"
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Nicol, Rhonda M. Harris Charles B. "The spaces between feminism and postmodernism in contemporary women's fiction /." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3196671.
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Thesis (Ph. D.)--Illinois State University, 2004.Title from title page screen, viewed May 23, 2006. Dissertation Committee: Charles Harris (chair), Christopher Breu, Janice Neuleib. Includes bibliographical references (leaves 151-163) and abstract. Also available in print.
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Collins, Lindsey. "Dissimulating women Jamaica Kincaid's Annie John and Autobiography of my mother /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010833.
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Kirca, Mustafa. "Postmodernist Historical Novels: Jeanette Winterson." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610813/index.pdf.
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The aim of this dissertation is to study postmodern historical novels, which are labeled &ldquohistoriographic metafictions&rdquo
(Hutcheon 1989: 92), in terms of their allowing for different voices and alternative, plural histories by subverting the historical documents and events that they refer to. The study analyzes texts from feminist and postcolonial literature, Jeanette Winterson&rsquo
s The Passion and Sexing the Cherry, and Salman Rushdie&rsquo
s Midnight&rsquo
s Children and Shame as examples in which the transgression of boundaries between fact and fiction is achieved. Basing its arguments on postmodern understanding of history, the thesis puts forward that historiography not only represents past events but it also gives meaning to them, as it is a signifying system, and turns historical events into historical facts. Historiography, while constructing historical facts, singles out certain past events while omitting others, for ideological reasons. This inevitably leads to the fact that marginalized groups are denied an official voice by hegemonic ideologies. Therefore, history is regarded as monologic, representing the dominant discourse. The thesis will analyze four novels by Winterson and Rushdie as double-voiced discourses where the dominant voice of history is refracted through subversion and gives way to other voices that have been suppressed. While analyzing the novels themselves, the thesis will look for the metafictional elements of the texts, stressing self-reflexivity, non-linear narrative, and parodic intention to pinpoint the refraction and the co-existence of plural voices. As a result, historiographic metafiction is proved to be a liberating genre, for feminist and postcolonial writers, that enables other histories to be verbalized.
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Martin, Lene Karine. "Lost in the Woods: A Theatrical Journey Through Gender and Media Analysis." Oxford, Ohio : Miami University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133997072.
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Li, Xu. "A postmodernist parodic allegory : Thomas Pynchon's The Crying of Lot 49." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2554106.
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Regoczy, Lucia Graciela, and n/a. "Espiritu de subversion : la construccion del discurso de la mujer en la narrativa posmoderna hispanoamericana." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070927.141659.
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This thesis offers a typology of Postmodern women�s discourse from a sociological perspective. By focusing on the reading of Gioconda Belli�s Sofia de los presagios, Isabel Allende�s Paula, and Anacristina Rossi�s La loca de Gandoca, it examines how each writer achieves, thanks to the process of dialogism and the carnivalesque, a critique of social and aesthetic values, associated with Eurocentric discourse.
Thanks to these two processes, the values associated with the marginalized position of women in Latin America, are brought to the surface, offering a better understanding of the relation that exists between women�s literary production and the cultural environment.
Chapter one offers an overview of the concepts associated with Posmodernism, and its relevance in the Latin American context. This chapter also outlines the key concepts associated with dialogism and the carnivalesque.
Chapter two examines the use of the carnivalesque in two plays by Sor Juana Ines de la Cruz, Los empenos de una casa and Amor es mas laberinto as antecedents of subversive writing in Spanish American women�s writing. It discusses how Sor Juana through appropriation and inversion, transforms her texts into a critique of marginalized social groups. This chapter proposes that Sor Juana sets the model for the subversive nature of Spanish American women�s writing.
Chapter three offers a reading of Cristina Peri Rossi�s El libro de mis primos as an example of radical feminist discourse produced in the 60�s, focusing on the use of parody and irony as means of transgressing patriarchal discourse.
Chapter four examines Gioconda Belli�s Sofia de los presagios, and the incorporation of ancestral and modern myths, to accentuate women�s marginality and the conflicting and contradictory nature of Nicaraguan society.
Chapter five focuses on a reading of Isabel Allende�s Paula in which the techniques of magical realism and the carnivalesque are brought together to criticize social and cultural practices that marginalize women.
Chapter six examines Anacristina Rossi�s La loca de Gandoca. It focuses on the way Rossi makes use of popular music, romantic literature, poetry, and bureaucratic discourse, to denounce the exploitation and destruction of Costa Rica�s natural resources through ecotourism.
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Roane, Nancy Lee. "Misreading the River: Heraclitean Hope in Postmodern Texts." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1431966455.
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Hope, Gerhard Ewoud. "Crossing boundaries : gender and genre dislocations in selected texts by Samuel R. Delany." Diss., 2001. http://hdl.handle.net/10500/16962.
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This dissertation offers an examination of Delany's critical trajectory from
structuralism to poststructuralism and postmodernism across a gamut of
genres from SF to sword-and-sorcery, pornography, autobiography and
literary criticism. Delany's engagement with semiotics, Foucault and
deconstruction form the theoretical focus, together with his own theories
of how SF functions as a literary genre, and its standing and reception
within the greater realm of literature. The impact of Delany as a gay, black
SF writer is also examined against the backdrop of his varied output. I have
used the term 'dislocation' to describe Delany's tackling of traditional
subjects and genres, and opening them up to further possibilities through
critical engagement. Lastly, Delany is also examined as a postmodern
icon. A frequent participant in his own texts, as well using pseudonyms
that have developed into fully-fledged characters, Delany has become a
critical signifier in his own work.English Studies
M. A. (English)
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Hennessy, C. Margot. "Raiding the inarticulate: Postmodernisms, feminist theory and black female creativity." 2010. https://scholarworks.umass.edu/dissertations/AAI3409587.
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This is an investigation into the ways that postmodern theories and feminist theories have both failed to learn from each other and yet also reveal the blindness' implicit in each other. Postmodern theory has consistently failed to engage gender in any significant way and feminist theory has consisted failed to find the usefulness of the methods and questions posed by postmodern theorists. Both approaches have failed to address the very real and important perspectives of the post colonial others who have been addressing the questions of race, gender, history, and agency for hundred of years. The second half of this investigation looks specifically at the work of three African American women writers, Toni Morrison, Gloria Naylor and Gayle Jones, in their most recent work. All three novels, Beloved, Mama Day and Corregidora are historical novels concerned with the legacy of slavery, and these narratives themselves exceed all the expectation for postmodern theory and feminist theory in inviting us to understand the relationship between history, memory and the now. In effect the work of these writers succeeds in "theorizing the present" in ways that both feminism and postmodernism fail.
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Costa, Dominique Maria Figueira Curado Castanheira da. "Narrative technique in postmodernist british fiction: a narratological analysis of selected novels by John Fowles and Peter Ackroyd: The collector (1963): The french lieutenant`s woman (1969): A Maggot (1985): Hawksmoor (1985)." Doctoral thesis, 2000. http://hdl.handle.net/10400.13/1408.
Full textBooks on the topic "Postmodernism (Literature) Women"
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Wolmark, Jenny. Aliens and others: Science fiction, feminism and postmodernism. New York: Harvester Wheatsheaf, 1994.
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Wolmark, Jenny. Aliens and others: Science fiction, feminism, and postmodernism. Iowa City: University of Iowa Press, 1994.
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Side dishes: Latin/o American women, sex, and cultural production. New Brunswick, N.J: Rutgers University Press, 2009.
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Aliens and others: Science fiction, feminism, and postmodernism / Jenny Wolmark. Iowa City: University of Iowa Press, 1994.
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Dorscht, Susan Arlene Rudy. Women, reading, Kroetsch: Telling the difference. Waterloo, Ont., Canada: Wilfrid Laurier University Press, 1991.
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Sovremennyĭ literaturnyĭ prot͡s︡ess: K voprosu o postmodernizme v russkoĭ literature 70-90-kh godov XX veka. S.-Peterburg: Filologicheskiĭ fakulʹtet Sankt-Peterburgskogo gos. universiteta, 2001.
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Tactical readings: Feminist postmodernism in the novels of Kathy Acker and Angela Carter. Lewisburg, [Pa.]: Bucknell University Press, 2002.
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Postmodern vernaculars: Chicana literature and postmodern rhetoric. New York: Peter Lang, 2005.
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Curti, Lidia. Female stories, female bodies: Narrative, identity, and representation. Houndmill, Basingstoke: Macmillan Press, 1998.
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Female stories, female bodies: Narrative, identity, and representation. Washington Square, N.Y: New York University Press, 1998.
Find full textBook chapters on the topic "Postmodernism (Literature) Women"
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Weldt-Basson, Helene Carol. "All Women Are Whores." In Postmodernism’s Role in Latin American Literature, 211–34. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107939_10.
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Nikolić, Andrijana. "Periferno kao izbor u romanu Mirisi, zlato i tamjan Slobodana Novaka." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 286–99. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.19.
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In this paper we will analyze the personal choice of individuals, who chose peripheral life on the island which is their prison and their freedom at the same time. Though eager to do so, the protagonists of the novel, Mali and Draga, do not escape from the island. They are essentially prisoners of their own choice, from which they apparently try to escape, not escaping only from responsibilities and obligations that tie them to the island, that is, to nurturing a handicapped old women Madonna. In self-deprivation and oppression satisfying Madonna’s wishes, Mali voluntarily fulfills her desires, aware of the nonsense in which he dives, conscious of alienation, which he cannot resist. Although, at one point, Mali will pronounce all of his own disappointment, the reader will not accept it as the main hero’s awareness about the failure of life but she/he will rather “involve” in a postmodernist way in author’s thinking and his attitude towards the main character. The essence of the psychological lies not in the fact that the writer played with the possibility of rejecting the protagonist, but, on the contrary, enabled him to choose his path, which led him to the island, on which he remains. The bareness of life was reduced by the literary process to the final outcome of the earthly existence. Without coercion or request, just by rough realistic method, the writer points to the masculinity of the main character, who is firm, does not give up on his ideals, but at the same time remains a prisoner of his habits. With the abundance of biblical motifs and symbols, Slobodan Novak created the hero of the novel who grows out of the narrative events and who is not uniform, but in the given situations he changes, resisting, retreating or adjusting. In the atmosphere of the stagnant island an ironic and scathing prose was made, whose main protagonists accepted peripherality as a habit.
Conference papers on the topic "Postmodernism (Literature) Women"
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"A Probe into the Postmodernism in The French Lieutenant’s Women." In 2019 International Conference on Advances in Literature, Arts and Communication. The Academy of Engineering and Education (AEE), 2019. http://dx.doi.org/10.35532/jahs.v1.014.
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