Journal articles: 'Woman writer'

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Martino, Maria Carla. "WOMAN AS WRITER/WRITER AS WOMAN: GEORGE PASTON'SA WRITER OF BOOKS." Victorian Literature and Culture 32, no. 1 (2004): 223–38. http://dx.doi.org/10.1017/s1060150304000464.

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Saari, Jon, and Joyce Carol Oates. "(Woman) Writer." Antioch Review 46, no. 4 (1988): 522. http://dx.doi.org/10.2307/4611966.

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Lee, Ji-Eun. "“I Am a Wanderer”: Paek Sinae (1908–1939) and Writing Travel." Sungkyun Journal of East Asian Studies 23, no. 1 (2023): 95–114. http://dx.doi.org/10.1215/15982661-10336312.

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Abstract Paek Sinae (1908–39) was a modern woman writer whose career was cut short by an early death. She lived in the era of New Women, but unlike most of her peer woman writers, Paek had little formal education or connections to the literary establishment (mundan). This background, combined with her modest output of fictional works, resulted in Paek Sinae being seen by critics during her lifetime and scholars long after her death as a provincial writer, thus affording her only limited recognition. This article challenges such dismissals and seeks an approach that would allow a more comprehensive appreciation of Paek Sinae and woman writers more broadly. First, the article looks closely at Paek's life based in her hometown away from the social center of Kyŏngsŏng (present-day Seoul) and considers how geographical and linguistic aspects of Paek's locale were misunderstood by critics. Next, with a focus on Paek's travels and her travelogues, cosmofeminism and global-local connections are examined as a key to understanding the complexities of being a modern woman writer in Paek's day. At the same time, by putting a spotlight on the “lesser” literary genre of the travelogue, this article also gestures toward a more inclusive approach to research on woman writers whose aesthetic or literary qualities were often judged only by their works of fiction (sosŏl) or poetry, while other important works like autobiographical or sociopolitical essays tended to be overlooked. Paek Sinae's life and work add breadth to the already complex definition of New Women and early feminism, and through her example, this article urges a more comprehensive consideration of works by Korean women writers in the early twentieth century.

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Gasanov, Rashad. "THE IMAGE OF A LONG-SUFFERING WOMAN IN CREATIVITY JUBRAN KHALIL JUBRAN AND HUSSEIN JAVID (COMPARATIVE STUDY)." KAZAKHSTAN ORIENTAL STUDIES 11, no. 3 (2024): 365–76. http://dx.doi.org/10.63051/kos.2024.3.365.

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A figurative model is a living model, one way or another created in the imagination of a writer, which stimulates his creative fantasy when describing a specific character in its various manifestations, and also helps to find the necessary linguistic means, materials and images for creative work when creating this character. The image of a long-suffering woman occupies an important place in literature, especially in the works of Arab writers. Jubran Khalil Jubran and Huseyn Javad are two outstanding authors whose works are full of deep social and philosophical reflections on the fate of women. This study is aimed at analyzing the image of a long-suffering woman in their works. This study examines two female images: from the novel Broken Wings by the Lebanese writer Jubran Khalil Jubran (1883-1931) and from the play Maral by the Azerbaijani writer Huseyn Javid (1882-1941), in order to identify similarities and differences between them. The image of the long-suffering woman occupies an important place in literature, especially in the works of Arab writers. The purpose of this study is to analyze the image of the long-suffering woman in their works. Both works touch upon the problems of the position of women in Eastern societies. This is the image of a submissive woman in one of the first novels in Arabic literature, «Broken Wings», as well as in the play «Maral», the first dramatic work in Azerbaijani literature that depicts the suffering of women in Caucasian society at that time. The methodology of this study is based on the approach of the American school of comparative literature. As a result, it was concluded that the two writers took a similar path in achieving their main goal - to convey the image of an Eastern woman striving to gain freedom.

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Smith, Rosalind. "Fictions of Production." Journal of Medieval and Early Modern Studies 50, no. 1 (2020): 33–52. http://dx.doi.org/10.1215/10829636-7986577.

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This essay builds upon work surrounding reception and the figure of the early modern woman writer to examine textual instances in which women’s writing has been “found” or manufactured: where writing falsely or tenuously attributed to historical women was circulated under their signatures as their voice. These fictions of production circulated as prosopopoeiae within women’s lifetimes alongside writers’ own scribal and print textual productions, as well as in the centuries following their deaths in the service of editorial, antiquarian, and historical projects. The complexity of naming and attribution in the texts discussed suggests that any distinct separation of speaker and author fails to recognize the centrality of prosopopoeiae to the rhetorical formations underwriting conceptions of the early modern woman writer. The essay newly argues for prosopopoeia as a generative figure of speech that enabled rather than restricted formations of the English woman writer and her participation in literary history.

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Chang, Leah L. "Louise Labé, Woman Writer?" Exemplaria 28, no. 1 (2016): 86–95. http://dx.doi.org/10.1080/10412573.2016.1115627.

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DR.ABIDA NASEEM. "Anwasi: An Affirmation of Death." DARYAFT 16, no. 02 (2024): 110–17. https://doi.org/10.52015/daryaft.v16i02.398.

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There is a popular trend to present woman as a topic through novels. These novels presents different social behaviors towards woman’s role and value in a society. Sometimes the presentation of this topic shows reverse approach of the writers. In this context these novels reflects character assassination of a women through their approach. Anwasi is also a novel like this which addresses the role of a significant woman of the Punjab in 19th century. Characteristic study of this novel shows that writer has destroyed the character of sungri through his non constructive approach. This approach devalued the female character and she seemed like fake and unrealistic. This novel presents a spoiled perspective of this women. In this article the researcher tried to comprehend the approach of writer to assassinate the women character.

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Dr. Gajendra Dutt Sharma. "Delineation of Male Characters and Sensibilities in the Novels of Manju Kapur: A Critical Analysis." Creative Launcher 7, no. 1 (2022): 51–62. http://dx.doi.org/10.53032/tcl.2022.7.1.09.

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The research article aims to analyse the delineation of male characters in the novels of Manju Kapur. It tries to highlight the image of male characters from the perspective of a woman writer, who happens to be a feminist. In contemporary Indian English fiction dominated by women writers the primary focus is on the representation of women characters and addressing their sensibilities, their plight and place in patriarchal setting. As such, the male characters have been presented either with less vigour or as typical chauvinistic individual, responsible for the ordeals of women in society. In very few novels by women novelists in modern scenario do we find the sympathetic treatment given to the male characters. Considering this aspect of modern Indo-Anglian fiction, the article endeavours to examine the portrayal of male characters in women centric novels, by a woman writer. The qualitative method has been used to deduce how much and how sympathetic treatment has been given to the male characters by the novelist. In order to analyse the representation of men, Manju Kapoor's Difficult Daughters (1998), A Married Woman (2003), Home (2006), and The Immigrant (2008) have been brought under study. A comparison between the representation of men in the novels by men writers and that in the novels by women writers has been taken into consideration in order to draw an objective and unbiased conclusion.

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V, Alagu Ponnu. "Cultural Diversity and Identity Crisis in the Selected Works of Jhumpa Lahiri." Shanlax International Journal of Arts, Science and Humanities, 6, S1 (2019): 109–11. https://doi.org/10.5281/zenodo.2551370.

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Jhumpa Lahiri was a greatest Indian woman writer and she discussed the practical life experiences except immigration. She writes about both male and female characters. but she gives importance to female characters. she writes women characters are not depicted as crushed under male supremacy but they miserably feel into their turbulent situation. she lets women characters to suffer, face the problem, adapt to it and to find modled and finally  they become power. In general, she writers about the womens love, marriage and their family. In pacticular lahiri speaks about the expatriate experiances. She handles both the phychological and physical comforts of their respective characters lahiri produce a body of indain English literature that committed  feminist and social issues.

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Qbilat, Nizar, and Awni El-Faouri. "The Other’s Image in Arabic Feminist Narrative." Journal of Arts and Social Sciences [JASS] 7, no. 2 (2016): 337. http://dx.doi.org/10.24200/jass.vol7iss2pp337-345.

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This study aims at shedding some light on the images of women in some feminist novels known as Feminist Literature. The research depicts a number of Arabic feminist writers concentrating on the structure of Feminist Literature generally, and Arabic women writers specifically. The study examines the characters, the narrative angle and the narrative sequence and its objective sensitivity at three levels: the woman as an author, a narrator, and the artistic character dealing with issues of justice, liberty and equality with man, considering the various humanitarian models: the striver, the lover and the educated within the borders of the forbidden, the fear, and the limitations. The popularity of Feminist Literature is one of the issues of modernity in the Arab world. The role of Jordanian women writers is apparent in literature. Their creative works compete with those of dominant men in terms of imagery and artistic presence. The inner persona of the woman writer is dominant even though her work represents a realistic view. The problematic issue of writing for women writers seems to be plunged in paradox and sharp in its novelistic representation. The novelistic modules studied indicate the success the Arab woman writer achieved in terms of the use of artistic tools, and the ability to confront and reveal the untold. Although the feminists’ novels seem to dwell in an anxious environment, they represent an arena of conflict representing the artistic and living realities.

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Qbilat, Nizar, and Awni El-Faouri. "The Other’s Image in Arabic Feminist Narrative." Journal of Arts and Social Sciences [JASS] 7, no. 2 (2016): 337–45. http://dx.doi.org/10.53542/jass.v7i2.1124.

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This study aims at shedding some light on the images of women in some feminist novels known as Feminist Literature. The research depicts a number of Arabic feminist writers concentrating on the structure of Feminist Literature generally, and Arabic women writers specifically. The study examines the characters, the narrative angle and the narrative sequence and its objective sensitivity at three levels: the woman as an author, a narrator, and the artistic character dealing with issues of justice, liberty and equality with man, considering the various humanitarian models: the striver, the lover and the educated within the borders of the forbidden, the fear, and the limitations. The popularity of Feminist Literature is one of the issues of modernity in the Arab world. The role of Jordanian women writers is apparent in literature. Their creative works compete with those of dominant men in terms of imagery and artistic presence. The inner persona of the woman writer is dominant even though her work represents a realistic view. The problematic issue of writing for women writers seems to be plunged in paradox and sharp in its novelistic representation. The novelistic modules studied indicate the success the Arab woman writer achieved in terms of the use of artistic tools, and the ability to confront and reveal the untold. Although the feminists’ novels seem to dwell in an anxious environment, they represent an arena of conflict representing the artistic and living realities.

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12

Putri, Octavia, and Safitri Hariani. "Woman’s Bravery against Gender Inequality in Danielle Steel’s Novel The Right Time." JOURNAL OF LANGUAGE 3, no. 1 (2021): 65–72. http://dx.doi.org/10.30743/jol.v3i1.3717.

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This research is to analyze the bravery of a woman in facing gender inequality in Danielle Steel's Novel The Right Time. Alexandra Winslow is a young woman who has a dream to be a crime thriller story writer. During the journey of realizing her dream as a writer, she should be brave to face discrimination from male crime thriller writers and gender inequality from society. This research is completed by the use of descriptive qualitative method. The data are obtained by quoting related quotations from the story of the novel. Then, the data analysis is conducted by classifying the data related to the research problems of this study. The results show that there are three types of bravery done by the main character: bravery to fight against marginalization, abolish stereotype and thwart violence. Winslow's ability to write is not in doubt. Those who know Winslow closely and have read her writings find Winslow's writing to be extraordinary. Thanking to the support of the people around him, Winslow dares to continue her dream of becoming a famous writer even though she has to hide behind the identity of a man.

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13

Curran, Ronald, and Joyce Carol Oates. "(Woman) Writer: Occasions and Opportunities." World Literature Today 64, no. 1 (1990): 116. http://dx.doi.org/10.2307/40145910.

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14

Cook, Kay Kellam, Alice Kessler-Harris, and William McBrien. "Faith of a (Woman) Writer." Frontiers: A Journal of Women Studies 10, no. 3 (1989): 87. http://dx.doi.org/10.2307/3346452.

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15

Ramsey-Portolano, Catherine. "Neera the Verist Woman Writer." Italica 81, no. 3 (2004): 351. http://dx.doi.org/10.2307/27668927.

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Barber, Phyllis. "The Mormon Woman as Writer." Dialogue: A Journal of Mormon Thought 23, no. 3 (1990): 108–19. http://dx.doi.org/10.2307/45225903.

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Hayati, Yenni. "DUNIA PEREMPUAN DALAM KARYA SASTRA PEREMPUAN INDONESIA (Kajian Feminisme)." Humanus 11, no. 1 (2012): 85. http://dx.doi.org/10.24036/jh.v11i1.626.

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This article describes the world of and images of women depicted in women fiction writer, particularly in short story literature. In depicting women’s world, an Indonesian writer tends to focus on their domestic than public life. This is because domestic life is considered safer for women, and women are considered best settled in the domestic life. There are six images closely associated with women; a mother, a loyal woman, a successful woman, a second woman, an ideal woman, and a bad woman. Mother image is the most found, 14 of 15 fictions examined in this research. The description of domestic life associates with mother image, because the two are closely related with the life of Indonesian women. Key words: women’s world, women’s image, women’s literature

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Jensterle Doležal, Alenka. "Female Desire in the Epistolary Novels of South Slavic Women Writers (Hanka by Slovene Croat Writer Zofka Kveder and Jedno dopisivanje by Serbian writer Julka Chlapec-Đorđević)." Radovi Zavoda za hrvatsku povijest Filozofskoga fakulteta Sveučilišta u Zagrebu 55, no. 1 (2023): 133–48. http://dx.doi.org/10.17234/radovizhp.55.8.

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This paper, which deals with Central European literature in the comparative perspective, contains an analysis of the representation of intimacy and love (female desire) in the epistolary novels Hanka (1918) written by the Slovene Croat writer and feminist Zofka Kveder (1878-1926) and Jedno dopisivanje. Fragmenti romana (A Correspondence. Fragments of a Novel, 1932) by the Serbian writer and feminist Julka Chlapec-Đorđević (1882-1969). Both of these South Slavic women writers and feminists were cultural nomads with multiple linguistic identities, part of the Habsburgian myth, and they lived for a time in Prague, then an important city of European modernism and the avant-garde. In the novels, they created a picture of a new woman and her intimate world, focusing on the motifs of love and extramarital affairs. In the novel Hanka, readers follow the thematization of the new independent woman and her intimacy in the chaos of the apocalypse of the First World War, focusing on representations of the idealized love of a woman for a man and a woman’s suppressed desire. Julka Chlapec-Đorđević inherited the legacy of Zofka Kveder in Prague, and her novel Jedno dopisivanje is an homage to Kveder’s artistic achievements. The writer depicts gender intimacy in fictitious letters between Marija Prohasková from Prague and her lover Oton Šrepan, a doctor from Slovenia. In both case studies, the representation of the secret love affair and writer´s understanding of intimacy and romantic love as the key concepts of modernity will be examined.

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Alapati, Purnachandra Rao, Venkata Raghu Ram Mantri, Kalpana Devi G, and Subba Rao V. V. "Submission to Subversion: An Analytical Study of Meena Kandasamy's ‘When I Hit You: Or, A Portrait of the Writer as a Young Wife’." Theory and Practice in Language Studies 12, no. 11 (2022): 2397–402. http://dx.doi.org/10.17507/tpls.1211.21.

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Meena Kandasamy tries to create an identity among the galaxy of Indian writers in English as a poet, novelist and translator. She deals with caste annihilation, feminism and linguistic identity. Meena Kandasamy's novel, 'When I Hit You: Or, A Portrait of the Writer as a Young Wife', deals with the suppression of women in the name of patriarchal society in educated families. She explains the story of a highly educated Indian woman from an affluent family who marries a respected college professor. He seems to be a man who is a social rights activist outside the home, but he abuses his wife at home. Kandasamy depicts a dreadful picture explaining her husband's strategies to keep her under his control. In this context, she delineates the emotions a woman undergoes while adjusting herself to the situation in the family. The writer attempts to develop the status of a woman by discussing more the turmoil she comes across in every part of her life. She wants to disclose to the world that a woman is a human being. She is wise enough to remain uncrushed and unperturbed despite challenges and hostilities. The novel vividly depicts the power game between men and women in Indian families and other societies.

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Bränström Öhman, Annelie. "Kvinnan, kärleken och Lord Byrons förbannelse." Tidskrift för genusvetenskap 16, no. 4 (2022): 14–24. http://dx.doi.org/10.55870/tgv.v16i4.4768.

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The traditional image of the woman who loves is the woman who waits. Lord Byron's famous words about love as a woman's whole existence, still today works as a curse for all women who writes about love in different genres. How are you going to write about wliat you yourself are? In this artide the relation between gender, love and authorship is discussed from several perspectives. The male 19th century writer Stendhal illustrates an illusory "objective" approach on the subject of love, which is still Iteld as an ideal. A revisory female approach is here represented by the modernist novels House of Incest (1936) by Anais Nin and Blodförmörkelse (1951) by Rut Hillarp. In these novels, which both can be labelled female novels of passion, love and women's love-waiting is explored in a radical new mode. Waiting becomes an aesthetics, an art of survival in life as well as in literature.

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Dana, Kathleen Osgood. "Eeva Kilpi: Writer, Woman, Karelian, Finn." World Literature Today 59, no. 3 (1985): 354. http://dx.doi.org/10.2307/40140841.

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Moi, Toril. "`I am not a woman writer'." Feminist Theory 9, no. 3 (2008): 259–71. http://dx.doi.org/10.1177/1464700108095850.

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23

Coit, Emily. "Ozick’s Feminism and the Woman Writer." Studies in American Jewish Literature (1981-) 43, no. 1 (2024): 59–75. http://dx.doi.org/10.5325/studamerijewilite.43.1.0059.

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Abstract As Ozick herself has noted, readers have observed a contradiction between her championing of the particularity of the Jewish writer and her insistence on the human universality of the writer who happens to be a woman. Examining Ozick’s thinking about sex and gender, this article explains why this apparent contradiction isn’t one for her. Considering the relationship between her “classical feminism” and her ideas about genius and art making, this article highlights the key claims of her polemics against “the woman writer” from the 1970s. The article then reads Ozick’s essays on Virginia Woolf and Edith Wharton from the same decade as richly unruly works of fiction that undermine some of those claims. Locating Ozick’s feminism among those of her peers in the late twentieth century, this article also points to the relevance of her ideas for the contending feminisms of the present.

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Cho, Eunhae. "A Woman Who is A Type-writer: Women Writer and Typewriter in Bram Stoker’s Dracula." Comparative Literature 76 (October 31, 2018): 247–80. http://dx.doi.org/10.21720/complit76.09.

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S. V, Abisha, and Dr Cynthia Catherine Michael. "The Palace of Illusions-Voice of a Disillusioned Woman." SMART MOVES JOURNAL IJELLH 8, no. 12 (2020): 77–84. http://dx.doi.org/10.24113/ijellh.v8i12.10861.

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Diaspora writing is a recent trend in literature. Many writers especially women writers excel in this field. These diasporic writers though they live in a foreign land always hold their love in their writings. India is a land of myth and legends and hence many Indian writers borrow their plot from Hindu mythology which is used as a literary device. Many writers of the independence and post-independence era used mythology to spread nationalism and to guide humanity in the right path. Chitra Banerjee Divakaruni is a diasporic writer who always holds a piece of her love for motherland in her writings. She extensively uses Hindu mythology in her works. She uses these myths to instill courage in her woman protagonists. She tries to prove how myths guide the immigrant women to overcome their conflicts in life. Her novels explain how myths instruct the humanity to lead a righteous life.

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Dr., Vidya Patil. "PROFOUND ELUCIDATIONS IN AMRITA PRITAM'S REVENUE STAMP." International Journal of Applied and Advanced Scientific Research 3, no. 1 (2018): 220–21. https://doi.org/10.5281/zenodo.1214679.

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Amrita Pritam was the first important woman writer in Punjabi literature. She wrotenovels, essays and poems. Her writings concentrated on the problems of women.She emphasized women’s experience under patriarchy and brought the focus on to the marginalized. She was the first woman to receive the Sahitya Academy Award in1956. Her important work as a novelist was Pinjar (the Skelton).Amrita Pritam was an iconic Indian writer, whose works as well as life, were a bold statement that redefined not just the Punjabi literary canon but also found new words and images for how Indian women perceived themselves.Amrita as a poet and fiction writer is known in the country but the <em>Revenue Stamp</em> has added a new height in her prestige as a writer. It is a journey of emotions covered with literary expressions.

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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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Seha, Nur. "CITRA PEREMPUAN BANTEN DALAM CERPEN RADAR BANTEN (The Image of Banten Women in The Short Story in Radar Banten Daily)." METASASTRA: Jurnal Penelitian Sastra 5, no. 1 (2016): 55. http://dx.doi.org/10.26610/metasastra.2012.v5i1.55-66.

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Tulisan ini membahas citra perempuan Banten dalam cerpen yang dimuat di harian Radar Banten dengan menggunakan metode deskriptif kualitatif. Budaya Banten melatarbelakangi para cerpenis dalam melukiskan perempuan Banten. Para penulis dapat memotret sebagian kehidupan para perempuan tersebut melalui tokoh-tokoh rekaan yang diciptakan. Tujuan penelitian ini adalah mengkaji citra perempuan Banten melalui deskripsi para cerpenis dalam harian Radar Banten. Sumber data utama berasal dari empat belas cerpen yang dimuat tahun 2006—2010. Setelah analisis data melalui teori feminisme, diketahui bahwa citra perempuan Banten dalam cerpen tersebut adalah perempuan sebagai sosok pemimpin pemerintahan, penulis, perempuan berkekuatan magis, pemegang norma, pekerja keras, penyabar, penyayang, perempuan yang agamis, dan perempuan metropolis.Abstract:This paper discusses the image of Banten women in short stories published in Radar Banten. It uses a qualitative descriptive method. Banten’s cultural background depicts women in Banten. The writers of short story can capture some of the women’s real life through fiction’s characters. The purpose of this study is to examine the image of women through the description of the short story’s writers in Radar Banten. The main data sources were taken from fourteen short stories published in 2006—2010. Having analyzed the data using feminism theory, it is found out that the image of women in short stories of Radar Banten is the figure of woman as government leader, writer, woman with magical power, obedient norm woman, hardworking woman, patient and caring woman, religious woman, and metropolitan woman.

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Baaqeel, Nuha Ahmad. "Decolonising Language: Towards a New Feminist Politics of Translation in the Work of Arab Women Writers, Ahlam Mosteghanemi, Nawal al Sadawim, and Assia Djebar." International Journal of Comparative Literature and Translation Studies 7, no. 3 (2019): 39. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.3p.39.

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This paper argues that the Anglophone academy’s relative lack of appraisal of Ahlam Mosteghanemi as an Arab woman writer is not incidental. I assert that, for many Arab women writers, authorship is strategic engagement; in other words, they develop strategies that bring together formal experimentation with the social effectivity of authorship. In an attempt to present fully the aforementioned complexities at hand, this paper compares Mosteghanemi’s work with that of two other eminent women writers from the Arab world: Egyptian women’s rights activist and novelist, Nawal al Sadawi, and Algerian writer and historian, Assia Djebar. This comparative analysis is structured into three sections that take up the questions of the politics of literary form, language and decolonisation, and finally, translation. In the critical reception of their work outside their region, Arab women writers all too frequently find themselves caught up in the dynamics of a hegemonic Eurocentric feminism that already constructs them as new representatives of an Orient, one that further stubbornly refuses to dissolve under the action of rigorous critique. I argue that the underwhelming international reception to Mosteghanemi’s writing serves as a reminder that colonialism remains real, even in a world of independent nations, while decolonisation remains on the theoretical horizon in the postcolonial world. It is these two interrelated points that map the wide field of effectivity that is brought into play in the reception of Mosteghanemi as a writer.

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Dr., Pratibha Patel. "Different Facets of Women's Emancipation: A Study of Manju Kapur's Select Works." Criterion: An International Journal in English 15, no. 2 (2024): 202–9. https://doi.org/10.5281/zenodo.11103773.

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Indian women writers have projected women issues with their inner-aspiration as well as their peculiar responses to men and society. Contemporary Indian women writers are trying to trace assertion, identity consciousness as well as professional endeavor in women protagonists. Modern women portrayed in these writings try to become counterproductive to their real empowerment. In the present times these women characters are seen as more professional to become the official keepers of sexual equality. The study encompasses the works of an eminent Indian woman writer, whose writings are distinguished in presenting the bold status of women in Indian society without any social concern. The chief concern of this paper is to present major concepts of women’s self-independence and assertiveness.

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Lee, Mi-jung. "OppaSakak from the perspective of “Place of Memory”." Korean Association for Literacy 14, no. 6 (2023): 487–512. http://dx.doi.org/10.37736/kjlr.2023.12.14.6.17.

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In this study, the children’s song OppaSakak was premised as a place of memory. First, I attempted to examine the significance of OppaSakak at the time and how it was “remembered.” First, OppaSakak was significant at the time because Choi Soon-ae, who wrote the song, was a “Juvenile Writer.” Juvenile writers developed into professional writers in the process of posting as readers of newspapers and magazines. Second, it was significant because of the emergence of female subjects. At this time, the female subject referred to a woman as a writer and a woman who expressed her desire. Third, it was significant in that “Oppa” can symbolize the liberation of the country. OppaSakak, which was included in Eorini in November 1925, is still sufficiently popular to be called “National Children’s Song”. At this time, OppaSakak was present as a memory of a group that brought out the identity of Koreans or Koreans.

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Scott, Jennifer. "The Angel in the Publishing House: Authorial Self-Fashioning, Gender, and Orphanhood in Marie Corelli's Innocent." Victoriographies 9, no. 2 (2019): 184–98. http://dx.doi.org/10.3366/vic.2019.0341.

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The best-selling Victorian novelist Marie Corelli (1855–1924) is a literary figure enmeshed in contradictions. Famously refusing to identify as a New Woman writer, she was known for her womanly heroines and her own ultra-feminine style of dress. She shunned press photographers and ferociously protected her privacy. But Corelli was equally ferocious in her ambition for literary success and fame, and she does not altogether fit in with those women writers of the nineteenth century who staged an outer show of dominant domestic vocation and cast their fame as an unsought consequence of their natural genius. Through examination of Corelli's self-fashioned orphanhood, this article seeks to highlight her as an example of a fin-de-siècle woman writer who resisted consignment to the transgressive New Woman image and more traditional gender roles. Taking Corelli's critically neglected 1914 novel Innocent: Her Fancy and His Fact as its focal point, and analysing the success of her self-fashioning by drawing upon the remembrances of members of Corelli's local community in Stratford-upon-Avon, recorded as part of the Shakespeare Birthplace Trust's Oral History Project, this article explores the ways in which Corelli strengthened her orphan identity in her later fiction and, in so doing, strove to legitimise female authorship and celebrity.

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Choriyeva, SH. "Vera Brittain’s about feminism and women’s role the war." International Journal on Integrated Education 2, no. 5 (2019): 205–8. http://dx.doi.org/10.31149/ijie.v2i5.173.

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This article describes wartime and the role of the woman of the American writer Vera Britten in society, the position of women in wartime, the image of a woman, their human qualities and their various manifestations, from appearance to character.

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Sica, Paola. "Maria Ginanni: Futurist Woman and Visual Writer." Italica 79, no. 3 (2002): 339. http://dx.doi.org/10.2307/3656096.

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Nord, Deborah Epstein. "The Urban Peripatetic: Spectator, Streetwalker, Woman Writer." Nineteenth-Century Literature 46, no. 3 (1991): 351–75. http://dx.doi.org/10.2307/2933746.

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Fryar, Imani L. B. "Literary Aesthetics and the Black Woman Writer." Journal of Black Studies 20, no. 4 (1990): 443–66. http://dx.doi.org/10.1177/002193479002000405.

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Devi, Ananda. "Writer/Woman: The 2024 Neustadt Prize Lecture." World Literature Today 99, no. 1 (2025): 44–47. https://doi.org/10.1353/wlt.2025.a946547.

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MASCIA-LEES, FRANCES E., PATRICIA SHARPE, and COLLEEN B. COHEN. "Double Liminality and the Black Woman Writer." American Behavioral Scientist 31, no. 1 (1987): 101–14. http://dx.doi.org/10.1177/000276487031001007.

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Finch, Alison, and Diana Holmes. "Rachilde: Decadence, Gender and the Woman Writer." Modern Language Review 98, no. 3 (2003): 723. http://dx.doi.org/10.2307/3738331.

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Nord, Deborah Epstein. "The Urban Peripatetic: Spectator, Streetwalker, Woman Writer." Nineteenth-Century Literature 46, no. 3 (1991): 351–75. http://dx.doi.org/10.1525/ncl.1991.46.3.99p0392q.

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Smith, Jon. "Politics and the White Southern Woman Writer." Southern Literary Journal 37, no. 1 (2004): 167–72. http://dx.doi.org/10.1353/slj.2005.0012.

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Neiman, Elizabeth, and Yael Shapira. "Introduction: Biography and the Woman Writer Revisited." Studies in Eighteenth-Century Culture 52, no. 1 (2023): 291–97. http://dx.doi.org/10.1353/sec.2023.0023.

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Ulugbekovna, Safarova Farida. "Interpretation of the Concept of Time and Space in "Days Gone By" by Abdullah Khadiry and "Mujong" by Lee Kwang Soo." International Journal for Research in Applied Science and Engineering Technology 10, no. 2 (2022): 973–75. http://dx.doi.org/10.22214/ijraset.2022.40216.

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Annotation: The article examines the interpretation of the concept of time and space in novels by leading Uzbek and Korean writers Abdullah Khadiry and Lee Kwan Su. In particular, Korean writer Lee Kwan Su's Majong and Uzbek novelist Abdullah Khadiry's "Days gone by" comment on the landscape of the period when these novels were created, and the ideas embodied in novels, the image of women, and the importance of women's problems. Keywords: concept, time and space, modern woman, kiseng, idea of enlightenment.

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Lombardo, Andrea. "Traducción, comparatismo y ética. El problema de las identidades de género en la literatura nigeriana (traducida)." Moderna Språk 117, no. 1 (2023): 137–56. http://dx.doi.org/10.58221/mosp.v117i1.12559.

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In this article, we intend to examine the relationship between ethics, comparative literary and translation studies (Bassnett, 1993; Bassnett & Lefevere, 1992; Berman, 1985 and Venuti, 1995/ 2018). In this sense, we evaluate the theoretical trajectory of two literary figures belonging to different periods, the Nigerian male writer Chinua Achebe (1930-2013) and the Nigerian woman writer Chimamanda Ngozi Adichie (1977-) in their efforts to deconstruct an image of Africa that is seen embodied in “Colonialist Criticism” (1988) and “The Danger of A Single Story” (2018). In a complementary fashion, we explore the way in which the first generation of African male writers, in which Achebe is registered, and the third generation of contemporary African women writers, to which Adichie is associated, build figures of women and men in the narrative. Finally, we present different perspectives that address the way of ethically translating postcolonial, diasporic and translingual literature in which the works of Achebe and Adichie are framed (Federici & Fortunati, 2019; Ergun, 2021; Tissot, 2017; Vidal Claramonte, 2021).

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Ogoke, Chinedu. "Import of family and peers in a writer’s life." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 362–73. http://dx.doi.org/10.4314/ejotmas.v7i1-2.24.

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A writer anywhere must have roots and familial relationships. In a general sense, it is the energy derived from friends, family or society that drives the human spirit. A major role the family has in the life of a writer is giving him or her space. What this means is that a literaryfriendly family will not come between the writer and his/her writing. When he/she is engaged with writing, the writer’s family excuses him/ her from domestic and other duties. It is also beneficial when the writer is surrounded by a wife/husband and children who are wonderful readers. It is the relevance of the family that inspired this research. The paper investigates how culture, society and the family are significant in the life of every man or woman. It focuses on the experiences of writers in their home countries and overseas. The author discovered that writers in 17th century Europe worked closely together. The practice has hardly caught on among Nigerian writers. The writer could hardly find instances to prove otherwise. It is intended in this work, therefore, to highlight this shortcoming and to show how it contributes to the attainment of desired goals in the writer’s literary endeavours. The bulk of the data for this study was collected through listening to stories of writers and also reading various comments in newspapers and other publications. Keywords: Language and culture, Family and peers, Pedagogy, Spousal problems, Writers’ life

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Berrefas, M. "THE USE OF FEMALE NAMES BY LYUDMILA ULITSKAYA ON THE MATERIAL OF THE NOVELS "SONECHKA" AND "MEDEA AND HER CHILDREN"." Modern Linguistic and Methodical-and-Didactic Researches, no. 3(38) (December 31, 2022): 68–76. http://dx.doi.org/10.36622/mlmdr.2022.61.10.007.

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Statement of the problem. The paper is devoted to the study of the use of some female names by Lyudmila Ulitskaya on the material of the works "Sonechka" and "Medea and her children", because in the context of modern literature there are several factors of the choice of "female prose": the author is a woman, the main character is a woman. These issues are closely related to the lives of women, their special stylistic and semantic metaphors from the point of view of vocabulary, semantics and onomastics. Results. In this paper, the creativity of women writers is analyzed, the phenomenon of the use of the female names in the works of writers is described on the example of the selected works by Lyudmila Ulitskaya. This phenomenon has been studied by many linguists, historians and sociologists. The study addresses the issue of determining the possibilities of using some proper names as a source of reflection about real events and a means of linguistic and literary interpretation of the works of art. Conclusion. Analyzing the art works "Sonechka" and "Medea and her children", we could come to the conclusion that the writer draws a type of a modern woman with a rich inner and deep world, revealing an irresistible devotion to her family. Based on the conducted research, it can be argued that the writer uses female names to create a female art image. The name of the main character always plays the role of a sign-symbol that leads the reader to classical works, where usually all the heroines in the Russian literature, endowed with these names, have particular character traits.

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Dick, Angela Ngozi. "Reversal of Gender Roles in Flora Nwapa’s Efuru and Chimamanda Ngozi Adichie’s The Visit." English Linguistics Research 13, no. 2 (2024): 44. http://dx.doi.org/10.5430/elr.v13n2p44.

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Writers assemble words to tell the story, develop the argument, dramatize the play or compose the poem in the process the themes which a reader finds convincing are developed. Flora Nwapa and Chimamanda Ngozi Adichie are African women writers from the East of Nigeria who have used the literary art at their disposal to portray women’s experiences in the contemporary world. Although Nwapa is the first African woman writer, the experiences of women she portrayed in Efuru are reversed in Adichie’s The Visit. Gender roles are reversed thus challenging the patriarchal roles of a woman placed as the head of the home, she works to earn for her husband and children, no housemaid and no sexual abuse is suspected at home. The literary techniques used include among others motif, tone, point of view, imagery, local colour, and songs. These techniques are used comparatively and it is discovered that they are apt in revealing women’s experiences in the novels. The literary theory used in this research is eclectic.

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Tripathi, Saumya. "Black British Women Writers : Challenging And Changing The Narrative Through Their Writings." Humanities and Development 19, no. 01 (2024): 87–90. https://doi.org/10.61410/had.v19i1.180.

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This paper is modest attempt to explore the ways and means by which Zadie Smith, a black British woman writer, is challenging and changing the narrative through her writings. A black woman writer is always expected to write about her exploitation in the society for being ‗black‘ or about her sexuality. But there is lot more to her experience and multitude of dimensions which are part of black woman consciousness. In this paper I will be dealing with of the works of Zadie Smith i.e. White Teeth and The Autograph Man. In both the novels Smith deals with multicultural identities in dominant white culture. Smith with her style of writing and her way of representation of black subject gave acceptance to black people in British society and readers wants to know more about their life, experiences, traumas of black people. Smith has transitioned them from being ‗invisible‘ to being ‗visible‘. She arose the sympathy of readers for black people.

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Suvorov, Mikhail N. "Woman and Yemen in Three Novels by Nadia al-Kawkabani (Yemen)." Vestnik of Saint Petersburg University. Asian and African Studies 15, no. 1 (2023): 88–99. http://dx.doi.org/10.21638/spbu13.2023.106.

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Among scholars of literature, there is a discussion about whether modern Arab women write fiction differently from their male counterparts. Some argue that women writers have special concerns which result from their specific experiences in Muslim society and determine not only the thematic spectrum of their works, but also a specific, sometimes vague manner of their literary expression. This discussion is based mostly on the works of prominent women writers from Egypt, Lebanon, Palestine, Syria, North Africa, sometimes Saudi Arabia and the Arab Gulf States. Yemen has not received much attention in this discussion, as well as in literary studies in general. This article examines to what extent the suggested female, or “feminist”, manner of writing is manifested in the works of Yemeni novelist and short story writer Nadia al-Kawkabani, who is one of the most prolific women writers in her country. In her three novels, Not More Than Love (2006), Submissive Wives (2009), and My Sanaa (2013), “feminist” topics are touched upon repeatedly, but practically none of them is represented by a detailed story with a sufficient degree of sentiment and psychologism. On the contrary, a great deal of attention in these novels is given to the culture and modern history of Yemen, and the narrative, like in many male writers’ works, is dominated by sociopolitical issues. One may argue that Yemen in Nadia al-Kawkabani’s novels prevails over the “feminist” issue.

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Abdullaeva, Dilafruz S., and Latofat S. Utkirova. "INTERPRETATION OF THE IMAGE OF WOMEN IN THE FRAMEWORK OF NATIONAL TRADITIONS (On the example of the stories of Ghada al-Samman and Zulfiya Kurolboy kizi)." Oriental Journal of Philology 05, no. 03 (2025): 728–35. https://doi.org/10.37547/supsci-ojp-05-03-84.

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The purpose of this article is to study the interpretation of the image and psychology of a woman within the framework of Eastern national traditions in the works of the Syrian-Lebanese writer Ghada al-Samman and the Uzbek writer Zulfiya Kurolboy kizi, who are currently actively working and are leading writers of their time in national literature. We tried to reveal a number of elements of artistic and psychological analysis in it and to link these trends with factors that are becoming increasingly dominant in modern world prose.

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Journal articles on the topic 'Woman writer'

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