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Journal articles on the topic 'Women’s memoir'
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1
Bollinger, Heidi Elisabeth. "Navigating Loss in Women’s Contemporary Memoir." Contemporary Women's Writing 10, no. 2 (March 11, 2016): 294–96. http://dx.doi.org/10.1093/cww/vpw006.
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Den Elzen, Katrin. "Navigating Loss in Women’s Contemporary Memoir." Life Writing 14, no. 3 (June 8, 2016): 409–12. http://dx.doi.org/10.1080/14484528.2016.1194797.
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Torres, Lourdes. "Queering Puerto Rican Women’s Narratives." Meridians 19, S1 (December 1, 2020): 279–307. http://dx.doi.org/10.1215/15366936-8566001.
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Abstract While in the last decades there has been a proliferation of writings by Latina lesbians who theorize issues of intersectionality, missing still are the voices and analyses of Puerto Rican lesbians who articulate the specificity of Puerto Rican sexual, racial, national, and class dynamics. It is within this context that the author examines Memoir of a Visionary (2002) by Antonia Pantoja and The Noise of Infinite Longing (2004) by Luisita López Torregrosa; the article considers how these recent memoirs engage with intersecting issues in the lives of Puerto Rican women and suggest how shame implicitly conditions the articulation of Puerto Rican identity.
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Łobodziec, Agnieszka. "Literariness and Racial Consciousness in Paule Marshall’s Memoir Triangular Road and Gloria Naylor’s Fictionalized Memoir 1996." Studia Anglica Posnaniensia 50, no. 2-3 (December 1, 2015): 51–61. http://dx.doi.org/10.1515/stap-2015-0023.
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Abstract Black American women writers were side-lined by the literary canon as recently as the 1980s. Today, as a result of their agency, a distinct literary tradition that bears witness to black women’s particular expressiveness is recognized. Bernard Bell observes that the defining features common to most literary works by black American women are a focus on racist oppression, black female protagonists, the pursuit of demarginalization, women’s bonding, women’s relationship with the community, the power of emotions, and black female language. Although these elements refer predominantly to novels, they are also present in Paule Marshall’s memoir Triangular Road (2009) and Gloria Naylor’s fictionalized memoir 1996 (2005). Moreover, the two works are fitting examples of racial art, the point of departure of which, according to Black Arts Movement advocates, should be the black experience. Actually, since through memoirs the authors offer significant insights into themselves, the genre seems closer to this objective of racial art than novels. At the same time, taking into consideration the intricate plot structures, vivid images, and emotional intensity, their memoirs evidence the quality of literariness i.e., in formalist terms, the set of features that distinguish texts from non-literary ones, for instance, reports, articles, text books, and encyclopaedic biographical entries. Moreover, Marshall and Naylor utilize creative imagination incorporating fabulation, stories within stories, and people or events they have never personally encountered, which dramatizes and intensifies the experiences they relate. In Marshall’s memoir, the fictitious elements are discernable when she imagines the historical past. Naylor demarks imagined narrative passages with separate sections that intertwine with those based upon her actual life experience.
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Pamula, Natalia. "Ordinary Trauma." Aspasia 16, no. 1 (June 1, 2022): 130–48. http://dx.doi.org/10.3167/asp.2022.160109.
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This article analyzes the Polish disability memoirs in Cierpieniem pisane: Pamiętniki kobiet niepełnosprawnych (Written through Suffering: Disabled Women’s Memoirs), published in 1991. Written through Suffering consists of twenty-one short memoirs submitted as a response to a memoir competition organized around the theme “I am a Disabled Woman” in 1990. Published two years after the first democratic elections, which took place in Poland in June 1989, this anthology shows that contrary to the mainstream narrative in Poland, Western Europe, and the US, 1989 did not bring about a revolution or any dramatic change for disabled women. Women’s memoirs included in this collection question the teleological narrative of linear progression from state socialism to democracy and capitalism and point to the uneven distribution of newly acquired rights.
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Guidone, Heather C. "Memoir Examines Medical Misogyny in Endometriosis and Women’s Health." Women's Reproductive Health 5, no. 3 (July 3, 2018): 218–21. http://dx.doi.org/10.1080/23293691.2018.1490538.
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Guthrie, Neil. "Eighteenth-Century Women’s Writing and the “Scandalous Memoir.” by Caroline Breashears." Scriblerian and the Kit-Cats 51, no. 1 (2018): 68–69. http://dx.doi.org/10.1353/scb.2018.0014.
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Hojabri, Afsaneh. "Iranian Women’s Food Writing in Diaspora." Anthropology of the Middle East 15, no. 2 (December 1, 2020): 179–93. http://dx.doi.org/10.3167/ame.2020.150213.
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Abstract: In light of the recent surge of Iranians’ autobiographies and fictions in the West, this article will examine ‘food writing’ as an emerging genre of diasporic narrative dominated by Iranian women. It will explore the multiple avenues through which these cookbooks/food memoirs seek not only to make accessible the highly sophisticated Persian culinary tradition but also to ameliorate the image of Iran. Such attempts are partly in response to the challenges of exilic life, namely, the stereotypical portrayal of Iranians in the Western media. Three books with strong memoir components will be further discussed in order to demonstrate how the experiences of the 1979 revolution, displacement, and nostalgia for prerevolutionary Iran are interwoven with the presentation of Iranian food and home cooking abroad.Résumé : À la lumière de la vague récente d’autobiographies et de fictions d’Iraniens dans l’ouest cet article examinera “l’écriture culinaire” en tant que genre émergent de récit diasporique dominé par les femmes iraniennes. Il explorera les multiples voies pas lesquelles ces livres de cuisine / mémoires culinaires cherchent non seulement à rendre accessible la tradition culinaire persane très sophistiquée, mais aussi à améliorer l’image de l’Iran. Une telle tentative est une réponse aux défis de la vie en exil, à savoir la représentation stéréotypée des Iraniens dans les médias occidentaux. Trois livres avec de fortes composantes de mémoire seront discutés plus en détail afin de démontrer comment les expériences de la révolution de 1979, le déplacement et la nostalgie de l’Iran pré-révolutionnaire sont entrelacés avec la présentation de la cuisine iranienne et de la cuisine maison à l’étranger.
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Crimmins, Gail, Alison L. Black, Janice K. Jones, Sarah Loch, and Julianne Impiccini. "Rupturing the limitations and masculinities of traditional academic discourse through collective memoir." Qualitative Research Journal 19, no. 4 (November 11, 2019): 380–90. http://dx.doi.org/10.1108/qrj-03-2019-0025.
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Purpose The authors, seven women–writers–performers–artists–academics, have been working collectively for a year, storying, de-storying and re-storying the experience of our lives. The authors write to “taste life twice, in the moment and in retrospect” (Nin, 1976), to uncover and learn ourselves through writing (Richardson, 1997), to take the “risky” steps of talking to each other about our inner lives (Palmer, 1998). Cognisant of the limitations and masculinities of traditional academic discourses, in form and content, and heavily confined by neoliberal expectations to count and be counted, we write and express the stories of lives the authors did not choose or imagine – lives we are given and live through. Our expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. The paper aims to discuss these issues. Design/methodology/approach This paper is designed as a collective memoir. Findings The authors write and express the stories of lives we did not choose or imagine – lives we are given and live through. The expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. Research limitations/implications The research focuses on autoethnography and lived experience. Originality/value Auto-ethnography/lived experience offers rich insights into the personal and political actions and actors within higher education.
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Prakash, Sruthy. "Oppression of Women in Nadia Murad’s Memoir The Last Girl." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 164–69. http://dx.doi.org/10.22161/ijels.73.22.
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The project is entitled Oppression of women in Nadia Murad’s memoir The Last Girl. The work is published in November 2017. In the book, she describes how she was captured and enslaved by Islamic state militants during the Second Iraqi civil war. The project tries to analyze the oppression of Iraqi women, especially Yazidi women in the backdrop of terrorism with feminist theory. The analysis is undertaken in three chapters. The first session is a brief introduction into the work, the author and the situation of Yazidi women portrayed in the work. The second session gives an overview of feminism and to give the indicators of women’s oppression, discrimination and sexual objectification in the work to prove that oppression of women still persists. And the third session is the conclusion.
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Puri, Tara. "For the Record: An Educational Memoir in Late Colonial India." Cracow Indological Studies 20, no. 2 (December 31, 2018): 47–70. http://dx.doi.org/10.12797/cis.20.2018.02.04.
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Mary Bhore’s Some Impressions of England (Bhore 1900) forms a record of her travel to England and the basis of her argument for women’s education in India. While Bhore does not openly criticise the empire, her account of her experiences as well as her very presence in England invert the logic of imperial relations by turning the colonial subject into the ethnographic observer. Her memoir is not unlike the writing of the “England-returned” men and women in late-colonial India, but it shows a curious absence of the personal. Drawing on Foucault’s “Self Writing”, I will argue that Bhore’s text is as much “a narrative of the self” as it is about a shaping of the other; in other words, it is an attempt to turn her own experience into a kind of guide for her readers.
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Bayer, Penny. "The Memoir of Florence Garstang (1870-1941): Honour, Injustice, and Gendered Sacrifice in an Upwardly Mobile Blackburn Family." Transactions of the Historic Society of Lancashire and Cheshire: Volume 170, Issue 1 170, no. 1 (January 1, 2021): 93–113. http://dx.doi.org/10.3828/transactions.170.9.
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This article introduces the previously unexamined Blackburn memoir of Florence Garstang (1870-1941). It contributes to women’s history by providing her response to injustices in the Blackburn cotton riots and to a gendered injustice that marked her own life. It reveals a creative, precariously upwardly-mobile Blackburn family, whose sons had unusually successful careers, whilst Florence became women’s editor on the Blackburn Standard. It shows her close relationship with her father, Dr Walter Garstang (1832-1899), rooted in values of self- and mutual improvement, continual learning, pride in local traditions and pleasure in books and the local newspaper culture. The article builds on Andrew Hobbs’ work by providing a previously unknown case study of a female participant in Blackburn newspaper culture. Dr Garstang’s work as a Blackburn Poor Law medical officer and in private practice is discussed as the context in which he asked Florence to sacrifice her Oxford dream.
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Glory, Dr V. Elizabeth. "Gender Perspectives in Lee Maracle’s I am Woman." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 107–13. http://dx.doi.org/10.24113/ijellh.v8i6.10633.
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Lee Maracle is a prolific Native Canadian woman writer, whose memoir I Am Woman abounds with gender perspectives. In I Am Woman Maracle discusses about the oppression of Native women and the anti-woman attitude of the Native men. Violence over Native women are expounded with incidents from Native women’s lives in some of the remarkable chapters like Rusty. In I Am Woman Lee Maracle also discusses about the violence within and outside Native women’s home. The paper also tells us how Native women are doubly oppressed and how their contribution towards society goes unrecognized. It also discusses how Native women are considered as subhuman. The paper at its conclusion points out how Native women attempt to reconstruct their society inspite of oppression.
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Lochekhina, Galina A. "REPRESENTATION OF SEXUALIZED VIOLENCE IN WOMEN’S GRAPHIC NOVELS: NAOMI JUDKOWSKI AND EUFROSINIA KERSNOVSKAYA." Journal of the Institute of Oriental Studies RAS, no. 4 (18) (2021): 151–58. http://dx.doi.org/10.31696/2618-7302-2021-4-151-158.
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This article analyses an image from the work of Polish-born Israeli artist Naomi Judkowski (Zofia Rosenstrauch) in juxtaposition with a work done by Russian artist Eufrosinia Kersnovskaya. The study aims to compare two art works of two women with different backgrounds who both suffered under two oppressive regimes. One of the founders of the Ghetto Fighters kibbutz in Northern Israel with its known museum and archive dedicated to the Holocaust memory and education, Naomi Judkowski was an important voice in the Israeli post-war society. Not only her drawings were used as the state of Israel put Eichman on trial, but she also wrote a memoir of her experiences in Auschwitz-Birkenau available for the future generations. At the same time, Eufrosinia Kersnovskaya represents unique evidence to the experience of forced labour and deadly conditions in the Soviet GULAG. Her memoir together with 680 drawings reached the audience in 1990 when it was published by Russian and foreign periodicals. Despite the importance of these works, none of them has received the proper attention to this day. However, in the works of both authors, one can clearly see the “unique female language” that served as an expression of feelings and emotions in response to the sexualized humiliations perpetrated by the men against these two women. The works of both artists are characterized by a realistic visual language and were created out of a need for emotional expression, making the viewer witness their experience.
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Kragh, Ulrich Timme. "Chronotopic Narratives of Seven Gurus and Eleven Texts: A Medieval Buddhist Community of Female Tāntrikas in the Swat Valley of Pakistan." Cracow Indological Studies 20, no. 2 (December 31, 2018): 1–26. http://dx.doi.org/10.12797/cis.20.2018.02.02.
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Modern South Asian women’s writing wells up to the stirring surface of contemporary literature in now globally recognizable forms of fiction and memoir, inter alia, the novel, the poem, the biography, the autobiography. Yet, beneath these topmost layers of colonial and post-colonial literary tides flow undercurrents of precolonial women’s writing, often in radically other figurations of lettered expression. Even further down than the familiar temporal strata of the Vaiṣṇavite and Śaivite religious poetry written by the dozen authoresses ranging from Muktābāi to Rūpa Bhavānī between the thirteenth and eighteenth centuries, there exists another place in the deep, like an underwater lake, of a much older women’s writing penned by Tantric women gurus. The majority of this archaic Buddhist literature streamed out of the Swat valley in Pakistan, a locality for no less than seven known female gurus, who lived, taught, or wrote there between the eighth and eleventh centuries. After a short prologue on Swat and its recent history, the essay surveys eleven female-authored medieval Tantric works, which range in genre from ritual treatises, meditation practice-texts, and mystic poems, to literary forms that even seem evocative of contemporary women’s gendered voices: spiritual biography and autobiography empowered by a place.
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Ishaque, Nausheen. "Empowerment through disempowerment: Harem and the covert female resistance in Fatima Mernissi’s Dreams of Trespass: Tales of a Harem Girlhood." Cultural Dynamics 30, no. 4 (November 2018): 284–302. http://dx.doi.org/10.1177/0921374019828855.
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This article probes the dynamics of covert female resistance as evident in Fatima Mernissi’s only fiction work entitled Dreams of Trespass: Tales of a Harem Girlhood (1994). Mernissi’s memoir is a real account of her early childhood spent in a harem. The discussion explores the institution of the harem in terms of how it is believed to have disempowered/empowered its female inhabitants through history. With this in mind, it takes up a number of issues that surface in Fatima’s (Mernissi’s narrator in Dreams of Trespass) narrative, and which stand central to women’s situation in the harem of Fez. These include confinement and denial to spatial freedom to them, women’s desire to gain literacy and thus become intellectually enlightened, the potential of dreams, and one’s personal strength in transgressing the normative boundaries, and finally polygamy in the harem. The article argues how women’s disempowerment, designed by the patriarchal scheme of the harem life, ironically empowers them in specific ways. This view challenges the orientalist appropriations in relation to the female inhabitants of the place who are historically believed to be passive receivers of traditional patriarchy.
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Butterfield, Leah. "Towards a feminist politics of mobility: U.S. Travel and immigration memoirs." Feminismo/s, no. 36 (December 3, 2020): 129. http://dx.doi.org/10.14198/fem.2020.36.06.
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This paper challenges longstanding cultural associations that link men to mobility and women to stability by outlining what I term a feminist politics of mobility. Bringing together four contemporary memoirs that foreground journeys, I explore how U.S. women embody and represent their mobility, as well as how movement shapes their relationships to global power structures and to norms of gender and sexuality. I draw on feminist geography, feminist and queer theory, memoir studies and mobility scholarship to read Elizabeth Gilbert’s Eat Pray Love (2006), Reyna Grande’s The Distance Between Us (2012), Daisy Hernández’s A Cup of Water Under My Bed (2014), and Cheryl Strayed’s Wild (2012). Highlighting the differences between these authors’ journeys as well as the patterns across them, I ultimately find that these memoirists model a feminist politics of mobility, wherein moving through space redistributes power to women and renegotiates social relations that have historically supported women’s subordination.
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Butterfield, Leah. "Towards a feminist politics of mobility: U.S. Travel and immigration memoirs." Feminismo/s, no. 36 (December 3, 2020): 129. http://dx.doi.org/10.14198/2020.36.06.
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This paper challenges longstanding cultural associations that link men to mobility and women to stability by outlining what I term a feminist politics of mobility. Bringing together four contemporary memoirs that foreground journeys, I explore how U.S. women embody and represent their mobility, as well as how movement shapes their relationships to global power structures and to norms of gender and sexuality. I draw on feminist geography, feminist and queer theory, memoir studies and mobility scholarship to read Elizabeth Gilbert’s Eat Pray Love (2006), Reyna Grande’s The Distance Between Us (2012), Daisy Hernández’s A Cup of Water Under My Bed (2014), and Cheryl Strayed’s Wild (2012). Highlighting the differences between these authors’ journeys as well as the patterns across them, I ultimately find that these memoirists model a feminist politics of mobility, wherein moving through space redistributes power to women and renegotiates social relations that have historically supported women’s subordination.
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Yunusoglu, Eylül-Sabo-Andrada. "“The Harem Within”: The Complexity of Female Identity in Elif Shafak’s Black Milk." Caietele Echinox 43 (December 1, 2022): 354–70. http://dx.doi.org/10.24193/cechinox.2022.43.24.
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In a post-modern world where selfhood is defined by diversity and multiplicity, Elif Shafak’s Black Milk outlines how women’s experiences depict a tragic fate. In this memoir Elif Shafak writes about motherhood and authorship and the many stereotypes women face in a patriarchal society. For many women writers, motherhood became a burden, because they had to choose between being a “good” mother and a “good” author. This article aims to explore the complexity of women’s identity in Black Milk through a feminist perspective and also to analyse Elif Shafak’s feminine discourse and its empowerment process. Elif Shafak questions the norms of the patriarchal society, because it enforces a “given” identity for both women and men. Black Milk also outlines the anxiety women face when it comes to writing, motherhood and many other experiences, describing an enormous pressure put on women to reflect an ideal.
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Nasser, Deema. "Gendered Voices of Youth and Tahrir in Ahdaf Soueif’s Cairo: My City, Our Revolution." Kohl: A Journal for Body and Gender Research 2, Winter (December 1, 2016): 228–44. http://dx.doi.org/10.36583/2016020214.
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This essay is a critical reading of feminist representations of voice and nation in Ahdaf Soueif’s political memoir Cairo: My City, Our Revolution (2012) which critiques its attentiveness to both gender-inflected and family-oriented imagery. Relying on major theoretical works on autobiography and Egyptian feminism, and critical reflections of Egyptian women’s writing and the 2011 Tahrir Revolution, this essay situates Soueif’s personal and political account of the revolution at the edge of a long tradition of women’s resistance writing in Egypt. This essay also problematizes the memoir’s claim to representation because of political considerations that privilege a Western readership over a local one, despite its attempt to ingratiate itself with hybrid autobiographical writing across many intertextual mediums, a movement in contemporary Egyptian literature that has intensified since the beginning of the 21st century, revealing a need and urgency for the self-affirmation of voice and documentation of history from people’s perspectives as revolution unfolds.
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Aylon, Helène. "All Rise." Images 5, no. 1 (2011): 97–101. http://dx.doi.org/10.1163/187180011x606957.
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Abstract The performance artist Helène Aylon has, for decades, done groundbreaking work in giving artistic expression to the difficult, contradictory position of the observant Jewish feminist. Aylon is perhaps best known for the first of her series, The G-d Project. The Liberation of G-d (1996) was an installation of bibles with pieces of translucent parchment covering the individual pages. By hand, she highlighted the passages on each page where women were being hidden, rejected, or excluded. The sound of the parchment and the labor involved were part of the project, as well as the thick books, which grew to twice their original size in the course of the work, in spite of the fact that the women’s efforts consisted of highlighting their own exclusion. In this extract from her memoir, Whatever is Contained Must be Released: My Orthodox Jewish Girlhood—My Life as a Feminist Artist,she discusses the last of the series, All Rise. The memoir will be published by The Feminist Press is planned for April, 2012.-ed.
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Bökös, Borbála. "Hungary and Transylvania in Women’s Travel Writing in the 19th Century." Acta Universitatis Sapientiae, Philologica 14, no. 3 (December 1, 2022): 107–26. http://dx.doi.org/10.2478/ausp-2022-0028.
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Abstract Travel narratives written in the mid-nineteenth century served as valuable sources of information for the Western society regarding remote and exotic places as well as different cultures. Hungary and Transylvania became increasingly interesting and challenging destinations for British and American travellers, especially in the pre- and post-revolutionary periods. Julia Pardoe’s The City of the Magyar, or Hungary and Her Institutions in 1839–1840 (1840) and Nina Elizabeth Mazuchelli’s memoir, Magyarland (1881), provided extensive accounts of a multi-ethnic Hungary, discussing various populations as being distinct from the mainstream society, as well as their folklore, history, manners, and customs. In analysing Pardoe’s and Mazuchelli’s memoirs, I am interested in the ways in which they portray Hungarian otherness as contrasted to Western, more precisely British national ideals. Making use of the theories of imagology, I will argue that the perceptions of a national character (hetero-images) as well as the defining of the (travellers’) self against the Other (auto-images) are determined and perpetuated by cultural distinctions and by the various forms of cultural clash of the British and the East-Central European. Moreover, through a comparative approach, I will also look at the differences in the travellers’ perception of the same country but in two very different historical and political time periods: Pardoe’s journey in Hungary took place in 1840, before the War of Independence, while Mazuchelli visited the country in 1881, long after the Austro-Hungarian Compromise in 1867. The findings will indicate that the main features of the image of Hungarian national identity, as it is represented in the travelogues, are generated by the historical, cultural, and socio-political developments before and after the Hungarian War of Independence (1848–49).1
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Kádár, Judit. "An Exceptional Case of Women’s Self-Advocacy in Interwar Hungary: Cécile Tormay." Hungarian Cultural Studies 13 (July 30, 2020): 15–41. http://dx.doi.org/10.5195/ahea.2020.385.
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A Hungarian writer who became a prominent public figure in the Horthy era, Cécile Tormay’s (1875-1937) fame and success was principally due to her memoir, Bujdosó könyv [‘The Hiding Book’], a work published in 1920-21 that depicts the two Hungarian revolutions following World War I. This popular work enjoyed several editions during the interwar period and was translated into English and French for propaganda purposes. After World War II, Bujdosó könyv was among the first works banned by Hungarian authorities for its anti-Semitism. Hailed as the most notable female author of the interwar period, Tormay’s name rose anew after the fall of socialism in 1989. Fueled by the official biography written two years after her death in the Horthy era by the conservative professor of literature, János Hankiss, a revival in the cult surrounding Tormay’s work has taken place in recent years. Hankiss portrayed Tormay as a woman of Hungarian noble descent whose deeds were motivated by sheer patriotism. This paper contends that Cécile Tormay was embraced by the interwar elite for her active role in the counter-revolutionary conspiracy against the First Hungarian Republic.
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Wilson, Cheryl A. "Jane Austen in Mid-Victorian Periodicals." Humanities 11, no. 4 (June 22, 2022): 76. http://dx.doi.org/10.3390/h11040076.
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Victorian periodicals were an important part of the literary marketplace that shaped Jane Austen’s critical reception during the nineteenth century. Moreover, throughout the century, periodical authors used the critical conversation around Austen to create a space for themselves and their work in the press by beginning to shape a critical canon, as well as by raising and responding to questions about the nature of Victorian women’s authorship. Focusing on articles published during the mid-Victorian period (1852–1868), prior to the publication of James Edward Austen-Leigh’s 1870 A Memoir of Jane Austen, this essay considers Austen’s presence in periodical writing in the middle of the nineteenth century and explores how writers used both Austen herself and her writings to accomplish their own authorial ends.
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Palfreeman, Linda, and Jon Arrizabalaga. "Frida Stewart in Spain: Administering humanitarian aid during the Spanish Civil War." International Journal of Iberian Studies 33, no. 2-3 (September 1, 2020): 227–40. http://dx.doi.org/10.1386/ijis_00030_7.
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When a failed military coup provoked civil war in Spain in July 1936, the Spanish government made a worldwide plea for assistance. More than 2500 British men answered the call, taking up arms in defence of the democratically-elected Republican government. While this show of international solidarity has been widely documented, much less attention has been given to the massive response made by British women. Thousands of women organized nationwide campaigns to send aid to Spain. One of these women was Frida Stewart (1910–96), a young musician with a strong social conscience. As is the case with so many other women, Frida’s recollections, her memoir and correspondence, upon which the following essay is closely based, constitute a valuable historical resource for the analysis of women’s experiences during the war and give voice to those whose stories have previously gone unheard.
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Madden, Deborah. "‘Modalidades de violación’ in Lidia Falcón’s En el infierno: Ser mujer en las cárceles de España (1977)." International Journal of Iberian Studies 35, no. 1 (March 1, 2022): 41–58. http://dx.doi.org/10.1386/ijis_00062_1.
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The nefarious nexus of patriarchy and nationalism that characterized Francoist Spain (1939‐75) made sexualized violence inflicted on the state’s female prisoners an immanently political act. Focusing on En el infierno: Ser mujer en las cárceles de España (1977), the prison memoir of the communist and feminist activist Lidia Falcón, this article draws on theories of trauma, victimhood and memory to interrogate how Falcón navigates questions of (self-)representation and agency through the portrayal of rape and sexualized violence in Franco’s women’s prisons. Rape, for Falcón, is a multifaceted act that violates both the female body and the collective body politic, while the various manifestations of abuse ‐ ‘las modalidades de violación’ ‐ reify sexual and political dominance. By speaking on behalf of the female prison population, Falcón utilizes the collective voice so as to presuppose a collective victimhood that fosters solidarity amongst women and resists subjugation by the masculinist state.
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Steiner, Tina. "Scheherazade’s Achievement(s): Practices of Care in Fatema Mernissi’s Memoir, Dreams of Trespass: Tales of a Harem Girlhood, and her Creative Non-Fiction, Scheherazade Goes West." English in Africa 47, no. 3 (February 10, 2021): 121–43. http://dx.doi.org/10.4314/eia.v47i3.7s.
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The Moroccan feminist sociologist Fatema Mernissi (1940–2015) is probably best known for her pioneering scholarly work on gender equality in Islam. This paper, however focuses on her life writing: her memoir, Dreams of Trespass: Tales of a Harem Girlhood, published in 1994 and her reflections on its Eurocentric reception, which culminated in the publication of her work of creative non-fiction Scheherazade Goes West: Different Cultures, Different Harems in 2001. Written in popular genres in accessible registers, Mernissi’s texts translate her scholarly feminism into stories of the everyday in order to encourage her readers to see possibilities of feminist practices within and against oppressive social structures. Both texts deal with the way in which women’s agency is circumscribed by particular horizons of constraint determined by their social contexts and thus the texts contrast local, particular forms of constraint with more diffuse forms of oppression that characterise western modernity. This paper offers a reading of her harem childhood to trace some of the alternative modes of enacting small freedoms that the memoir documents. As becomes apparent in Mernissi’s reflections on the memoir’s reception, these achievements seem to be largely illegible within meritocratic scripts of success. In contrast, Mernissi asserts that care for self and other – via modes of storytelling, performance, artistic production and looking after one’s physical wellbeing – mark direct, albeit subtle, forms of resistance even if they are not recognised as such. Drawing on a popular cultural repertoire, the well-known figure of Scheherazade emerges in Mernissi’s texts as a central role model for women crafting pockets of resistance and webs of care. In this way, Mernissi’s texts offers a Moroccan perspective on the debate of the conditions of possibility of ordinary feminist practices inspired by popular artistic forms.
Keywords: Fatema Mernissi, life writing, Scheherazade, ethics of care, storytelling, Moroccan feminism
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Bullock, Katherine. "The Veil." American Journal of Islam and Society 26, no. 2 (April 1, 2009): 117–19. http://dx.doi.org/10.35632/ajis.v26i2.1396.
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Taking an expansive notion of what is a “veil” and recognizing its immemorialrelationship to sacredness, Jennifer Heath has put together a wonderfulcollection of essays about it. The twenty-one female contributors considerthe veil from a variety of viewpoints: academic, personal memoir, and artistic.Her introduction and epilogue presents the book’s overall goal and asummation. The main argument is that “the veil” has been (and will remain)part of human society, in countless cultures and religions, for thousands ofyears. It can be a piece of cloth, a mask, or even related to the mystery of nature (as in the ancient Greek goddess Nyx [Night], drawing the veil ofdarkness across earth, while Selene [Moon] rises wearing a veil [p. 5].).”Current debates over veiling focus only on Islamic veiling and its relationshipto women’s oppression, which politicizes and narrows the understandingof this practice.There is no singular truth to “the veil,” Heath suggests, and that is preciselythe feeling one gets, for after reading the entire collection, one is nowiser to “the” meaning of “the” veil. The “truth” of the veil, rather, is thatthe current debate over it (does it or does it not oppress women?) detractsfrom the real issues women face: ...
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Fernández-Morales, Marta. "Postmillennial cancer narratives: feminism and postfeminism in Eve Ensler’s In the Body of the World." Feminist Theory 21, no. 2 (October 14, 2019): 235–52. http://dx.doi.org/10.1177/1464700119881310.
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In the context of a new wave of women’s activism for equality, the body is once again at the centre of the discussion today, in the USA and globally. Analysing American discourses about health and illness at the turn of the twenty-first century, Tasha Dubriwny has argued that the current narratives are dominated by neoliberal and postfeminist philosophies that have thrived in a framework of biomedicalisation and self-surveillance. What happens, then, when a successful feminist artist is diagnosed with uterine cancer? How does Eve Ensler, author of The Vagina Monologues and founder of V-Day, face the fact that her life may have a painful ending? How does a woman so aware of her physical and psychological self come to terms with illness? Is she willing to put her political project aside to become a patient? Through a close reading of Ensler’s uterine cancer memoir In the Body of the World, and focusing particularly on its structure and narrative strategies, this article situates her work within the corpus of female literature about health and illness in the twenty-first century, exploring her meaning-making process in the light of the current tensions between feminism and postfeminism.
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Suyanto, Suyanto. "Diksi Bung Karno dalam Memoar Sarinah: Sebuah Analisis Wacana Kritis Feminis Model Sara Mills." Nusa: Jurnal Ilmu Bahasa dan Sastra 15, no. 1 (February 28, 2020): 134–46. http://dx.doi.org/10.14710/nusa.15.1.134-146.
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This study aims to explain the use of words or phrase categories: general form; mark and not mark; naming and androcentrism; and semantic derogation in Sarinah's memoir. The material object of this research is Sarinah's memoir, written by Bung Karno and formal object is words and phrases used in Sarinah's memoir. Obtaining the data of this study uses the refer method. Data analysis was used the matching (padan) method. This study uses a tool analysis of the theory of critical analysis of feminist stylistics in Sara Mills's model. The results of the data analysis show that naming and androcentrism, such as the soft or weak, the stupid, the short-minded, the nerimo, the beauty, and the "sex-appeal are the most used in Sarinah's memoir. The intensive use of naming and androcentrism because our lives are based on patriarchal culture. The impact of the practice of the patriarchal system is the intensive use of words and phrases that have mark or not mark, such as the movement of women, liberate women, International Women's Day, women weaving workers, Women's Day and International Women's Day. The use of general form words or phrases in Sarinah's memoirs is used at least and even semantic derogation words or phrases are not used in Sarinah's memoirs.Intisari Penelitian ini bertujuan menjelaskan pemakaian kata-kata atau frasa kategori: betuk umum; bermarkah dan tidak bermarkah; penamaan dan androsentrisme; dan derogasi semantik dalam memoar Sarinah. Objek material penelitian ini adalah memoar Sarinah, karya Bung Karno dan objek formalnya adalah pemilihan kata dan frasa yang digunakan dalam memoar Sarinah. Pemerolehan data studi ini mempergunakan metode simak. Analisis data dilakukan dengan metode padan. Studi ini menggunakan pisau analisis teori analisis wacana kritis stilistika feminis model Sara Mills. Hasil analisis data menunjukkan bahwa penamaan dan androsentrisme, seperti kaum lemah, kaum bodo, kaum singkat pikiran, kaum nerimo, kecantikannya, kejelitaannya, dan “sex-appeal paling banyaak digunakan dalam memoar Sarinah. Intensifnya penggunaan kata atau frasa penamaan dan androsentrisme karena kehidupan kita berbasis budaya patriarkhi. Dampak dari praktik sistem patriarkhi adalah intensifnya penggunaan kata dan frasa bermarkah atau tidak bermarkah,seperti pergerakan wanita, merdekalah wanita, Hari Wanita Internasional, kaum buruh tenun wanita, Hari Wanita dan Hari Internasional kaum buruh wanita. Pemakaian kata-kata atau frasa bentuk umum dalam memoar Sarinah paling sedikit dipergunakan dan bahkan kata-kata atau frasa derogasi semantik tidak digunakan dalam memoar Sarinah.
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Klimek-Dominiak, Elżbieta. "Daughters and sons of solidarity ask questions: Resistance, gender, race, and class in transgenerational women’s auto/biography, film and new media." Miscellanea Posttotalitariana Wratislaviensia 6 (October 10, 2017): 157–76. http://dx.doi.org/10.19195/2353-8546.6.13.
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Daughters and Sons of Solidarity Ask Questions: Resistance, Gender, Race, and Class in Transgenerational Women’s Auto/biography, Film and New MediaUnlike American historians challenging marginalization of women since the 1970s and theorizing usefulness of gender for history, the majority of Polish historians have been rather reluctant to address gender differences. The collapse of communism and transatlantic interest in retraditionalization stimulated interdisciplinary engendering of Solidarity. This article examines how significant, despite being strategically invisible, Solidarity women activists of the 1980s have been represented in oral history, auto/biography, film and new media as well as in dialogical genres such as auto/biography and relational memoir. The questioning of mythical visions of Solidarity focused on men and class has initially been resisted, but encouraged a debate about gender stereotypes in Poland. The early “archive fever” followed by a recent surge in transgenerational life writing on women oppositionists exploring gender along with ethnicity, class and age has helped to construct multi-layered portraits of anti-communist resistance. In the award-winning documentary and extended interviews, several Solidarity women activists evaluate critically their occasional complicity with posttotalitarian system, which may complicate ultranationalist narratives and fill a number of gaps in postcolonial and post-totalitarian studies of Central and Eastern Europe.Дочери и сыны солидарности задают вопросы: сопротивление, пол, раса и класс в межгенерационной авто/биографии женщин, кино и новых медиаВ отличие от американских историков, бросающих с 1970-х годов вызов маргинализации женщин и теоретизирующих полезность пола для истории, большинство польских историков довольно неохотно занимались гендерными различиями. Крах коммунизма и трансатлантический интерес к возрождению традиций стимулировал междисциплинарное создание »Солидарности«. В этой статье рассматривается как женщины-активисты »Солидарности« 1980-х годов, которые делали все возможное, чтобы стать стратегически невидимыми, были показаны в устной истории, в автобиографии и кино, новых медиа а также в таких диалогических жанрах, как автобиография и мемуары. Опрос, касающийся мифического изображения »Солидарности«, сосредоточен на мужчинах и классах, был отвергнут, но побудил дискуссию о гендерных стереотипах в Польше. Ранняя »архивная лихорадка«, за которой последовал недавний всплеск трансцендентной жизни, в рамках которой писалось о женщинах-оппозиционерах, изучающих гендерные аспекты, а также этническую принадлежность, класс и возраст, помогла построить многослойные портреты антикоммунистического сопротивления. Анализ успешного документального фильма, который был подвергнут критике со стороны женщин »Солидарности« за их соучастие в посттоталитарной системе, может также усложнить ультранационалистические рассказы и заполнить ряд разрывов в постколониальных исследованиях Центральной Европы.
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Johnson, Ron. "Women's Work: A Memoir." Missouri Review 20, no. 1 (1997): 117–28. http://dx.doi.org/10.1353/mis.1997.0004.
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Garonja Radovanac, Slavica. "FIKCIONALNA DELA O GOLOM OTOKU U SRPSKOJ KNjIŽEVNOSTI KOJU PIŠU ŽENE / ŽENE KAO GLAVNE, FIKCIONALIZOVANE JUNAKINjE U ROMANIMA O GOLOM OTOKU." Lipar XXIII, no. 78 (2022): 63–96. http://dx.doi.org/10.46793/lipar78.063g.
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In this paper, we consider the phenomenon of fictionalization of the theme of the Goli otok in novels (mostly written by women), as a kind of collective and ideological trauma, which has been a taboo topic in socialist Yugoslavia for more than 40th years. Biljana Jovanović (Duša, jedinica moja, 1984) and Boba Blagojević (Skerletna luda, 1991) started the topic of Goli otok in a women’s ideological novel and after that the topic of IB Resolution continued through different genres: publicist- memoir work (Ženi Lebl), autobiographical novel (Vera Cenić), or a real postmodern novel by Milka Žicina (Sve, sve, sve, 2002), all the way to a modern novel, with a fictional protagonist, which combines all the experiences of the Goli Otok`s victims (G. Zalad, Plava tišina, D. Grossman, Život se sa mnom mnogo poigrao). We divide the origin of these novels into the works of women writers who personally experienced torture of Goli otok (Ž. Lebl, V. Cenić, M. Žicina, Eva Panić), and those who were born much later, dealt with this topic completely through the fiction (G. Zalad, D. Ilić, D. Grosman). V. Cenić and M. Žicine also created several impressive literary heroines, whose degree of fictionalization we have specifically analyzed here as literary heroines (Brana Marković, Dragica Srzentić, Slavka Pogačarević, Eva Panić Nahir), as well as the type of antiheroine in the character of Marija Zelić, the warden of the camp on Goli Otok. These are works whose literary qualities should be much more present on our literary scene, and with a good film adaptation they should enter a much wider, public reception, especially since film as a medium is the main subtext of two modern novels about Goli Otok (G. Zalad, D. Grosman).
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Hoyle, Sally. "So Many Lovely Girls." Genealogy 2, no. 3 (August 24, 2018): 33. http://dx.doi.org/10.3390/genealogy2030033.
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A little over 20 years ago I was reunited with my daughter, who had been adopted at the age of six weeks. We have become friends since then and I felt I owed it to her to explain the circumstances surrounding her birth and relinquishment. I have done this as an adult, in conversation with her, but there is only so much we can say to each other face to face. She knows my adult self but I wanted her to understand how my teenage self felt about losing a child, and to understand the shame surrounding illegitimacy at the time she was born. In the 1960s in England, “bastard” was still a dirty word. My parents dealt with the shame of my pregnancy by never speaking of it. They built a wall of silence. It took me 30 years to climb that wall: The attitudes I encountered as a teenager have not disappeared altogether. The shame of teenage pregnancy is still very much an issue in Ireland, for instance. The events I have written about took place in the late 60s in England, and I have tried to give a picture of the culture of the time. Women who gave birth to illegitimate children in the 60s and into the 70s were judged harshly by doctors and nurses and treated with less care than married women. So Many Lovely Girls is an extract from a longer memoir piece, which could be termed relational, because it deals with an intimate relationship, but I prefer the classification of autogynography, a term coined by feminist critic Donna Stanton in The Female Autograph. Stanton uses the term to differentiate women’s life writing from men’s.
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Maftuh, Moh Syukron. "PROSES INTERAKSI KOMUNIKASI SISWA SMP DALAM DISKUSI KELOMPOK MATERI PERSAMAAN GARIS LURUS DITINJAU DARI JENIS KELAMIN." INSPIRAMATIKA 6, no. 1 (June 30, 2020): 17–29. http://dx.doi.org/10.52166/inspiramatika.v6i1.1905.
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This research aims to describe the process of communication interaction within group discussion based on gender in Mathematics’ study particularly straight-line equations. The research was carried out at 8th grade in SMP Negeri 1 Driyorejo The research involves two kind of subject namely the women's group and the men's group which each group consisted of three students and is a descriptive study with a qualitative approach. There are three stages in collecting students’ data: interview before the class started, record each conversation during the group discussion, and interview after the learning process. In terms of validity of the research, those data are checked using time triangulation. The results show that women’s group are more active during discussion compare with man’s group. While all member in women’s group communicated actively in solving problem, some of men’s member contributed in solving problem in worksheet
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Martin, Scott C. "David M. Fahey. The Women’s Temperance Crusade in Oxford, Ohio; Including a Sketch of the Family of Dr. Alexander Guy (1800–1893) with Excerpts from the Memoir of William Evans Guy. Lewiston: Edwin Mellen Press, 2010." Social History of Alcohol and Drugs 26, no. 1 (January 2012): 104. http://dx.doi.org/10.1086/shad26010104.
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Ring, Richard R. "Women's Memories, Women's Memoirs of the Great War." Collection Management 15, no. 3-4 (July 21, 1992): 301–52. http://dx.doi.org/10.1300/j105v15n03_05.
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Whitlock, Gillian. "Consuming Passions: Reconciliation in Women's Intellectual Memoir." Tulsa Studies in Women's Literature 23, no. 1 (April 1, 2004): 13. http://dx.doi.org/10.2307/20455168.
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Estelle Carol. "The Chicago Women's Graphics Collective: A Memoir." Feminist Studies 44, no. 1 (2018): 104. http://dx.doi.org/10.15767/feministstudies.44.1.0104.
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Carol, Estelle. "The Chicago Women's Graphics Collective: A Memoir." Feminist Studies 44, no. 1 (2018): 104–24. http://dx.doi.org/10.1353/fem.2018.0014.
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COOKE, MIRIAM. "MEMOIR NO SUCH THING AS WOMEN'S LITERATURE." Journal of Middle East Women's Studies 1, no. 2 (April 2005): 25–54. http://dx.doi.org/10.2979/mew.2005.1.2.25.
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Moon, Gretchen Flesher. "Intimate Reading: The Contemporary Women's Memoir (review)." Biography 26, no. 3 (2003): 461–63. http://dx.doi.org/10.1353/bio.2003.0073.
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Abdo, Nahla, and Nawal El Saadawi. "Memoirs from the Women's Prison." Canadian Journal of Sociology / Cahiers canadiens de sociologie 21, no. 2 (1996): 287. http://dx.doi.org/10.2307/3341992.
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Allen, M. D., Nawal El Saadawi, and Marilyn Booth. "Memoirs from the Women's Prison." World Literature Today 69, no. 4 (1995): 864. http://dx.doi.org/10.2307/40151802.
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El Ouedrhiri, Sara, and Hafsa El Mesbahi. "Resistance in the New Harem Era: Gendered Violence and the Power of Media in the Time of Covid-19 in Morocco." Feminist Research 4, no. 1 (August 26, 2020): 28–41. http://dx.doi.org/10.21523/gcj2.20010104.
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In a time of great uncertainties, the world witnesses, for the very first instance in its modern history a global lockdown spanning over all the vital spheres of economic and social life. At this point, when neither leaving home nor staying is an option, the surge to exponentially study the manner in which human life has evolved and been shaped under such circumstances gained valuable interest, especially within the circles of feminist and human rights-based academia. Respectively, researchers argue that the weight of the lockdown and movement restriction policies fall discriminately on men and women as they are interestingly leading such novel experiences in different ways. Men, by having no concern mounting to the priority of protecting themselves from being inflicted by this global pandemic and maintaining their economic roles as the traditional family providers, and women on the margin side of the picture, having to deal with the burden of surviving the dangers that the outside and the inside worlds akin dispose. Henceforth, this article is an attempt to probe the dynamics of the private sphere considering the intersections between oppression, seclusion and violence and the development of new dynamics of resistance by transposing from the early 20th century’s feminine experience of confinement and the 21st century’s global lockdown in the time of the Covid-19 pandemic. This research considers the stories presented by the renowned Moroccan sociologist and author “Fatima Mernissi”, who herself lived a different kind of seclusion behind the colossal and skillfully ostentatious walls of the harem of the city of Fez in the forties of the previous century and this shall be done mainly by reviewing the stories of resistance presented in her memoir Dreams of Trespass: Tales of a Harem Girlhood; and by considering the stories of five respondents who have shared with us their accounts through various social media outlets upon the surge of the pandemic in Morocco. The purpose here is to unravel the convergences between women’s experiences of gender-based violence (GBV) in both confinements and to foreground the value, significance and challenges these feminine insights being in them simple acts of everyday life constitute in establishing a discourse of resistance and feminine empowerment vis-à-vis patriarchy, seclusion and gender-based violence.
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Zhygun, Snizhana. "RETICENCE AS A STRATEGY OF THE WOMEN’S AUTOBIOGRAPHICAL TEXT OF SOVIET TIMES." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 32–38. http://dx.doi.org/10.28925/2412-2475.2021.17.4.
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The subject of the study is the system of reticence techniques in the women’s autobiography of O.Ivanenko, the Ukrainian writer of the 20th century. Western theorists of women’s autobiography (M.Mason, E.Jelinek) considered relativity, fragmentation, nonlinearity as qualities that define it. However, the concept of L. Gilmore, who considers autobiography as a writing strategy that constructs its object, allows us to raise the question of the potential functions of constructive techniques in this text. These and many other studies analyze the autobiographies of women in the Western world, leaving aside the writings of Eastern Europeans, however, the works of those who had to live in Soviet conditions are of particular interest for various reasons. The aim of the proposed study is to show the peculiarities of the creation and functioning of the women’s autobiographics in ideological societies on the example of Oksana Ivanenko’s memoirs Always in Life. The research methodology is based on women’s studies and discursive analysis. As a result of the study, it was found that in Ivanenko’s memoirs the theme of creative self-realization and literature as a whole pushes aside the narrative that Western theorists consider to be the main one for women's biography: comprehending their own female experience (first of all, love, marriage, motherhood). The relativity, embodied in the genre of the essay, allowed the author to talk about oneself, when she wanted it, and at the right moment to return to the pseudo-object. The non-linearity of the narrative helps to emphasize advantageous moments and to avoid forced chronology. But fragmentation and heterogeneity allow the woman writer not to build a holistic narrative about oneself, but to offer «flickering» content to readers. Thus, feeling ideological pressure, the author escaped memories not only of the difficult period in Ukrainian history, but also of important events in her life, ignoring her true experience. This means that an autobiographical work may be called upon not to record a true experience but to create a socially acceptable version of the writer.
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Guthrie, Neil. "Eighteenth-Century Women's Writing and the “Scandalous Memoir.”." Scriblerian and the Kit-Cats 51, no. 1 (2018): 68–69. http://dx.doi.org/10.5325/scriblerian.51.1.0068.
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Goldenberg, Myrna. "Women's Voices in Holocaust Literary Memoirs." Shofar: An Interdisciplinary Journal of Jewish Studies 16, no. 4 (1998): 75–89. http://dx.doi.org/10.1353/sho.1998.0076.
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Kaczan, Gisela Paola. "Women’s travel. Representations to vacation on the sea coast, Mar del Plata, Argentina, since 1920-1940." Memorias, no. 42 (September 30, 2020): 114–45. http://dx.doi.org/10.14482/memor.42.982.
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Elahi, B. "Fake Farsi: Formulaic Flexibility in Iranian American Women's Memoir." MELUS: Multi-Ethnic Literature of the United States 33, no. 2 (June 1, 2008): 37–54. http://dx.doi.org/10.1093/melus/33.2.37.
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