Relevant bibliographies by topics / Women artists in fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Women artists in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Women artists in fiction"

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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.

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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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Flint, Azelina. "A Marble Woman: Is the omen good or ill? Louisa May Alcott’s exposé of Nathaniel Hawthorne’s repressed individualism in her domestic horror fiction." Horror Studies 14, no. 1 (April 1, 2023): 9–27. http://dx.doi.org/10.1386/host_00059_1.

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This article reassesses the place of Louisa May Alcott’s pseudonymous domestic horror fiction in the wider canon of her work. Traditionally, Alcott’s domestic horror writing has been viewed as an expression of her repressed authorial individualism and desire for incorporation into a male literary tradition. Through examining Alcott’s allusions to Nathaniel Hawthorne, I argue that her domestic horror writing exposes the traumatic repercussions of male individualism for women in the work of her contemporaries. Her pseudonymous horror novella, A Marble Woman (1865), appropriates Hawthorne’s allusions to the Pygmalion myth in his earlier novel, The Marble Faun (1860), to demonstrate that the male artist’s preoccupation with a lifeless muse is contingent upon acts of psychological abuse. Alcott interrogates Hawthorne’s elevation of the female copyist to demonstrate that Hawthorne only endorses women’s art when it supports male traditions of creativity, thereby placing women in a subordinate role that stunts their creative power. In place of copyism, Alcott promotes an equal relationship between male and female artists that enables women to critique the work of men. Her domestic horror writing should therefore be read as satirical commentary on the elevation of male artists in the work of her contemporaries in the Concord circle.
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Diller, Christopher. ""Fiction in Color": Domesticity, Aestheticism, and the Visual Arts in the Criticism and Fiction of William Dean Howells." Nineteenth-Century Literature 55, no. 3 (December 1, 2000): 369–98. http://dx.doi.org/10.2307/2903128.

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Given that William Dean Howells was the leading spokesperson for literary realism in the late nineteenth century, critics have traditionally cited him for his failure to define a formal aesthetic theory, or, more recently, they have located such a theory in its very absence. Neither view acknowledges how Howells appropriated a central tenet of genteel society-domesticity-as ground for a pragmatic appraisal of fine art under the impress of capitalism. Especially in his fictional descriptions of painting and illustration, Howells delineates how disinterested rationales of fine art like aestheticism depend upon the aesthetic equivalent of the sexual double-standard: women are valorized as moral authorities but denigrated as artists so that men can make art without the stigma of commercialism. Through doubly gendered artists and feminized artistic practices, Howells critiques the capitalist logic that reduces aesthetics to an epiphenomenon of the market or to self-referential theories of the artwork. He demonstrates instead that art objects are ultimately defined by the ethical affiliations they bear to other social and aesthetic practices. In his criticism and fiction of the late 1880s and early 1890s, then, femininity emerges as a crucial rhetorical strategy that enabled Howells to represent and rationalize the paradoxical nature of fine art in capitalist society.
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Lajta-Novak, Julia. "Father and Daughter across Europe: The Journeys of Clara Wieck Schumann and Artemisia Gentileschi in Fictionalised Biographies." European Journal of Life Writing 1 (December 5, 2012): 41–58. http://dx.doi.org/10.5463/ejlw.1.25.

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German pianist Clara Wieck Schumann and Italian painter Artemisia Gentileschi were both tutored by their fathers from an early age and made their mark as great European artists. Their art took them both across the continent, where they met many other famous historical persons. Their lives have not only been recorded in biographies but have also been retold in several novels, or ‘fictionalised biographies’. The fictionalised biography is an interesting hybrid genre, placed somewhat uncomfortably between historiography and the art of fiction, which permits it to disregard certain expectations raised by so-called ‘factual’ biographies (e.g. that authors should strive for ‘objectivity’ or ‘truthfulness’). The relationship between fact and fiction can thus be re-negotiated, following the author’s ideological inclinations and their imaginative closure of historiographical gaps. Beginning with some general remarks on fictionalised biographies of ‘exemplary women’, this paper then examines Janice Galloway’s Clara (2002) and Susan Vreeland’s The Passion of Artemisia (2002), focusing on the complex father-daughter relationships that Clara Wieck Schumann and Artemisia Gentileschi undoubtedly experienced, and which offered the authors ample ground for a critique of historical gender relations and hierarchies. The analyses will concentrate on the heroines’ journeys in Europe. The paper examines the ways in which the two fictional rewritings of historical women artists’ lives foreground gender aspects and make use of the narrative privileges of fictionalised biography to project contemporary feminist ideas onto historical characters and events, and explores the function of the featured European locales with regard to the protagonists’ personal development in the novels.The heroines’ ventures into foreign lands are revealed to function as an impulse towards a changing perception of their fathers as well as themselves.
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Rewa, Natalie. "Le Madonne Feministe: Italian Canadian Women Playwrights." Canadian Theatre Review 104 (September 2000): 24–28. http://dx.doi.org/10.3138/ctr.104.004.

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Trying to discuss what Italian Canadian women playwrights have in common—what concerns and dramatic methods—might seem to be an impossible task. The four playwrights under consideration here, Maristella Roca, Caterina Edwards, Mary Melfi and Toni Ellwand, have demonstrated different levels of theatrical engagement: Maristella Roca and Toni Ellwand are primarily theatre artists and are currently collaborating on a production using the poetry of Gianna Patriarca, while Caterina Edwards and Mary Melfi have each written only one play; Edwards writes fiction; and Melfi has published several collections of poetry and two novels. A significant point of intersection in their plays is the problem of how to represent the “performances” of women. While social performance is represented in many poems, short stories and novels by Italian Canadian women writers, writing for a female actor is quite a different matter. These four have chosen to make plays that present a liberating female presence, one that offers fresh possibilities for verbal expression and behaviour.
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Flothow, Dorothea. "Aphra Behn in Crime Fiction – The Writer’s Afterlives in Recent Novels." Crime Fiction Studies 5, no. 1 (March 2024): 83–97. http://dx.doi.org/10.3366/cfs.2024.0112.

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As part of a wider trend of remedying the past neglect of historic women, their lives are currently being reimagined by writers and artists. This has led to a proliferation of biopics, biofiction and (popular) biographies dedicated to this task. Crime fiction writers, likewise, have approached secret, hidden lives of forgotten females. This paper examines how recent crime novels have re-created the life of the early-modern writer Aphra Behn (1640–1689), employing typical features of the genre. Aphra Behn has recently received much attention: she is famed as the first female writer to have ‘made money by [her] pen’ (Woolf), and her prose narrative Oroonoko has become central to the history of the early novel. Still, many of the details of her life have remained hidden, leaving crime writers with fascinating possibilities to explore. Next to analysing selected novels, the article examines the wider possibilities of crime writing as life-writing.
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Chatraporn, Surapeepan. "The Defiance of Patriarchy and the Creation of a Female Literary Tradition in Contemporary World Popular Fiction." MANUSYA 9, no. 3 (2006): 35–53. http://dx.doi.org/10.1163/26659077-00903002.

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Laura Esquivel, Mexican, Joanne Harris, British, Fannie Flagg, American, and Isak Dinesen, Danish, are women writers who have written contemporary world popular fiction: Like Water for Chocolate, Chocolat, Fried Green Tomatoes at the Whistle Stop Café, and the short story 'Babette's Feast'. Out of their desire to reflect their female identity, these women writers of four different nationalities have concertedly rejected the long-running male literary tradition, in which male characters rule and dominate and, in turn, have created a female literary tradition in which their female characters not only assert a solid and secure place in the world but also are allowed to display their female strength, resourcefulness and dominance. These contemporary women writers have brought about significant changes in contemporary fiction in which they terminate literary stereotypes and discard traditional female roles and 'untrue ' images imposed on women. These women authors reduce the male role, ridicule male characters and reverse male authority. While lessening the male role, they increase the female role, make female characters the focus of their works, and reverse former traditional practice by portraying male characters as marginal, subordinate or complementary to female interests and desires. Besides, rather than penalizing 'bad girls' these authors reward 'bad girls' and in some cases allow them to prevail in the end. The women writers, furthermore, step over the boundary into the domain of art and create female characters who take the role of accomplished artists. Theme-wise these authors determinedly deal with such distinctive feminine concerns as food, cooking, and nurturing, traditionally treated as trivial and unimportant, by drawing attention to their universal significance and elevating them to serious literary subject matter.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v19i2.251.

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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 18, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v18i2.251.

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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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ABELIOVICH, RUTHIE. "Work and Play: Rolf Hochhuth's The Representative in Tel Aviv (1964)." Theatre Research International 45, no. 3 (October 2020): 326–31. http://dx.doi.org/10.1017/s0307883320000334.

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This paper probes into the 1964 Israeli performance of Rolf Hochhuth's controversial drama The Representative. Staged by Habima National Theatre under the direction of Avraham Ninio, the majority of the cast engaged in this production comprised European-born Jewish refugees and Holocaust survivors. In its cultural context, the theatrical image of Jewish refugees dressed in Nazi uniforms or, conversely, staging visual, gestural or aural markers of Auschwitz prisoners imbued the drama with political meanings, triggering a debate about agency and forms of social and material participation in the aftermath of calamity. Examining the subterranean world of artists and craftsmen and women whose labour is deliberately obscured from view, I argue that the work of theatre emerges as a creative and generative energy that filters from the staged fiction into the ‘real’ world.
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Dissertations / Theses on the topic "Women artists in fiction"

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Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.
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Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.

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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.
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Chambers, Jacqueline M. "The needle and the pen : needlework and women writers' professionalism in the nineteenth century /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999278.

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Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.

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Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.
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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.

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Davis, Peter B. "The curve of Kate's nose." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1041883.

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My creative thesis project will be a loosely composed story consisting of fragments of prose, poetry, and possibly random notes and/or letters. In length, my project will be somewhere between fifty and a hundred pages.The premise of my story will be this: Henry Egan is a painter. One day, Henry Egan paints a line that he believes is the first line of his masterpiece. (Henry Egan longs for the immortality afforded to the creators of masterpieces. He has waited, and nearly given up, on the divine luck required to be immortal.) Now, Henry Egan believes he has begun his masterpiece. He believes he is painting with genius and that his genius will be remembered. He is so sure (or, possibly, unsure) that this painting will ensure his immortality that he is documenting its completion.This is my creative project: The journal/study-guide that Henry Egan writes while painting his masterpiece. There is, of course, a problem. Henry Egan's masterpiece is of a woman he is in love with, Kate. She is both the inspiration and subject of his masterpiece. He associates his masterpiece and Kate so strongly that difficulties with Kate create difficulties in painting, and visa-versa. This problem manifests itself in a variety. At any rate, Henry Egan's inability to clearly distinguish artistic creation from reality is an issue, and the major part of the plot and theme revolve around this difficulty.The significance of this problem I do not feel I can accurately-judge, given that my feelings about this problem are of little significance compared to the feelings of the reader. I do not see how a writer can accurately judge (or impose upon) the significance of a problem he or she has invented.For lack of a better phrase, I will say that my project could be categorized as `stream of conscious' writing.
Department of English
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Guth, Gwendolyn. ""A world for women": Fictions of the female artist in English-Canadian periodicals, 1840-1880." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ45175.pdf.

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Hoops, Janet Lynn. "Women in Rohinton Mistry's fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ46285.pdf.

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Murphy, Maria Christine. "Parts of Women." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2748/.

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Parts of Women contains a scholarly preface that discusses the woman's body both in fiction and in the experience of being a woman writer. The preface is followed by five original short stories. "Parts of Women" is a three-part story composed of three first-person monologues. "Controlled Burn" involves a woman anthropologist who discovers asbestos in her office. "Tango Lessons" is about a middle-aged woman who's always in search of her true self. "Expatriates" concerns a man who enters the lives of his Hare Krishna neighbors, and "Rio" involves a word-struck man in his attempt to form a personal relationship.
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Books on the topic "Women artists in fiction"

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Woolson, Constance Fenimore. Women artists, women exiles: "Miss Grief" and other stories. New Brunswick: Rutgers University Press, 1988.

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Sills, Leslie. Visions: Stories about women artists. Morton Grove, Ill: A. Whitman, 1993.

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Sills, Leslie. Visions: Stories about women artists. Morton Grove, Ill: A. Whitman, 1993.

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Sills, Leslie. Visions: Stories about women artists. Morton Grove, Ill: A. Whitman, 1993.

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Diehl, Margaret. Me and you. New York: Pocket Books, 1990.

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Amidon, Stephen. The primitive. Hopewell, N.J: Ecco Press, 1995.

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Forero, Angélica Ávila. Museo voraz. Bogotá: Laguna Libros, 2020.

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Jim, Morgan. The artist's wife. Ringwood, Vic: McPhee Gribble Publishers, 1995.

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Webb, Peggy. The Mona Lucy. New York: Silhouette Books, 2003.

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Drake, Monica. Clown Girl: A novel. Portland, Or: Hawthorne Books & Literary Arts, 2006.

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Book chapters on the topic "Women artists in fiction"

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Renk, Kathleen. "“The Female Artist’s Erotic Gaze in Neo-Victorian Fiction”." In Women Writing the Neo-Victorian Novel, 23–51. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48287-9_2.

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Heilmann, Ann. "The Portrait of the Artist as a Young Woman." In New Woman Fiction, 155–93. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230288355_6.

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Durcan, Sarah. "Documentary Fiction." In Memory and Intermediality in Artists’ Moving Image, 159–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47396-9_6.

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Woolf, Virginia. "Women and Fiction." In Gender, 18–28. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-137-07412-6_2.

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Place, Janey. "Women in film noir." In Popular Fiction, 152–68. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003391258-16.

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Rochester, Emma. "Women Pilgrimage Artists and Their Lineages." In Women and Pilgrimage, 95–116. GB: CABI, 2022. http://dx.doi.org/10.1079/9781789249392.0008.

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Rose, Lucy Ella. "Feminist Readings and Poetic Paintings." In Suffragist Artists in Partnership. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421454.003.0007.

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Chapters 6 and 7 are linked in their exploration of artists’ readings, literary sources and subjects, and in their focus on paintings of women and water: from the drowned ‘fallen woman’ in George’s work to the empowered mermaids in Evelyn’s work. Chapter 6 explores the Wattses’ private library, their conjugal reading practice, and Mary’s engagement with contemporary feminist writers and writings, before discussing George’s series of female-focused social-realist paintings inspired by poetry, in order to show how the couple engaged with, were inspired by, and contributed to early feminist literary and visual culture. It focuses specifically on Mary Watts’s readings of early feminist writings and on George Watts’s paintings provoked by articles and contemporary debates on ‘fallen women’, female suicide and the exploitation of women. The author aims to show how the Wattses were influenced by writers engaging with issues at the heart of Victorian feminism, and to reveal Mary’s interactions with writers of New Woman fiction. This further reveals the Wattses’ progressive socio-political positions, and especially Mary’s keen – if largely private – interest in early feminist writing and culture during her marital years, to which she more actively contributed in widowhood.
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Gardner-Huggett, Joanna. "Strategies of Artistic Survival: Julia Thecla’s Science Fictions of the 1960s." In American Women Artists, 1935–1970, 109–24. Routledge, 2017. http://dx.doi.org/10.4324/9781315097329-9.

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Cole, Jean Lee. "Coda." In How the Other Half Laughs, 149–58. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826527.003.0006.

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The comic sensibility can ultimately be described as a way to make sense of trauma through collective feeling. This chapter offers avenues to explore further, especially the comic sensibility as expressed by women on stage, in comic strips, in fiction, and in art. Initial readings of strips by Grace Gebbie Wiederseim (later Grace Drayton, creator of the Campbell’s Soup Kids), Katherine P. Rice, and Marjorie Organ show that women comic strip artists presented a singularly grotesque vision of American domestic life and the courtship rituals of the New Woman. Paintings of Edith Dimock Glackens, wife of William Glackens, also display the comic sensibility through a visceral engagement with color and the grotesque possibilities of the human form.
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Van de Peer, Stefanie. "Selma Baccar: Non-fiction in Tunisia, the Land of Fictions." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0004.

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This chapter discusses a controversial icon of women in Tunisia, Selma Baccar, Tunisia’s first lady of filmmaking, an instigator and a fiercely independent woman still celebrated for her films and politics. Her first film Fatma 75 (1975) carried an intricately political statement of feminist defiance. The film looks at the time of independence and the subsequent struggle for women to gain their rights under the first president, Habib Bourguiba. Tunisia was a land of fictions, and even though Baccar roots her films in the reality of everyday life, most of them are essay films, due to restrictions put on the filmmaker by the Tunisian censor. Baccar, an intellectual artist, identifies strongly with her heroine and places her in a detailed historical context in order to analyse and critique Tunisian attitudes. She looks at past revolutions and women’s issues and in doing so, has served as women’s national memory. Her importance as documenter of the past has become central to 2011’s so-called ‘Jasmine Revolution’, as she now sits on the Assemblée constituante (Constitution Assembly) composed of elected members who are making an attempt at re-writing the Tunisian constitution.
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Conference papers on the topic "Women artists in fiction"

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Akopyan, A. O., and L. A. Kulagina. "Functional Preparedness of Women-Martial Artists." In Proceedings of the First International Volga Region Conference on Economics, Humanities and Sports (FICEHS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.200114.204.

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Narayanan, Vasanth. "The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.

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Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.
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Chetia, Barnali. "WOMEN IN SCIENCE FICTION-ECHOES FROM AN UNINHIBITED WORLD." In World Conference on Women’s Studies. TIIKM, 2016. http://dx.doi.org/10.17501/wcws.2016.1107.

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Adriati, Ira, and Almira Zainsjah. "Analysis of the Aesthetic Value of Video Art by Indonesian Women Artists." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338080.

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Alieva, Rahilya, and Nikolai Myradimov. "Depiction of the feat of women of Kyrgyzstan in fiction and nonfiction." In Современные проблемы филологии. Киров: Межрегиональный центр инновационных технологий в образовании, 2022. http://dx.doi.org/10.52376/978-5-907623-44-6_006.

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Casibual Jr., Joseph P. "Dichotomizing Narratives on Post-Colonial Filipina: Inference from Nick Joaquin and Estrella Alfon’s Fiction." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-1.

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This paper examines texts written by two renowned Filipino post-colonial writers in the guise of motifs and forms of representations of post-colonial Filipina women. Dichotomizing styles of narrative, this textual exploration aims to frame how female characters were re/presented by two authors in terms of virtue, vices, passion, and struggles, to determine images that were used in underpinning societal roles of the female characters, and to identify the level of representation used by each author. I utilize three stories by the male writer Nick Joaquin – Mayday Eve, Summer Solstice, and Three Generations; and three stories by the female writer Estrella Alfon –Servant Girl, Magnificence, and Low Wall. Furthermore, the study compares representations of women by a male and female author, whether unintentionally or unwittingly, in conjunction with the period when women were faced with the problem of adapting to their identities as women brought about by colonization. Clearly, Joaquin’s narratives significantly lean on a less-feminist depiction, which contrasts with Alfon’s re/presentation. Images of being weak, frail, submissive, and dependent, are dominant in Juaquin’s characters, while Alfon possesses the opposite. There is an apparent dichotomy of representation between the authors, resulting in a regulated level of representation of Joaquin’s fiction concurrent with a respected representation of Alfon’s fiction.
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Andreopoulou, Areti, and Visda Goudarzi. "Reflections on the Representation of Women in the International Conferences on Auditory Displays (ICAD)." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.031.

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This paper investigates the representation of women researchers and artists in the conferences of the International Community for Auditory Display (ICAD). In the absence of an organized membership mechanism and/or publicly available records of conference attendees, this topic was approached through the study of publication and authorship patterns of female researchers in ICAD conferences. Temporal analysis showed that, even though there has been an increase in the number of publications co-authored by female researchers, the annual percentage of female authors remained in relatively unchanged levels (mean = 17.9%) throughout the history of ICAD conferences. This level, even though low, remains within the reported percentages of female representation in other communities with related disciplines, such as the International Computer Music Association (ICMA) and the Conferences of the International Society for Music Information Retrieval (ISMIR), and significantly higher than in more audio engineering-related communities, such as the Audio Engineering Society (AES).
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Ершова, Н. А. "“TEMPLE OF THE RUSSIA’S HEROES FAME”. HEROES IN HISTORIOGRAPHY AND ARTISTIC CULTURE OF THE EARLY 19TH CENTURY." In Образ героя. От прошлого к настоящему. Crossref, 2023. http://dx.doi.org/10.54874/9785605054252.2023.1.10.

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Представление о героическом в российской истории в начале XIX в. происходило благодаря совместным устремлениям историков, писателей, художников. Эпически-возвышенные характеристики исторических персонажей соответствовали определенным каноническим представлениям о герое истории, не предполагавшем противоречивости. Пример сочинения П. Ю. Львова раскрывает особенности беллетризации деятельности героев российской истории, создания словесных монументов, готовых для воплощения скульптором или художником. Творчество Н. М. Карамзина, всецело разделявшего такой подход, свидетельствовало о продвижении по пути объективности и критики в истории. Idea of a heroic personage in Russian history of the early 19th century had been forming in common aspiration of the historians, writers, artists. Epic and sublime images of the historic figures appeared in accordance with certain canonic rules of the heroes’ representation. P. Lvov’s book is an example of historic popular fiction with the heroes presented like verbal monuments ready to be depicted by a sculptor or painter. Great Russian historian N. Karamzin who contributed to this way of commemoration, in his historical writings moved forward in direction of the historical objectivity and critics.
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Ramadan, Lina Nabih. "The Role of Women Artists in Qatar and the Representation of their Work in Mathaf: Arab Museum of Modern Art." In Qatar Foundation Annual Research Conference Proceedings. Hamad bin Khalifa University Press (HBKU Press), 2016. http://dx.doi.org/10.5339/qfarc.2016.sshasp2487.

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Wang, Yunyi. "Onlookers of Modernity: Knowledge Anxiety and Consumption in Fiction of Chinese Women Writers in the Early 20th Century." In The Twelfth International Convention of Asia Scholars (ICAS 12). Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557820/icas.2022.087.

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Reports on the topic "Women artists in fiction"

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Galenson, David. Who Were the Greatest Women Artists of the Twentieth Century? A Quantitative Investigation. Cambridge, MA: National Bureau of Economic Research, February 2007. http://dx.doi.org/10.3386/w12928.

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Latin American Artists in Washington Collections. Inter-American Development Bank, August 1994. http://dx.doi.org/10.18235/0006223.

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Twenty-four artworks by major Latin American artists, from the Hirshhorn Museum and Sculpture Garden, the National Museum of Women in the Arts, the Art Museum of the Americas, the Samuel M. Greenbaum 1989 Trust, and the IDB Collection.
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Two Visions of El Salvador. Inter-American Development Bank, September 2000. http://dx.doi.org/10.18235/0006436.

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29 paintings and 1 sculpture by artists (including two women) from the early to late modern period of the 20th century, and 36 contemporary folk objects form this exhibition which juxtaposes the art of two different sectors of society ­the formally trained and the spontaneous, reflecting the circumstances and the social environments of each, but making all part of the national memory. The works come from the National Collection, the Julia Díaz Foundation-Museo Forma, and the INAR Foundation collection.
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