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Journal articles on the topic 'Women artists in fiction'
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1
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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Olive, Sarah. "Romeo and Juliet’s Gothic Space in YA Undead Fiction." Borrowers and Lenders The Journal of Shakespeare Appropriations 15, no. 1 (September 11, 2023): 23–39. http://dx.doi.org/10.18274/bl.v15i1.340.
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Many previous works have demonstrated that Shakespeare’s Romeo and Juliet offers gothic authors, directors, and other artists a hospitable topos. I extend this critical corpus to consider the way in which young adult (YA) undead novels—written by American women writers within a few years of each other in the early twenty-first century—understand the Capulet crypt as a gothic space. I use the term “undead” throughout since although the focus of this fiction is on vampires, some texts also include zombies and other revenants. The chosen novels belong to a moment of extreme popularity for Romeo and Juliet vampire fiction, the best-known example being Stephenie Meyer’s Twilight saga. The texts of Meyer, Claudia Gabel, Lori Handeland, and Stacey Jay include diverse elements from Romeo and Juliet, from fleeting quotations to sustained reworkings of characters and plot. I conclude that a shift away from the confining and distressing gothic space in Shakespeare’s Romeo and Juliet as the Capulet crypt to a more graphic containment in a variety of sarcophagi, or within Juliet’s body itself, is discernible in most of these retellings. This shift is explained with reference to the growth in populairt not just of female, but feminist, gothic and the turn to the body in literary criticism from the 1990s onwards. In this way, Romeo and Juliet can be understood as providing a hospitable topos for the twenty-first century feminisms of these authors and their young, predominantly female, readers.
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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.
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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.
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Cardone, Resha. "The silent treatment: Alejandra Basualto´s a esthetic of censorship." Revista Boletín Redipe 9, no. 10 (October 2, 2020): 126–39. http://dx.doi.org/10.36260/rbr.v9i10.1093.
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Alejandra Basualto is a little studied yet significant Chilean prose writer and poet whose first short story collection, La mujer de yeso (1988), exemplifies the redefinition of the woman writer that occurred in many female- authored fiction texts published during the Pinochet regime. Exemplifying the aesthetic of censorship and silence characterizing her entire short story collection, analyses in this article of “La espera” and “1954” reveal how Basualto undermines the repressive hierarchies defining Chilean politics of the dictatorship era as well as the national literary establishment through what I call her aesthetic of silence and censorship. The art of censorship recalls the context of dictatorial repression Basualto confronts in this
collection, while the aesthetic of silence points to the dialogue with international feminist thought perceptible in the compilation. In these two short stories, creative women protagonists challenge institutional power structures by assuming the feminized positions of vulnerability and silence. Basualto incorporates literary strategies like metaphors, mythical allusions, and ellipses to create an intricate textual dynamic representing repressive military tactics like censorship and disappearing dissidents. A story inscribed on a tortured and repressed female body longing to create, an extended metaphor for the Chilean nation and its writers, “La espera” showcases artists’ frustrated attempts to create during the regime while representing the psychological despair of Chileans suffering due to the “disappearance” of their loved ones. The focus on women and writing in “1954” depicts women authors’ need to identify female literary models and to imagine belonging to same-sex writers’ communities to succeed as authors despite the male-dominant literary establishment, traditional gender roles, and military and self-censorship.
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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.
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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.
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Ali, Muhammad, Muhammad Ahmad, and Ramsha Zabta. "Investigating Marginalization, Loss, Trauma and Resilience of Third World Women in Joshi's Henna The Artist." Global Social Sciences Review VII, no. II (June 30, 2022): 227–35. http://dx.doi.org/10.31703/gssr.2022(vii-ii).23.
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The current research elegantly examines the majority of the time,enveloping the reader in a dreamscape of currencies, parrots, and exquisite meals. Joshi's narrating technique is captivating and the time passes quickly in the globe she has created. Nevertheless, her prose occasionally devolves into elaborate cramps and there are omissions and inconsistencies in her portrayal of the class structure in 1950s India, especially regarding ladies. Reading this straight historical fiction is a mistake; writing about class in a reliable or full of thought thinking will compose more about brutality and injustice. The current class and religious character issues in India are a section of the goal the state is in disorder today. Nevertheless, the study of Margaret Mitchell's Gone with the Wind, where a blameless Black Lives Matter strike is taking place, has the same effect.
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Im, Mihyun. "A Study on Women’s Chivalry Painting(女俠圖) in the Late Joseon Dynasty." Paek-San Society 124 (December 31, 2022): 315–42. http://dx.doi.org/10.52557/tpsh.2022.124.315.
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First appearing in unofficial records during the Later Han period in China, Women’s Chivalry became a frequent topic of literature in the Tang Dynasty and fictions such as Hongsun and Sugeunrang garnered popularity. Later in the Ming Dynasty, illustrations were inspired by literature with women as protagonists based on the success of a variety of plays and novels, also resulting in artists producing paintings on Women’s Chivalry.
Meanwhile in Joseon, as a result of two wars, chivalry was an emerging interest in literature, drawing attention to novels and paintings on Women’s Chivalry as well. Introduced in the Goryeo Dynasty, Chinese novels on Women’s Chivalry became widely popular and read and in the 17th century, and paintings on Women’s Chivalry such as Guyoung’s Yuhyupdo and Maeng Youngkwang’s Paegummiindo were circulated and appreciated among writers. In Korea, Women's Chivalry became a frequent topic of painting during the Late Joseon Dynasty with the main character of the Tang Dynasty’s novel Hongsun as a prominent inspiration. The reason for this prominence of Hongsun appears to be a combination of factors, including the impact of Chinese literature, the impact of artists such as Guyoung and Maeng Youngkwang and their paintings of Women’s Chivalry, and the association with naksindo paintings. Iconically, images reminiscent of sword dance were drawn with a beautiful woman holding a sword with her robe fluttering in the wind.
Paintings of Women’s Chivalry in the Late Joseon Dynasty can be represented by eight paintings; iconically, the paintings can be classified into Maeng Youngkwang’s (孟永光, 1590-1648) style and Yunduseo’s (尹斗緖, 1668-1715) style. In Mangyunggwang’s paintings, the women produce a static atmosphere as she stands or sits gazing at somewhere, while in Yunduseo’s paintings, the paintings have a strong dynamic image as women are shown flying in the air motivated by a scene from a novel.
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Rabinovich, Irina. "Hawthorne’s Miriam – a female enigma: A seductive femme fatale or a victim of abuse?" Ars Aeterna 13, no. 1 (June 1, 2021): 16–35. http://dx.doi.org/10.2478/aa-2021-0002.
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Abstract In his last published novel, The Marble Faun (Hawthorne, 1974), in spite of his seeming sympathy for Miriam’s plea for friendship, Hawthorne’s narrator relates to Miriam as a “guilty” and “bloodstained” woman, who similarly to the female Jewish models portrayed in her paintings, carries misery, vice and death into the world. The narrator’s ambiguity vis-àvis Miriam’s moral fibre, on the one hand, and his infatuation with the beautiful and talented female artist, on the other, stands at the heart of the novel. The goal of this paper is mainly addressed at examining Miriam’s position in Hawthorne’s fiction, through an analysis of his treatment of his other “dark” and “light” women. Furthermore, I enquire whether Miriam is to be perceived in terms of the popular stereotypical representations of Jewish women (usually, Madonnas or whores), or whether she is granted more original and idiosyncratic characteristics. Next, I discuss Hawthorne’s treatment of Miriam’s artistic vocation, discerning her distinctiveness as a female Jewish 19th-century artist. Finally, Hawthorne’s unconventional choice of Rome as the setting for his novel unquestionably entails reference to the societal, cultural and political forces at play.
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Claypool, Lisa. "Feminine Orientalism or Modern Enchantment? Peiping and the Graphic Artists Elizabeth Keith and Bertha Lum, 1920s–1930s." Nan Nü 16, no. 1 (September 10, 2014): 91–127. http://dx.doi.org/10.1163/15685268-00161p04.
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The ideological suppositions, images, and fantasy associated with orientalism has given rise to the conceptualization of a materialist “feminine orientalism.” The term refers to an historical moment in the early twentieth century when white women in Europe and North America defined their social roles and gender by appropriating male orientalist politics and ideology. This article challenges the concept of “feminine orientalism” through the study of the prints and travel writing of two modern graphic artists who sojourned in Republican-era Peiping in the 1920s and 1930s: Bertha Lum and Elizabeth Keith. Through close formal analysis of the new visions of Peiping that the two women conjured in their prints – a vision that relied as heavily on urban ethnography as it did on fantasy – it proposes an alternative concept of “modern enchantment” as a heuristic device to interpret gender. Drawing from Wolfgang Iser’s notions of the “fictive,” “modern enchantment” lays as much weight on Weberian modern rationality as it does on imagination, and critically functions as a means to recuperate cultural boundary crossing in female gender performance and construction.
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Dwivedi, Ashish. ""The Daughters of Patriarchy: Tracing Disparities in the Representation of Women in Indian Fiction in English"." SMART MOVES JOURNAL IJELLH 6, no. 7 (July 31, 2018): 6. http://dx.doi.org/10.24113/ijellh.v6i7.4498.
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Patriarchy, as an ideology, assumes multiple manifestations in narratives, diminishing not only the might that lies hidden beneath the cracked echoes of feminism, but also the very elixir that keeps womanhood alive. It is here that the present paper, entitled "The Daughters of Patriarchy: Tracing Disparities in the Representation of Women in Indian Fiction in English" attempts to transpire the disparities that appear at the forefront in an artist's representation of its women, depending on the degree of his/her representation of patriarchy, as the title of the paper tends to accentuate. The paper would cogitate over the ill-effects of a phallo-centric ideology on the psyche of the concocted 'other', the daughters of patriarchy, through a cursory consideration of two novels, The God of Small Things (originally published in 1997) and Fire on the Mountain (originally published in 1977).
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Dworkin, Ira. "Radwa Ashour, African American Criticism, and the Production of Modern Arabic Literature." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 1 (January 2018): 1–19. http://dx.doi.org/10.1017/pli.2017.44.
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In 1973, at the suggestion of her mentor Shirley Graham Du Bois, the Egyptian scholar, activist, teacher, and novelist Radwa Ashour enrolled at the University of Massachusetts, Amherst, to study African American literature and culture. Ashour’s 1975 dissertation “The Search for a Black Poetics: A Study of Afro-American Critical Writings,” along with her 1983 autobiography,Al-Rihla: Ayyam taliba misriyya fi amrika[The Journey: An Egyptian Woman Student’s Memoirs in America], specifically engage with debates that emerged at the First International Congress of Negro Writers and Artists in September 1956 between African Americans and others from the African diaspora (most notably Aimé Césaire) regarding the applicability of the “colonial thesis” to the United States. This article argues that Ashour’s early engagement with African American cultural politics are formative of her fiction, particularly her 1991 novel,Siraaj: An Arab Tale,which examines overlapping questions of slavery, empire, and colonialism in the Arab world.
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Sborgi, Anna Viola. "Precarity and resistance: Mediating home across contemporary Europe through the short hybrid film." Alphaville: journal of film and screen media, no. 26 (April 7, 2024): 124–40. http://dx.doi.org/10.33178/alpha.26.08.
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Addressing an increasingly globalised housing crisis, European filmmakers have turned their attention to the precarity of home, generating a vast mediascape of activist documentaries, essay films, shorts, and some features. Adopting a film and urbanism approach, in this article I take a specific focus on the short film form, framing it as a space for experimentation, and offering a snapshot of a wider transnational corpus of media. I compare two 2019 short films by two emerging women artists: British Ayo Akingbade’s Dear Babylon and Portuguese Leonor Teles Dogs Barking at Birds (Cães Que Ladram Aos Pássaros). These artists’ works establish film as a form of resistance while, at the same time, being rooted in an understanding of socio-economic inequality in housing. Purposedly merging observational, participatory methods with the fictional, these two films share a focus on young people in uncertain living conditions. Grappling with their individual situations the youth at the centre of these stories build forms of resistance to their present housing struggles in the attempt to shape a better future for themselves and their community.
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Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (June 17, 2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.
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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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Wood, Emma. ""In her prophetic fury sewed the work": Remembering Sybil's Handkerchief and Magical Artistries in Djanet Sears' Harlem Duet." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (November 30, 2021): 174–83. http://dx.doi.org/10.5206/tba.v3i1.13917.
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This paper examines the history of black women artistries, postcolonial magic, and music within Canadian playwright Djanet Sears’ 1997 Toronto production Harlem Duet. In a modern re-adaptation of Shakespeare’s Othello, Sears’ Harlem Duet resituates literary historical symbols, like the infamous handkerchief, and Shakespearean hidden characters within a diasporic and empowered space of agency, intergenerational trauma, and reclamation. With the maternal theoretical foundation of Alice Walker’s work “In Search of Our Mothers’ Gardens,” this paper matrilineally connects Harlem Duet’s protagonist Billie with the artistic creator – the sybil/witch – of Shakespeare’s handkerchief and with famous blues artists like Billie Holiday. Using the handkerchief as a starting point, this paper analyzes both fictional and historical maternal generations in order to demonstrate this empowered history of artistic creation and music within diasporic spaces and communities.
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Spieralska, Beata. "SEKS I PRZEMOC MAŁŻEŃSTWO W TRAGEDIACH EURYPIDESA." Colloquia Litteraria 8, no. 1/2 (November 21, 2009): 13. http://dx.doi.org/10.21697/cl.2010.1.02.
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Sex and violence. Marriage in Euripides’ tragedies In ancient Athens, marriage was an event which from today’s perspective is linked with the notion of violence, even if the then living people would not have defined it in this way. From their perspective, it was obvious that the woman who was getting married was not the subject of the marital contract. Euripides tragedies, far from being a manifesto in the defence of women’s fate (it would be a complete anachronism to ascribe such motivations to the dramatist) show very frequently, however, women as victims of male disloyalty. Such heroines as Iphigenia, Alcestis or Medea appear to be more faithful to the marital contract than their husbands. To a modern reader, they may constitute a source of knowledge on the ancient Athenian institution of marriage. At the same time we have to keep in mind that caution should be exercised: tragedy is not an historiographic work, but primarily a literary fiction, set in reality, but also going beyond it. What can be, to some extent, an historical source is simultaneously – and maybe even more – an artistic creation. It allows us not only to learn about the reality of the epoch, but also admire the art with which the artist undertakes vital social issues.
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Johnson, Beth. "Art Cinema and The Arbor: Tape-recorded Testimony, Film Art and Feminism." Journal of British Cinema and Television 13, no. 2 (April 2016): 278–91. http://dx.doi.org/10.3366/jbctv.2016.0313.
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In this article I discuss the award-winning work of artist and film-maker Clio Barnard, specifically focusing on her 2010 docu-fiction film The Arbor. Analysing the verbatim techniques so central to the film (techniques that originated in theatre), this article suggests that Barnard's visual arts background inspired and informed her textual mixing of verbatim, lip-sync, re-enactment and digital imaging, the result of which is a radical and feminist art-film. Focusing on the site-specific location of The Arbor as well as the significance of emotional, textual and temporal layering, this article also suggests that while Barnard's work seeks, on the surface, to question the relationship between representation and the real in the genre of documentary, The Arbor also provokes and invites a radical reimagining of the hitherto male-dominated legacy of British art cinema by bringing the voices and visions of women, past and present, into the contemporary frame.
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Sullivan, Courtney. "From screen to stage: Mutantes’s sex-positive influence on King Kong Théorie." Contemporary French Civilization: Volume 46, Issue 1 46, no. 1 (March 1, 2021): 49–74. http://dx.doi.org/10.3828/cfc.2021.3.
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In order to rectify important gaps in scholarship, this article examines how Virginie Despentes’s documentary Mutantes: Féminisme Porno Punk (2009), her autobiographical essay King Kong Théorie (2006), and its theatrical adaptation play off one another to advance the argument that Despentes’s transnational feminism has its roots in the sex-positive movement that began in the United States in the early 1980s.1 At the heart of her work, this feminism influences King Kong Théorie and much of her fiction.2 Despentes, inspired by the sex-positive movement that began in the United States in the early 1980s, interviewed its American pioneers in 2005 for her documentary, Mutantes. These interviews articulate a sex-positive feminism that strives to destigmatize sex work by promoting it as a legitimate, lucrative, and often enjoyable way to earn a living. It resoundingly refutes the notion of the sex worker as victim. Mutantes also focuses on the performances by European postporn collectives trying to find non-binary ways to express sexuality and desire. This “pro-sexe” stance would shape both Despentes’s feminist manifesto King Kong Théorie one year later and her fiction, for she evokes it in brief references to sex workers in her Vernon Subutex trilogy. In a nod to the campy personalities and performers in Mutantes, Vanessa Larré’s production of King Kong Théorie (2018), that she adapted to the theater with Valérie de Dietrich, also aims to educate and challenge. With provocative and jocular scenes and shots, Mutantes and Larré’s play knock viewers and theatergoers off kilter to make them reflect on the ways gender-based and heteronormative binaries stifle both men and women in patriarchal societies. While some of the performances, images, and non-binary sex toys in Mutantes may be upsetting to viewers, that is exactly the point: to defy gender and sexual norms to open up new possibilities for individuals shut out by the binary. Both the documentary and the play tackle taboo subjects with ludic humor in a way that stimulates reflection on the part of the audience in a disarming, unthreatening manner. This paper uncovers the way the camp sensibilities in Mutantes rub off on the play’s adaptation since both capture the humor, joviality, playfulness, and oftentimes self-deprecation of the sex-positive American feminists that worked their way into Despentes’s writing. Mutantes and the play also concretely underscore the ways Despentes’s works are shaping contemporary feminist writers such as Chloé Delaume and Gabrielle Deydier and artists and actors such as Larré and Dietrich.
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Tolliver, Joyce. "Savage Madonnas: ’La mujer filipina’ in the Nineteenth-Century Colonialist Imaginary." Letras Femeninas 41, no. 2 (November 1, 2015): 21–34. http://dx.doi.org/10.2307/44735027.
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Abstract The fiction of a national Spanish "family" that embraced the inhabitants of its "overseas provinces" was promulgated insistently in nineteenth-century colonial discourse. The fragility of this fiction was demonstrated dramatically in writings about the Philippines by peninsular Spaniards, as they tried to reconcile the profound cultural, linguistic, and ethnic heterogeneity of the archipelago with the notion of biological and cultural filiation. In his 1886 painting España y Filipinas, the Philippine reformist artist Juan Luna allegorically portrayed Spain and the Philippines as matron and racialized adolescent, suggesting that the Philippines’ future depended on its mestizo population. In the same year, Faustina Sáez de Melgar imagined both the Philippines and the Americas as "nuestras hijas" in her anthology of costumbrismo sketches, Las mujeres españolas, americanas y lusitanas pintadas por sí mismas. The volume’s title evoked a fantasy of feminine agency belied by the fact that virtually none of the sketches were written by a member of the "type" portrayed; and that the volume was illustrated not by a woman but by Eusebio Planas, known for his eroticized sketches of women. Josefa Estévez, a peninsular Spaniard, contributed the essay on "La filipina," in which she distinguished sharply between the Christianized populations of the archipelago and the non-Christianized "salvajes." Rather than contributing an ethnographic study of the "savage" tribes, Estévez represented this "tipo" through two narratives of sexual brutality and conquest. Both narratives suggested that the social structure of the non-Christianized colonial Philippine populations was not only untenable but unimaginable: the only moral compass available to these populations was to be found in female instincts of maternity and heterosexual love, which were ineffective against the uncontrolled instincts of lust and rage that guided both native and Spanish male characters. Estévez’s conventional invocation of the power of Christianization rings hollow in the face of her portrayal of the sexual opportunism, abuse and abandonment suffered by the native woman at the hands of the putative father of the colonial family. Ultimately, in both Estévez’s text and Planas’s illustrations, "civilization" through mestizaje in the Philippines is portrayed as impossible.
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Oliveira, Maria Aparecida de. "VIRGINIA WOOLF E A CRÍTICA FEMINISTA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 18–27. http://dx.doi.org/10.34019/1982-0836.2019.v23.29177.
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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina.
Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina.
Referências
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BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.
______ (ed.). Women and writing. London: The Women’s Press, 1979.
BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997.
______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992.
CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991.
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______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993.
GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987.
GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979.
______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000.
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SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007.
SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015.
STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991.
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Ty, Kim Soun, Shirley Suet-ling Tang, Parmita Gurung, Ammany Ty, Nia Duong, and Peter Nien-chu Kiang. "Hira Makes a Sound: Nepali Diasporic Worldviewing through Asian American Studies Praxis during the COVID-19 Anti-Asian Hate Pandemics." Religions 14, no. 3 (March 20, 2023): 422. http://dx.doi.org/10.3390/rel14030422.
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In this article, we offer a specific example from our programmatic research and teaching praxis during the COVID-19 anti-Asian hate pandemic period. We demonstrate how Asian American Studies community-centered knowledge coproduction and narrative generational wealth investment can address critical experiences of young learners from underrepresented, religiously-diverse populations through content that supports culturally sustaining child development and challenges disparately impactful realities of racism, misrepresentation, and systemic Western biases which undermine their health and wellbeing. Focusing on religious themes in relation to child development was not an explicit intention of our collaboratively developed storybook project titled, Hira Makes a Sound. Nevertheless, centering a women-led, intergenerational Nepali immigrant story in both our process and final product necessarily led to foregrounding religious, cultural, and spiritual dimensions of diasporic family and community life that are essential to coping and development for the fictional lead character, Hira, and her loved ones. Robust story data themes—paradoxically grounded in the ether of a shared Gurung worldview—provide generative lessons for researchers, educators, artists, and community advocates who work with or need to account for the lived experiences of young learners within religiously diverse, multi-generational immigrant family households and community ecologies.
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Meaney, Gerardine. "Regendering modernism: the woman artist in Irish women’s fiction." Women: A Cultural Review 15, no. 1 (March 2004): 67–82. http://dx.doi.org/10.1080/0957404042000197198.
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Mizinkina, Olena, and Oleksandra Zozulia. "ORNITHOLOGICAL IMAGES IN THE STORIES OF VASYL POLTAVCHUK." Odessa National University Herald. Series: Philology 28, no. 2(28) (December 23, 2023): 7–17. http://dx.doi.org/10.18524/2307-8332.2023.2(28).299782.
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The article attempts to analyze the specifics of character creation in the collection «Secrets of Amorous Stories» (2020) by Vasyl Poltavchuk. The significance of the study lies in the fact that the image of a person in a work of art is always central. The study of artistic techniques of character modeling allows us to learn about the artist’s creative laboratory. The artistic heritage of V. Poltavchuk has been little characterized to date, despite the fact that it represents the development of contemporary short fiction in Ukrainian literature, and the writer worked for more than twenty years at the Faculty of Philology of the Odesa I. I. Mechnikov National University. The aim of the article is to study the traditions and innovations in the creation of character images in the stories of the collection «Secrets of Amorous Stories». In order to understand the origins of the poetics of V. Poltavchuk’s works, a brief overview of the author’s scientific and artistic interests is made. The author traces the points of view of literary critics on the features of the short story genre, the distinction between a short story and a novella. It is shown that the writer focuses primarily on the images of women, which appear through their psychologization, individual strokes of portraits, actions, and comparisons with birds. Ornithological motifs also help to emphasize the central images of men. In particular, the stories contain references to the images of a dove, swallow, seagull, lark, and snowbird. The writer resorts to various means of outlining the ornithological features of the characters in the fictional text: intertextuality, onyric space, sound, and movement aspects. The author’s techniques include the poetics of the title («Holubka»), the symbolism of the characters’ names (Snihur, Kazhan), and the concept of the «nest» in V. Poltavchuk’s stories. We believe that this approach to the study of images is promising for further study of contemporary works of Ukrainian literature.
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Sommer, Carol. "The (serious) game of classification: (I think I’m happy, she thought, but am I real?)." Journal of Writing in Creative Practice 13, no. 1 (January 1, 2020): 117–29. http://dx.doi.org/10.1386/jwcp.13.1.117_1.
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The principle that classification may always be provisional and illusory continues to be of relevance and concern to art and curation that seeks to expose the fallacies of systematic order and taxonomy. Taking the museum as a starting point, this article explores the curation of information and objects by writers and artists who offer alternative spaces of representation and interpretation. Language is fundamental to these curatorial undertakings, for example: the keywords chosen as starting points by Daniel Spoerri and Marie-Louise Plessen for their 1981 Musée Sentimental de Prusse; Tate Liverpool’s choice of artwork for their 2014 interpretation of Raymond Williams’ 1988 book Keywords; and Rose English’s choice of words to explore during her 1983 performance Plato’s Chair, included in the Keywords exhibition. Developing into a consideration of social networking as a space of curated representation, the article examines my own use of the hashtag and its relation to classification and keywords in a recent Instagram project @cartography_for_girls. I set up the account to share the thoughts of philosopher and novelist Iris Murdoch’s fictional women characters on a platform synonymous with personal articulation and connection seeking. The hashtag offered a taxonomy with which to engage with Iris Murdoch’s advocacy of the acceptance of contingency and to her assertion that ‘the task of classifying […] can perhaps never be more than a (serious) game’.
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Lewis, Mary Tompkins, and Tamar Garb. "Women Artists." Art Journal 53, no. 3 (1994): 90. http://dx.doi.org/10.2307/777446.
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Tarantino, Marta. "A Systematization of Gender Studies in and on the Middle East: Challenges and New Perspectives of Social Theory." Studi Magrebini 20, no. 1 (July 20, 2022): 80–100. http://dx.doi.org/10.1163/2590034x-20220067.
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Abstract The International Women’s Year of 1975 promoted by United Nations represents a moment of realization on the urgency to address gender equality globally and to include in the discussions all those countries of Global South that for decades had been marginalized and declassified to a “third world” position with respect to the alleged advanced West. Taking this moment as focal point of discussion, the present article aims at pinpointing mark roundings and crucial events for the history and development of gender studies in and on the Middle East, in particular by taking into account the scientific and fictional literature production of feminists and women studies in the Middle Eastern and North African region. Starting from a deep insight on the issues connecting the Western born suffragist movement to the instances promoted by first feminists in the MENA, the systematization here proposed traces a line from late 19th century until today, with the aim of individuating common grounds, transnational challenges and shifts in civil society requests as well as of understanding how all these elements affected and steered the following production both in and out the academic background. Finally, starting from recent disciplines of men, queer and LGBTQ+ studies and their presence as engaging objects of investigation within the region, contemporary pathways undertaken by scholars, activists and artists, both locally and globally, will be employed as theoretical background to grasp and dissect modern transformations occurring to private and public gender relationships in the Arab-Muslim context.
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Kahn, Ariel. "Graphic Women Artists." Jewish Quarterly 64, no. 2 (April 3, 2017): 69–71. http://dx.doi.org/10.1080/0449010x.2017.1333742.
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Weil, Harry J. "Great Women Artists." Afterimage 38, no. 1 (July 1, 2010): 14–18. http://dx.doi.org/10.1525/aft.2010.38.1.14.
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Poleshchuk, A. A. "Smart Book is not a Fiction." Bibliotekovedenie [Library and Information Science (Russia)], no. 1 (February 28, 2014): 128–29. http://dx.doi.org/10.25281/0869-608x-2014-0-1-128-129.
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Anthoni, Ellen, Khushboo Balwani, Jessica Schoffelen, and Karin Hannes. "20:30 BRUXSELS TALKS." Art/Research International: A Transdisciplinary Journal 6, no. 1 (April 22, 2021): 151–86. http://dx.doi.org/10.18432/ari29607.
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On the 23rd of January 2020, a radio talk show of the future, 20:30 Bruxsels Talks, took place in Brussels. With fictional guests and artists from the year 2030, it discussed how the transition to a climate-proof city had happened since 2019. The body of this article is the script of this fiction piece, produced by BrusselAVenir and BNA-BBOT. In the introduction we explain the relationship between the field of futures studies and fiction, we frame 20:30 Bruxsels Talks within futures studies, and highlight the potential of fiction for knowledge creation and dissemination. By publishing the script, we hope to inspire researchers, changemakers and artists to explore fiction as a method, as a format and as a space, to trigger conversation and imagination, and engage citizens to take up a role in shaping the cities they live in. Note: This article should be read in conjunction with “20:30 Bruxsels Talks: Fiction as a Method, Fiction as a Format, Fiction as a Space,” written by the same author team and published in this issue.
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Summerhayes, Catherine. "Translative Performance in Documentary Film: Bob Connolly and Robin Anderson's Facing the Music." Media International Australia 104, no. 1 (August 2002): 19–29. http://dx.doi.org/10.1177/1329878x0210400105.
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Facing the Music (2001) is a film that performs at many levels. While its primary narrative is about the effects of government funding cuts to universities, and specifically the effect on the University of Sydney's Music Department, the film also weaves other more generic stories about people and how they interact with each other. Connolly's and Anderson's complex and confronting style of observational film-making is examined in the context of this film for the ways in which it ‘assumes' that film can ‘translate’ the details of people's everyday lives into a broad discussion of particular social issues and conflicts. As with all translations, however, some meanings inadvertently are lost and others added. Drawing on Walter Benjamin's idea of ‘translatability’ and Brecht's concept of gest, this paper describes how particular cultural meanings which are embedded within the documentary film, Facing the Music, can be accessed through the ways in which the audiovisual text ‘melodramatically’ presents people and profilmic events. Thomas Elsaesser's definition of classic fictional melodrama, as a ‘closed’ world of ‘inner’ violence where ‘characters are acted upon’, becomes a guide to understanding the film's secondary narratives about the operation of particular stereotypical, binary representations: men and women; artists and ‘the rest of the world’; academics (‘gown’) and other people (‘town’). Using Laura Mulvey's further distinction of ‘matriarchal’ and ‘patriarchal’ melodramas. Facing the Music is described as a ‘matriarchal’ documentary melodrama. The film's selective translation of how people live their lives in a particular social situation is thereby discussed as a further translation into the broader discourses of gender and power relations in a society.
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BOKOWIEC, MARK ALEXANDER, and JULIE WILSON-BOKOWIEC. "Spiral Fiction." Organised Sound 8, no. 3 (December 2003): 279–87. http://dx.doi.org/10.1017/s1355771803000256.
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Spiral Fiction is a piece of interactive performance staged by the authors in 2002. The paper provides detailed information about the technology used, the nature of the interactivity employed, the artists use of the Bodycoder System© and the aesthetic and theoretical issues arising out of the work. The paper addresses the problematic nature of the audience gaze, the seductive qualities of new technology, creative balance in the presence of new technologies and the problem of placing interactive performance along side analogue and single art form disciplines. The paper also explores the psychophysical nature of the interactivity associated with the Bodycoder System and will discuss cross-modal perception and sensation. The authors draw on aspects of postmodern theory to further expand their observations.
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Board, Marilynn Lincoln, and Katy Deepwell. "Women Artists and Modernism." Woman's Art Journal 21, no. 2 (2000): 53. http://dx.doi.org/10.2307/1358754.
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Rice, Robin, Jan Marsh, and Pamela Gerrish Nunn. "Pre-Raphaelite Women Artists." Woman's Art Journal 21, no. 1 (2000): 56. http://dx.doi.org/10.2307/1358877.
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Rubinstein, Charlotte Streifer, and Eleanor Munro. "Originals: American Women Artists." Woman's Art Journal 22, no. 2 (2001): 54. http://dx.doi.org/10.2307/1358908.
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Casteras, Susan P., Jan Marsh, Pamela Gerrish Nunn, and National Gallery of Art. "Pre-Raphaelite Women Artists." Art Bulletin 80, no. 4 (December 1998): 750. http://dx.doi.org/10.2307/3051324.
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Anderson, Heather. "Making Women Artists Visible." Art Education 45, no. 2 (March 1992): 14. http://dx.doi.org/10.2307/3193321.
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Yoshimoto, Midori. "Beyond ‘Japanese/Women Artists’." Third Text 28, no. 1 (January 2, 2014): 67–81. http://dx.doi.org/10.1080/09528822.2013.867711.
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Sang, Barbara E. "Psychotherapy with women artists." Arts in Psychotherapy 16, no. 4 (December 1989): 301–7. http://dx.doi.org/10.1016/0197-4556(89)90053-1.
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Țapu, Mihai. "Travelling Theory-Fiction. A Romanian Case Study." Metacritic Journal for Comparative Studies and Theory 9, no. 1 (July 20, 2023): 214–33. http://dx.doi.org/10.24193/mjcst.2023.15.12.
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This paper discusses the import of “theory-fiction” in contemporary Romanian culture, by analysing the textual and artistic output of the performance artists Alina Popa and Florin Flueraș. The first part introduces the key methodological concepts used in
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Och, Marjorie. "The Advancing Women Artists Foundation, and: Women Artists in the Age of Medici." Early Modern Women 11, no. 2 (2017): 125–30. http://dx.doi.org/10.1353/emw.2017.0008.
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Heilmann, Ann. "Feminist Resistance, the Artist and “A Room of One's Own” in New Woman Fiction." Women's Writing 2, no. 3 (January 1995): 291–308. http://dx.doi.org/10.1080/0969908950020306.
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