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1
Taylor, Ellen Maureen. "Personal Geographies: Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.
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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the prevailing Western patriarchy, duties of domestication and docility, also inform their writing. This paper draws from Coatsworth’s poems, essays, and memoir, and Barnes’ poems, interviews, and epistolary archives, which shed light on her relationship with her renowned mother.
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Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.
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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japanese make a wonderful use of Haiku where they usually use a single image. A haiku is a haiku because all the images it conveys occur simultaneously in a person's present perceptions of the world. Ezra Pound is one the major exponents of imagist school who gave systematic theory of modernism. Ezra Pound's In a Station of the Metro is regarded as a fine specimen of Haiku. Pound recalls that once he stepped out of a "metro", train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman. Throughout the day, Pound attempted to find words as worthy and as lovely as that sudden emotion. To his mind came an equation which was not in speech but in little sploches of colour. This feeling was the beginning of a language in colourfor Pound. Pound further elaborates that to express this kind of emotion he might find a new school of painting that would speak only by arrangements in colours. To substantiate his arguments, Pound expounds his view in Vorticism.
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Ivamoto, Henrique S. "Women in Brazilian neurosurgery." Arquivos Brasileiros de Neurocirurgia: Brazilian Neurosurgery 29, no. 03 (September 2010): 87–90. http://dx.doi.org/10.1055/s-0038-1625606.
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AbstractMedicine remained as a male profession during many centuries, but the proportion of women rose steadily during the second part of the 20th century in the world and in Brazil. In 2006 they became the majority (51.75%) of the new physicians licensed by the Regional Council of Medicine of the State of São Paulo. Nevertheless, the proportion of women in Neurosurgery and in directive posts in entities of the specialty in Brazil continue very low or absent. Data obtained from the Brazilian Society of Neurosurgery and the Brazilian Academy of Neurosurgery are very similar to those of the American counterparts, like the proportion of women among the associates, around 5%, and one single female chief of a service certified for training in each country. Authors from WINS, an American entity, reported several problems suffered by female neurosurgeons, including gender discrimination. Such occurrences, as reported in online news, should alert against discriminatory attitudes.
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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.
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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.
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Tomas Reed, Conor. "The Early Developments of Black Women’s Studies in the Lives of Toni Cade Bambara, June Jordan, and Audre Lorde." Anuario de la Escuela de Historia, no. 30 (November 10, 2018): 45. http://dx.doi.org/10.35305/aeh.v0i30.249.
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<p>This article explores the pedagogical foundations of three U.S. Black women writers—Toni Cade Bambara, June Jordan, and Audre Lorde—widely recognized as among the most influential and prolific writers of 20th century cultures of emancipation. Their distinct yet entwined legacies—as socialist feminists, people’s poets and novelists, community organizers, and innovative educators—altered the landscapes of multiple liberation movements from the late 1960s to the present, and offer a striking example of the possibilities of radical women’s intellectual friendships. The internationalist reverberations of Bambara, Jordan, and Lorde are alive and ubiquitous, even if to some readers today in the Caribbean and Latin America, their names may be unfamiliar.<a title="" href="file:///C:/Users/natal/Documents/MEGA/1-REVISTAS/Anuario/Anuario%2030-2018/Dossier/02%20Articulo%20Conor.docx#_ftn1"><sup><sup>[</sup></sup></a></p><p>Bambara’s fiction centered Black and Third World women and children absorbing vibrant life lessons within societies structured to harm them. Her 1980 novel, The Salt Eaters, posed the question - “are you sure, sweetheart, that you want to be well?” -to conjoin healing and resistance for a new embattled generation under President Reagan’s neoliberal shock doctrines that were felt worldwide. June Jordan’s salvos of essays, fiction, and poetry -including Things That I Do in the Dark, On Call, and Affirmative Acts - intervened in struggles around Black English, community control, police violence, sexual assault, and youth empowerment. Audre Lorde’s words are suffused across U.S. movements (and, increasingly, in the Caribbean and Latin America)- on signs, shirts, and memes, at #BlackLivesMatter and International Women’s Strike marches. Your silence will not protect you. The master’s tools will never dismantle the master’s house. Revolution is not a one-time event. However, her voluminous legacy may risk becoming a series of slogans, “the Audre Lorde that reads like a bumper sticker.”</p><div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p> </p></div></div>
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García, María Isabel Maldonado. "The Spanish Women Poet’s Contribution To The Literature Of The 20th Century." Pakistan Journal of Gender Studies 10, no. 1 (March 8, 2015): 129–43. http://dx.doi.org/10.46568/pjgs.v10i1.230.
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The 20th century offers us a wealth of literary authors. The Spanish poets of the 20th century that usually come to mind are mainly male due to the fact that the female poets never received proper recognition and were ignored for many years. The historical events of the 20th century could have ceasedthe literary works of the Spanish authors. However, instead, the Spanish utilized the poetry of protest as a means of rebelling towards their social reality. Not only male poets but also women were extremely prolific in their craft. First during the Civil War and after during the thirty six years of dictatorship that followed in spite of the hardships, censorship and vigorous opposition. A few of these women are Carmen Conde, Rosa Chacel, Ernestina de Champourcin and others. This research studies thecontribution of a few outstanding women poets to the 20th century Spanish literature and language.
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Akram, Habeeb. "Nineteenth century American metaphysical women poets." International Journal of English and Literature 7, no. 1 (January 31, 2016): 1–7. http://dx.doi.org/10.5897/ijel2015.0853.
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Liu, Yan. "A Special Forum on “20th Century American Women Writers”." Comparative Literature: East & West 14, no. 1 (March 2011): 75–76. http://dx.doi.org/10.1080/25723618.2011.12015555.
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Šalamon, Samo. "The Political Use of the Figure of John Coltrane in American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 81–98. http://dx.doi.org/10.4312/elope.4.1-2.81-98.
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John Coltrane; one of the most influential and important musicians and composers of the 20th century; began to inspire jazz musicians and American poets in the 1960s with the Black Arts Movement poets. His music was interpreted and used for the promotion of political ideas in the poetics of Amiri Baraka; Sonia Sanchez; Askia Muhammad Toure; Larry Neal and others. This is the political Coltrane poetry. On the other hand; Coltrane’s music inspired another kind of poets; the musical poets; which began to emerge in the 1970s. In this case; the poetry reflects the true nature of Coltrane’s spiritual music quest. The poets belonging to this group; like Michael S. Harper; William Matthews; Jean Valentine; Cornelius Eady; Philip Levine; Nathaniel Mackey and others; go beyond politics; beyond race or gender. The paper will examine the first type of the Coltrane poetry; where Coltrane’s music was used to promote the political ideas of the Black Art Movement in connection with the political movement of Malcolm X. These poets changed; rearticulated and shifted Coltrane’s spiritually musical message towards the principles of the black nationalism.
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Janowska, Karolina. "Amor udrí – la poesía cortesana árabe en la Península Ibérica." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 323–42. http://dx.doi.org/10.36575/2353-2912/1(7)2019.323.
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The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.
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Fields, Marjory Diana. "Women in American Labour Movement." International Journal of Public and Private Perspectives on Healthcare, Culture, and the Environment 3, no. 2 (July 2019): 59–66. http://dx.doi.org/10.4018/ijppphce.2019070104.
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In this article, the author examines the history of exclusion and sex-based discrimination against U.S. women workers seeking to join unions established by men. The author describes how groups of women and girls working in fabric mills in the 19th Century took strike action against work speed up and increased production requirements, making demands for higher wages, equal pay with men, improved working conditions, clean water, health care and time off. Then, in the early 20th century, women teachers formed their own unions to gain increased pay and pension plans, and for social justice. These unions continue to the present seeking also social justice and exercising political power.
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ZHANG, Ziqing. "Does Poetry Make Anything Happen? —A Dialogue between Chinese and American Poets in the 20th Century." Comparative Literature: East & West 11, no. 1 (March 2009): 57–95. http://dx.doi.org/10.1080/25723618.2009.12015359.
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Nuriadi, Nuriadi. "BOOK REVIEW. DISTOPIA." Jurnal Humaniora 27, no. 3 (April 9, 2016): 384. http://dx.doi.org/10.22146/jh.v27i3.22440.
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Robert Frost, one of the most prominent American poets of the mid-20th century, once stated that “literature is a performance in words” (Barnet et al., 1961: 1). The phrase “performance in words” specifically refers to the real significance of language in the presentation of a literary work. If there is no language, then there will be absolutely no literature or literary work. Language serves not only as a medium for the work’s existence but also for a work to be called a work of art. Related to this proposition, poetry as a literary genre certainly exists because of the language by which the poets or the authors pour out their artistic and creative craftmanship, and through which readers can really read, enjoy, and concretize the poets’ ideas and messages.
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Kaufman, James C. "Genius, Lunatics, and Poets: Mental Illness in Prize-Winning Authors." Imagination, Cognition and Personality 20, no. 4 (June 2001): 305–14. http://dx.doi.org/10.2190/m3w0-at3t-gtle-0l9g.
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The links between mental illness and the creative arts, especially creative writing, are well-established, if controversial. Several studies have found more mental illness in creative writers than in control groups; few studies, however, have investigated the truly eminent, genius-level writers. To address the question of how genius-level writers compare to merely accomplished writers, two historiometric studies examined writers who won the Nobel Prize and Pulitzer Prize. Study One examined 986 20th century writers, while Study Two 889 American writers from the 17th century to the present day. In both studies, both types of prize-winners were more likely to suffer from mental illness than non-winners. In addition, Nobel Prize winners were more likely to suffer from alcoholism (Study One) and experience a personal tragedy (Study Two). Implications and theoretical possibilities are discussed.
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Weiss, Max. "THE CULTURAL POLITICS OF SHIءI MODERNISM: MORALITY AND GENDER IN EARLY 20TH-CENTURY LEBANON." International Journal of Middle East Studies 39, no. 2 (May 2007): 249–70. http://dx.doi.org/10.1017/s0020743807070092.
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In an early 1980s interview, Amira Muhammad ءAli al-Houmani, daughter of one of the 20th century's most revered Lebanese Shiءi poets, insisted that the “southern woman” (al-marʿa al-janūbiyya) had always been a “partner” to the southern Lebanese man, both “in the house and in the field.” She explained how Lebanese women both in and from the south have historically played important domestic as well as productive economic roles spanning both the private and the public. Beyond casual nods toward their political and economic participation, however, disputes about and including Shiءi women in Lebanon and, more broadly put, discussions of and about gender, generally have been occluded from historical narratives. Considering the indisputable contemporary significance of Lebanese Shiءi communities in Jabal ءAmil (South Lebanon), the Bekaء Valley, and Beirut, it is even more remarkable that the diverse histories of gender in Shiءi Lebanon have yet to be written.
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Walczak-Delanois, Dorota. "Poems by Polish Female Poets and the Burning Issue of Religion." Religions 12, no. 8 (August 9, 2021): 618. http://dx.doi.org/10.3390/rel12080618.
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The aim of this paper is to show the presence of religion and the particular evolution of lyrical matrixes connected to religion in the Polish poems of female poets. There is a particular presence of women in the roots of the Polish literary and lyrical traditions. For centuries, the image of a woman with a pen in her hand was one of the most important imponderabilia. Until the 19th century, Polish female poets continued to be rare. Where female poets do appear in the historical record, they are linked to institutions such as monasteries, where female intellectuals were able to find relative liberty and a refuge. Many of the poetic forms they used in the 16th, late 17th, and 18th centuries were typically male in origin and followed established models. In the 19th century, the specific image of the mother as a link to the religious portrait of the Madonna and the Mother of God (the first Polish poem presents Bogurodzica, the Virgin Mary, the Mother of Jesus) reinforces women’s new presence. From Adam Mickiewicz’s poem Do matki Polki (To Polish Mother), the term “Polish mother” becomes a separate literary, epistemological, and sociological category. Throughout the 20th century (with some exceptions), the impact of Romanticism and its poetical and religious models remained alive, even if they underwent some modifications. The period of communism, as during the Period of Partitions and the Second World War, privileged established models of lyric, where the image of women reproduced Romantic schema in poetics from the 19th-century canons, which are linked to religion. Religious poetry is the domain of few female author-poets who look for inner freedom and religious engagement (Anna Kamieńska) or for whom religion becomes a form of therapy in a bodily illness (Joanna Pollakówna). This, however, does not constitute an otherness or specificity of the “feminine” in relation to male models. Poets not interested in reproducing the established roles reach for the second type of lyrical expression: replacing the “mother” with the “lover” and “the priestess of love” (the Sappho model) present in the poetry of Maria Pawlikowska-Jasnorzewska. In the 20th century, the “religion” of love in women’s work distances them from the problems of the poetry engaged in social and religious disputes and constitutes a return to pagan rituals (Hymn idolatrous of Halina Poświatowska) or to the carnality of the body, not necessarily overcoming previous aesthetic ideals (Anna Świrszczyńska). It is only since the 21st century that the lyrical forms of Polish female poets have significantly changed. They are linked to the new place of the Catholic Church in Poland and the new roles of Polish women in society. Four particular models are analysed in this study, which are shown through examples of the poetry of Genowefa Jakubowska-Fijałkowska, Justyna Bargielska, Anna Augustyniak, and Malina Prześluga with the Witches’ Choir.
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Stackhouse, John G. "Women in public ministry in 20th-century Canadian and American evangelicalism: Five models." Studies in Religion/Sciences Religieuses 17, no. 4 (December 1988): 471–85. http://dx.doi.org/10.1177/000842988801700406.
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Putzi, Jennifer. "Nineteenth-Century American Women Poets: An Anthology, and: A Sweet, Separate Intimacy: Women Writers of the American Frontier, 1800-1920 (review)." Legacy 18, no. 1 (2001): 109–11. http://dx.doi.org/10.1353/leg.2001.0012.
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TEO, C. G. "19th-century and early 20th-century jaundice outbreaks, the USA." Epidemiology and Infection 146, no. 2 (December 19, 2017): 138–46. http://dx.doi.org/10.1017/s0950268817002837.
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SUMMARYHistorical enquiry into diseases with morbidity or mortality predilections for particular demographic groups can permit clarification of their emergence, endemicity, and epidemicity. During community-wide outbreaks of hepatitis A in the pre-vaccine era, clinical attack rates were higher among juveniles rather than adults. In community-wide hepatitis E outbreaks, past and present, mortality rates have been most pronounced among pregnant women. Examination for these characteristic predilections in reports of jaundice outbreaks in the USA traces the emergence of hepatitis A and also of hepatitis E to the closing three decades of the 19th century. Thereafter, outbreaks of hepatitis A burgeoned, whereas those of hepatitis E abated. There were, in addition, community-wide outbreaks that bore features of neither hepatitis A nor E; they occurred before the 1870s. The American Civil War antedated that period. If hepatitis A had yet to establish endemicity, then it would not underlie the jaundice epidemic that was widespread during the war. Such an assessment may be revised, however, with the discovery of more extant outbreak reports.
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Murray, Elisabeth. "Nancy Deihl, ed., The Hidden History of American Fashion: Rediscovering 20th-Century Women Designers." Textile History 50, no. 2 (July 3, 2019): 268–69. http://dx.doi.org/10.1080/00404969.2019.1653647.
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Hernández, Ana María, and Ann Venture Young. "The Image of Black Women in 20th Century South American Poetry: A Bilingual Anthology." World Literature Today 62, no. 2 (1988): 254. http://dx.doi.org/10.2307/40143569.
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Hama, Bakhtiar S. "Imagism and Imagery in the Selected Poems of Major Imagist Poets." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 22, 2020): 88–93. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp88-93.
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This paper explores imagism and studies the intrinsic literary features of some poems to show how the authors combine all the elements such as style, sentence structure, figures of speech and poetic diction to paint concrete and abstract images in the mind of the readers. Imagism was an early 20th century literary movement and a reaction against the Romantic and Victorian mainstreams. Imagism is known as an Anglo-American literary movement since it borrows from the English and American verse style of modern poetry. The leaders of the movement set some rules for writing imagist poems. The authors of the group believed that poets are like painters; what the painters can do with brush and dye, poets can do it with language i.e. painting pictures with words. The poems are descriptive; the poets capture the images they experience with one or more of the five senses. They believed that readers could see the realities from their eyes because the texts are like a painting. In this paper, six poems by six prominent leaders of the movement will be scrutinized according to the main principles of the formalistic approach which is the interpretation and analysis of the literary devices pertained to the concrete and abstract images drawn by the poets. The poems are: In a Station of the Metro by Ezra Pound, Autumn by T. E. Hulme, November by Amy Lowell, Oread by Hilda Doolittle (H.D.), and Bombardment by Richard Aldington
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Zohaib, Muhammad. "Women and Da‘wah in the 20th Century: An Analysis of Maryam Jameelah's Contributions." Journal of Religious and Social Studies 1, no. 01 (June 19, 2021): 17–32. http://dx.doi.org/10.53583/jrss02022021.
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Maryam Jameelah was a Jewish-American lady who, after embracing Islam, selected Pakistan as her adopted abode. Mostly her conversion to Islam and fierce criticism of western civilization became the topic of discussion among academics. However, her work for da‘wah, so evident since her childhood, did not find much attention in the literary circles. A study of her life and works can reveal answers to the questions such as how she engaged herself in this field, what is the methodology adopted by her, and how does her work is useful for the women interested in da‘wah. Analyzing her published books and articles along with the unpublished material found in her library, the current paper focuses on the practical aspects of her da‘wah activities. It is argued that being a convert, she was aware of the problems of people who either converted to Islam or had an interest in it. Thus, targeting an English-speaking audience, she did not only write a bulk of literature to disseminate her understanding of Islam in Euro-American communities, but also practically contributed to this field through her discussions with non-Muslims, correspondence, and economic support for Islamic organizations.
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Zohaib, Muhammad. "Women and Da‘wah in the 20th Century: An Analysis of Maryam Jameelah's Contributions." Journal of Religious and Social Studies 1, no. 01 (June 19, 2021): 17–32. http://dx.doi.org/10.53583/jrss02.01.2021.
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Maryam Jameelah was a Jewish-American lady who, after embracing Islam, selected Pakistan as her adopted abode. Mostly her conversion to Islam and fierce criticism of western civilization became the topic of discussion among academics. However, her work for da‘wah, so evident since her childhood, did not find much attention in the literary circles. A study of her life and works can reveal answers to the questions such as how she engaged herself in this field, what is the methodology adopted by her, and how does her work is useful for the women interested in da‘wah. Analyzing her published books and articles along with the unpublished material found in her library, the current paper focuses on the practical aspects of her da‘wah activities. It is argued that being a convert, she was aware of the problems of people who either converted to Islam or had an interest in it. Thus, targeting an English-speaking audience, she did not only write a bulk of literature to disseminate her understanding of Islam in Euro-American communities, but also practically contributed to this field through her discussions with non-Muslims, correspondence, and economic support for Islamic organizations.
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Romero Figueroa, Edgar. "Una retórica revolucionaria: el caso de las poéticas centroamericanas." Revista Trace, no. 77 (January 31, 2020): 59. http://dx.doi.org/10.22134/trace.77.2020.146.
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La lectura de cuatro poetas centroamericanos: Ernesto Cardenal, Roberto Sosa, Otto René Castillo y Roque Dalton permite esbozar la caracterización de una cierta poesía revolucionaria de la segunda mitad del siglo XX, desde una perspectiva retórico-discursiva. Para ello, se cuestiona la función que algunos dispositivos retóricos específicos (figuras como la metáfora o estrategias complejas, y por ende difícilmente clasificables, como el motivo o topos) cumplen en los proyectos poético-revolucionarios.Abstract: Through the work of four Central American poets: Ernesto Cardenal, Roberto Sosa, Otto René Castillo, and Roque Dalton, we describe the features of certain revolutionary poetry of the second half of the 20th century, from a rhetorical and discourse theory perspective. For this, we question the function of some specific rhetorical devices (figures like the metaphor or complex strategies, therefore difficult to classify, as the motif or topos) in revolutionary poetic projects.Key words: Central American poets, Central America, revolution, rhetoric, second half of 20th century.Résumé : La lecture de quatre poètes centre-américains, Ernesto Cardenal, Roberto Sosa, Otto René Castillo et Roque Dalton permet d’esquisser la caractérisation d’une certaine poésie révolutionnaire de la deuxième moitié du XXe siècle depuis une perspective réthorico-discursive. Pour ce faire, nous interrogeons la fonction de certains dispositifs rhétoriques précis (figures de style telles que la métaphore mais aussi stratégies complexes et donc difficilement classables, comme le motif et le topos) dans les projets poético-révolutionnaires.Mots-clés : poètes centre-américains, Amérique centrale, révolution, rhétorique, deuxième moitié du XXe siècle.
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Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (October 2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.
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James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.
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Sperling, Joy. "The Hidden History of American Fashion: Rediscovering 20th-Century Women Designers, Nancy Deihl (ed.) (2018)." Clothing Cultures 5, no. 3 (December 1, 2018): 391–94. http://dx.doi.org/10.1386/cc.5.3.391_5.
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Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress." Art Libraries Journal 20, no. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.
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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
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Garrido, Lorena. "Latin American Women Poets and Their Strategies for Self-Definition at the Beginning of the Twentieth Century." Journal of Language, Literature and Culture 62, no. 2 (August 2015): 107–14. http://dx.doi.org/10.1179/2051285615z.00000000052.
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Kurasova, Anna. "Sense of Time in A. Akhmatova’s and T.S. Eliot’s Latter Poetry (Comparative Analysis of Poem Without a Hero and Four Quartets)." International Journal of Comparative Literature and Translation Studies 6, no. 1 (January 28, 2018): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.6n.1p.1.
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Anna Akhmatova and Thomas Stearns Eliot are considered among the most influential representatives of Modernism, Eliot - in Anglo-American Literature, and Akhmatova – in Russian. Modernism emerged at the beginning of the 20th century, seeking to point out people's failure to maintain a culture based on spiritual values, an idea that was central to the works of Eliot and Akhmatova. By analysing and contrasting their last major poems, Four Quartets and Poem Without a Hero, this paper aims to present Eliot’s and Akhmatova’s perception of time and modernity. Faced with the tragedy of World War II, Eliot and Akhmatova turned to reflecting on notions of time and history. Despite the differences in the poets’ experiences, mentality, and background, Four Quartets and Poem Without a Hero bear a resemblance to each other in many respects and express the common for Akhmatova and Eliot perception of time. The poets saw time as a complex continuum, in which every element has its place and persistently interacts with all the other elements; thus, the past is present in our lives today and shapes our destiny. Therefore, history is not simply a sequence of past events unrelated to the present, but rather an active creator of every moment of our present lives. Establishing the immutable connection between the past, the present, and the future, the poets remind their readers of the notions of sin, guilt and responsibility. The poets also shared an attitude towards modernity, which they saw as a time of lost people who deny their past and for that reason will have no future unless they change. Therefore, in the face of eternity, which is wiser than we are capable of seeing, all that remains for humanity is acceptance and humility.
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Whetmore, Elizabeth Ann Wilson. "Empowering Women—A Series of Articles About the Surge in and Fragmentation of Mid-20th-Century American Feminist Theory." SAGE Open 4, no. 3 (July 24, 2014): 215824401454378. http://dx.doi.org/10.1177/2158244014543784.
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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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Castañeda, Manuel. "Mirrors, Contradictions and Paradoxes in Los espejos comunicantes, by Óscar Hahn." Theory in Action 13, no. 4 (October 31, 2020): 88–106. http://dx.doi.org/10.3798/tia.1937-0237.2052.
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As in all cultures, the mirror is a recurring symbol in both Latin-American poetry and narratives. It has various meanings when seen in different literary contexts. The most notable poets of the 20th century, such as Jorge Luis Borges, Octavio Paz, and Carlos Pellicer associate it with mystery, horror, silence, emptiness, catastrophe, and everything which is contradictory, paradoxical, and strange. According to some, the mirror itself reveals the source of poetry and literature, a kind of abyss from which something arises out of nothing. It also allows one to see himself through the eyes of the other. In the book of poetry entitled Los espejos comunicantes, Óscar Hahn, the mirror is a constant entity. Like the aforementioned poets, he reiterates the same obsessions, images, and symbols associated with it. However, here the mirror takes on a new dimension which has not been explored by the others. His poems suggest that what is reflected in the mirror, our wishes, dreams, feelings, and fears, are our true reality. The reality displayed in the mirror is beyond our control. It cannot be understood, organized or classified for our own benefit in the name of science and progress. On the contrary, what should be limited by the confines of the mirror escapes and consumes our reality. For Óscar Hahn our true nature is catastrophe, chaos, passion for destruction, and a love of death. This essence emerges from the mirror and devours everything.
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Ali, Imran, and Bahramand Shah. "The Rediscovery of Theodore Dreiser's Sister Carrie: An Analysis from New Historicist, Historical Reception and Feminist Perspectives." Global Social Sciences Review IV, no. II (June 30, 2019): 409–19. http://dx.doi.org/10.31703/gssr.2019(iv-ii).53.
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A social documentary of Dreiser's milieu and own life, Sister Carrie (1900) portrays American women from multiple angles. As a genuine criticism of debased American values, the text describes women's social, personal, sexual, marital, and economic sides of contemporary American women through Carrie. Having a poor critical reception in the 1910s, the novel was rediscovered worldwide with new vigor since the mid-20th-century for its potent feminist message. Like in other countries, its importance has been felt Pakistani academia, where it is psychologically preparing the emerging woman for the forthcoming SocialDarwinist challenges. This study rediscovers Sister Carrie through the lenses of New Historicism, Historical Reception, and Feminism: why Dreiser wrote it; how the public/critics received it; how it contributed a change to the women's position; and how it could strengthen women's role in Pakistan.
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Socarides, Alexandra. "What Happens When We Don’t Read Ballads Closely Enough." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 215–26. http://dx.doi.org/10.1525/ncl.2016.71.2.215.
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Alexandra Socarides, “What Happens When We Don’t Read Ballads Closely Enough: The Cautionary Tale of the American Woman Poet and the Ballad” (pp. 215–226) This essay looks closely at two ballads by the nineteenth-century American poet Emma Embury in order to explore some of the ways in which the ballad’s use of the structural refrain enables a critique of its often-gendered content. By situating Embury’s poems within the context of the proliferation of the “bad woman ballads” that appeared in print in the first several decades of the nineteenth century, this essay explores her particular manipulations of the genre. In Embury’s ballads, the cautionary tale is housed in a refrain that is sung by a woman. This form works to make these women’s downfalls come true at the same time that it suggests a way out of this endlessly repeatable story that the genre performs so faithfully. This essay suggests that in our consideration of the genre, we pay particularly close attention to how women poets approached the ballad’s formal devices.
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Tsitsino Bukia and Nana Parinos. "THE ROLE OF AMERICAN AND SOVIET WOMEN REPORTERS IN COVERING WORLD WAR II: SPECIFICS OF COVERAGE OF MILITARY ISSUES IN 20th CENTURY JOURNALISM." World Science 4, no. 11(51) (November 30, 2019): 37–40. http://dx.doi.org/10.31435/rsglobal_ws/30112019/6792.
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A war correspondent has no border, no gender, no religion or race. The only thing a war reporter has - the skills of delivering truth, reflection of the reality in the way it is.The soviet space was absolutely closed to journalism and combat women journalists’ involvement in wars. The field almost consisted of males. Consequently, it seems impossible to analyze and compare the technique of writing of American and SovietWomen. If America freely accepts women for being actively involved in covering war activities, the Soviets obviously refused to do so.The role of a war correspondent is much bigger than one can suppose. Being a war reporter is more than implementing their responsibilities. It goes deeper into the history. A professional combat reporter is a historian facing the history and keeping it for the next generation.The paper considers advantages and disadvantages of being a female combat correspondent in the Soviet space and the United States of America.The role of American and Soviet women reporters in covering WWII.
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Tuite, Rebecca C. "The Hidden History of American Fashion: Rediscovering 20th-Century Women DesignersThe Fashion Forecasters: A Hidden History of Color and Trend Prediction." Journal of Design History 32, no. 3 (September 2019): 316–19. http://dx.doi.org/10.1093/jdh/epz034.
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Adhikari, Bam Dev. "Prostitution as a Form of Human Alienation in Vargas Llosa's The Green House." JODEM: Journal of Language and Literature 10, no. 1 (September 30, 2019): 25–32. http://dx.doi.org/10.3126/jodem.v10i1.30396.
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The portrayal of prostitutes as the characters and prostitution as the institution is a rampant subject in Spanish American novels since the time of the first novelist of the continent, Jose Joaquin Fernandez de Lizardi. Mario Vargas Llosa’s novel The Green House portrays the women characters in pathetic exploitation, mainly sexual exploitation. The exploitation of the women in the novel is inextricably connected with the political system of Peru. The capitalist economic/ political system of Peru in the second half of the 20th century forced women to sell their body for their survival. Prostitution is treated as an industry from which the investors or the bidders earn surplus money. My argument is that the political/economic system, capitalism is responsible for the alienation and exploitation of women in Peru in the 1960s.
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Simour, Lhoussain. "Blurring the Boundaries of Gendered Encounters: Moorish Dancing Girls in Nineteenth and Early Twentieth-Century American Fair Exhibitions." Hawwa 11, no. 2-3 (June 9, 2014): 133–59. http://dx.doi.org/10.1163/15692086-12341250.
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Moroccan dancing women appeared as entertainers in 19th and 20th-century American fair expositions. Their physical and epistemological journeys and their performances on the fair midways have been largely missing from the histories of the Moroccan and American entertainment industries. Their experiences and narratives overseas are stimulating and worth recovering, because they offer suitable settings in which to engage with the complexities of cultural and racial contacts between self and other, and add an interesting dimension to the notion of travel and border crossing in which gendered routes contributed to the shaping of discourses about racial difference. This article looks at North African dancing women, often conflated in American international expositions under the term “belly-dancing girls” and in their local countries, pejoratively, as shikhat (public dancers in Moroccan dialect). I begin with a brief discussion of Deborah Kaption’s Moroccan Female Performers Defining the Social Body (1994) as a pretext for moving beyond the rigid ethnographical discourses about cultural difference. This article sheds light on gendered encounters in the historical context of fair expositions, where live performances helped shape a tradition of self-referential knowledge about oriental dancing women as a site of fantasies, sexual prowess, and erotic desires. It then proceeds to deal with some experiences of the dancers themselves as “living exhibits” and how their live performances contributed to forming not only orientalist discourse but also the oriental and Western subjects. These dancers were individualized subjects and performers who challenged the conventional definitions about oriental female roles and subverted the American Victorian model of femininity.
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Dover, Nathan John. "A CRITICAL DISCOURSE ANALYSIS OF A VINTAGE AMERICAN AIRLINES ADVERTISEMENT." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, no. 1 (June 27, 2021): 48–56. http://dx.doi.org/10.30743/ll.v5i1.3235.
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Critical Discourse Analysis (CDA) is a rapidly increasing area of study used by Applied Linguists to examine discourse, that is spoken or written communication, found in areas such as education, media and politics. CDA studies focus on the relationship between society and discourse and how the use of language reinforces already established societal roles. This paper focused on a vintage American Airlines advertisement of 1968 which is a classic example of utilitarian advertising that purported a false reality of air travel in the late 20th century. Using the three-dimensional CDA framework designed by Fairclough (1989) the results showed a manipulation of gender roles by the advertisers intended to appeal to the male dominated passengers of the airline. Primarily, the alignment of air hostess with that of a mother. The maternalisation of this profession reflected the advertisers’ views of the time and in a wider societal perspective, power inequalities between men and women.
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Hendriyanto, Restu Dedy, and Yusuf Kurniawan. "FROM FAIRY TALES TO ACTION ADVENTURE MOVIE: THE MAINTENANCE OF WOMEN AS VICTIM OF VIOLENCE IN THE MOVIE SNOW WHITE AND THE HUNTSMAN (2012)." Jurnal Penelitian Humaniora 21, no. 1 (February 1, 2020): 1–14. http://dx.doi.org/10.23917/humaniora.v21i1.7196.
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Gender representation is one of the most prominent subjects of discussion in American society. Fairy tales as one of the first cultural products consumed by the American society are a medium with an influential presence in the issue. They provide gender representations and convey the idea of masculine and feminine- myths of how to be men and women. However, in 20th century, many movies are changing the perspective by presenting women and action and break the traditional myth. In the same year, a movie entitled Snow White and the Huntsman appears as the remake of the written fairy tale Snow White in the form of an action-adventure movie. To move the discussion further, this research examines how the idea of women as victims of violence in the movie is maintained. A number of disciplines in the forms of theory and approach are used to analyze the data. It also applies gender theories and Barthes's semiotic theory in answering the research question. As a result, it is found that the character Snow White and a number of other women characters still become victims of violence. The representations are also still associated with the traditional ideas of women.
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Ludewig, Anna-Dorothea. "Das Bild der Jüdischen Mutter zwischen Schtetl und Großstadt." Zeitschrift für Religions- und Geistesgeschichte 64, no. 1 (2012): 48–58. http://dx.doi.org/10.1163/157007312800211679.
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AbstractThe Jewish Mother, or Jiddische Mamme, is one of the most popular images of the Jewess in mid-19th and 20th century. Linked to the biblical Jewish women and mothers, arises a complex negative-grotesque stereotype, which is connected to the traditional image of the Jewess as ,,home-keeper“ and was developed by the Shtetl-literature into a bitter and inapproachable ,,family provider“. Finally, the overprotective and manipulative Jewish Mother is an integral part of American literature, film and comedy. The paper will trace these changes of meaning and also analyse the Jewish Mother in the framework of the different presentations and representations of the Jewish woman.
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Coco, Janice M. "Inscribing Boundaries in John Sloan's Hairdresser's Window: Privacy and the Politics of Vision." Prospects 24 (October 1999): 393–416. http://dx.doi.org/10.1017/s0361233300000430.
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The Public Reception Of An Image stands as a testament to its cultural 1 and social meanings. Nevertheless, the painting Hairdresser's Window (Figure 1) by the American Realist John Sloan (1871–1951) has yet to be considered in light of its contemporary criticism. The response of Sloan's early-20th-century audience was ambivalent and thus raises questions concerning the social issues embodied in this painting. Because Hairdresser's Window contains the major motifs recurring throughout Sloan's oeuvre (for example, windows, stereotyped figures, working-class women, and the inclusion of spectators within the picture), it will be used as paradigm to explore the social relevance of his personal mode of spectatorship, a practice that had its counterpart in the public sphere and was paralleled in other works of American Realist painting.
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Dudley, Rachel. "The Role of Feminist Health Humanities Scholarship and Black Women’s Artistry in Re-Shaping the Origin Narrative of Modern, U.S. Gynecology." Humanities 10, no. 1 (March 23, 2021): 58. http://dx.doi.org/10.3390/h10010058.
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Between 1845–1849, twelve enslaved women in Montgomery, Alabama lived through prolonged, gynecologic experimentation at the hands of Dr. James Marion Sims. What happened, in his 16-bed backyard hospital, often begins the origin narrative of modern U.S. gynecology and how it developed into a discrete and international, Western, scientific field of medicine. Sims autobiography references three of these women, by their first names only: Anarcha, Lucy and Betsey. The research questions here are: what more can be known about these women’s lives, their possible social networks and their cultural legacies? Further, what changes if the origin narrative of modern, U.S. gynecology begins with feminist health humanities scholarship and in the pages of black women’s artistry? I discuss original research findings, involving the following primary source: an 1841 property deed, mentioning the first names of 7 other enslaved people owned by Sims. I, then, examine cotemporary U.S. feminist scholarly writing and artistic cultural representations, centering the lives of the women as important historical figures. Last, I conceptualize the notion of poetic ancestral witnessing within the work of the following three, twenty-first century, African American, poets: Bettina Judd, Dominique Christina and Kwoya Fagin Maples. These women published poetry collections on this history, between 2014 and 2018.
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Swanson, Kara W. "The Doctor's Dilemma: Paternalisms in the Medicolegal History of Assisted Reproduction and Abortion." Journal of Law, Medicine & Ethics 43, no. 2 (2015): 312–25. http://dx.doi.org/10.1111/jlme.12247.
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In 1954, American women experienced an unwanted pregnancy as presenting a difficult choice between bearing an unwanted child and risking an illegal abortion. Yet obstetrician/gynecologist Alan Guttmacher described abortion as “the doctor’s dilemma.” Guttmacher and his medical colleagues experienced a dilemma when their professional judgment that pregnancy termination was warranted clashed with the laws criminalizing most abortions. In that situation, the law constrained their ability to make a decision they felt to be in the best interest of a patient. To doctors, such paternalist decision-making was a bedrock principle of 20th-century medicine. Doctors had an obligation to provide, or deny, treatment to patients for their own good. This duty arose from medical expertise and separated the medical profession from lesser medical practitioners.
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Corkin, Stanley, and Phyllis Frus. "An Ex-centric Approach to American Cultural Studies: The Interesting Case of Zora Neale Hurston as a Noncanonical Writer." Prospects 21 (October 1996): 193–228. http://dx.doi.org/10.1017/s0361233300006530.
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The authors of these passages share more than a belief in the efficacy of the category of “race” and a need to assert pride in their African-American heritage. Both have, of late, experienced notable recognition and affirmation from constituencies that typically evince little interest in black Americans and their culture. Zora Neale Hurston is one of only three or four 20th-century writers who have achieved canonical status, with the result that her works invariably appear in courses offered in American literature or American Studies, not just in more narrowly de-fined courses, such as African-American Writers or American Women Writers. Clarence Thomas, as the second black Supreme Court Justice, holds the highest position in government ever held by an African American. Arguably, his judicial position and her supreme reputation are the result of the affirmative action and desegregation programs (and in his case, the “multicultural” mandate) they oppose. Perhaps their opposition to these programs is what fits them for this crossover appeal. In effect, they deny the reality of the effects of segregation – unequal funding, and therefore poorer education and continuing secondary employment, housing, and so on – on most black Americans.
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Urgola, Stephen, and Maissan Hassan. "Women's Collections in Egypt: Insights into the American University in Cairo's Rare Books and Special Collections Library and the Women and Memory Forum's Archives." Collections: A Journal for Museum and Archives Professionals 14, no. 3 (September 2018): 315–29. http://dx.doi.org/10.1177/155019061801400308.
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Two institutions of relatively small size play a major role in documenting women's history in Egypt: the Rare Books and Special Collections Library (RBSCL) of the American University in Cairo (AUC) and the Women and Memory Forum (WMF), a feminist research center in Cairo. This article presents case studies of these institutions’ efforts. The AUC RBSCL's collections are described, including those of leading 20th-century feminist leaders Huda Sharaawi (1879-1947), Doria Shafik (1908-1975), and Aziza Hussein (1919-2015), as are oral history initiatives related to women's history. The article also discusses programs and collections of the WMF, including private papers collections such as that of activist Wedad Mitri (1927-2007), and its Archive of Women's Oral History, which documents women's lives in Egypt and beyond. The initiatives in Egypt of the RBSCL and the WMF indicate how institutions can employ archival collecting, oral history, and outreach-like exhibitions to document and highlight women's historical contributions.
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Miller, Nicola. "Recasting the Role of the Intellectual: Chilean Poet Gabriela Mistral." Feminist Review 79, no. 1 (March 2005): 134–49. http://dx.doi.org/10.1057/palgrave.fr.9400206.
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The life and work of Gabriela Mistral, the first Latin American writer to be awarded the Nobel Prize for Literature in 1945, is examined as an example of how difficult it was for women to win recognition as intellectuals in 20th-century Latin America. Despite an international reputation for erudition and political commitment, Mistral has traditionally been represented in stereotypically gendered terms as the ‘Mother’ and ‘Schoolteacher’ of the Americas, and it has been repeatedly claimed that she was both apolitical and anti-intellectual. This article contests such claims, arguing that she was not only committed to fulfilling the role of an intellectual, but that she also elaborated a critique of the dominant male Latin American view of intellectuality, probing the boundaries of both rationality and nationality as constructed by male Euro-Americans. In so doing, she addressed many of the crucial issues that still confront intellectuals today in Latin America and elsewhere.
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Ciucci, Alessandra. "The Study of Women and Music in Morocco." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 787–89. http://dx.doi.org/10.1017/s0020743812000906.
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The 1987 publication of Women and Music in Cross-Cultural Perspectives, the first anthology on the topic of women and music in the field of ethnomusicology, marked a critical turn in the scholarship. The ethnographic-focused essays on women's genres and roles in music in diverse societies around the world, including the Middle East, presented new analytical frameworks and research on authority, gender and access, and notions of power and performance. Today, research on the musical practices of women continues to expand in ethnomusicology and in fields such as anthropology. Many scholars now acknowledge the centrality of gender for locating “how society is in music and music is in society.” This is a particularly important approach for the Middle East and North Africa, where the undervaluing or silencing of women's musical practices and abilities had continued to dominate ethnomusicology. An important study to break from the paradigm was Virginia Danielson's 1997 monograph on Umm Kulthum. Danielson analyzes the development and the construction of a musical and a social “voice,” looking at what it means for this particular artist to both be the voice of and have a voice in colonial and postcolonial Egypt. In the discussion that follows I outline the academic trajectory of writings on women and music in Morocco, which I have divided into three distinct historical moments, each exemplifying different approaches to the subject matter: work by 20th-century French colonial scholars, by contemporary European and American scholars, and by contemporary Moroccan scholars.
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Nelson, Angela M. "“At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System." Open Cultural Studies 2, no. 1 (November 1, 2018): 475–85. http://dx.doi.org/10.1515/culture-2018-0043.
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Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant Christian women who are paid for singing Gospel Music and who have recorded at least one Gospel album for national distribution. The self-elected exile of Gospelwomen refers to their decision to live a life based on the values of the Kingdom of God while encountering and negotiating opposing values in American popular culture. Gospelwomen and Gospel Music are impacted by the demands of stardom in America’s celebrity culture which includes achieved success and branding. Gospelwomen negotiate these components of stardom molding them into mechanisms that conform to their beliefs and needs.