Journal articles: 'Writing romance'

1

Wollheim, Richard. "On Writing A Family Romance." New Literary History 21, no. 1 (1989): 59. http://dx.doi.org/10.2307/469285.

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Hart, Stephen M. "Women Writing the Romance Languages." Romance Quarterly 42, no. 3 (July 1995): 131–32. http://dx.doi.org/10.1080/08831157.1995.10545125.

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Kim Ji-won. "Hawthorne’s Romance-Writing Strategy in the ‘Prefaces’." New Korean Journal of English Lnaguage & Literature 52, no. 1 (February 2010): 21–39. http://dx.doi.org/10.25151/nkje.2010.52.1.002.

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Cherry, Roger D., and Stephen P. Witte. "Direct assessments of writing: Substance and romance." Assessing Writing 5, no. 1 (January 1998): 71–87. http://dx.doi.org/10.1016/s1075-2935(99)80006-3.

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Lahive, Colin. "Reading and Writing Romance inParadise LostandParadise Regained." Literature Compass 12, no. 10 (October 2015): 527–37. http://dx.doi.org/10.1111/lic3.12256.

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McCracken-Flesher, Caroline. "Sir Walter Scott: Life-Writing as Anti-romance." Wordsworth Circle 46, no. 2 (March 2015): 102–8. http://dx.doi.org/10.1086/twc24888062.

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Zurcher, Amelia. "Serious Extravagance: Romance Writing in Seventeenth-Century England." Literature Compass 8, no. 6 (June 2011): 376–89. http://dx.doi.org/10.1111/j.1741-4113.2011.00805.x.

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Timbs, Lawrence C. "Put More Romance in News Reporting, Writing Courses." Journalism Educator 42, no. 4 (December 1987): 23–25. http://dx.doi.org/10.1177/107769588704200408.

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Joannou, M. "Women's Fiction 1945-2005: Writing Romance. Deborah Phillips." Contemporary Women's Writing 2, no. 1 (June 1, 2008): 86–88. http://dx.doi.org/10.1093/cww/vpn005.

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Newman, Eric H. "A Queer Romance." English Language Notes 59, no. 1 (April 1, 2021): 58–72. http://dx.doi.org/10.1215/00138282-8814983.

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Abstract This essay argues that the queer romances at the margins of Claude McKay’s Romance in Marseille operate as sites of possibility for a happy, egalitarian social relation that is longed for but not otherwise accessible in the novel. The essay contends that this novel, read against Home to Harlem (1928) and Banjo (1929), offers one of the most sustained, nuanced representations of queer life in McKay’s archive and in early twentieth-century LGBT literature more generally, one in which same-sex-oriented characters are rendered as normal, integral figures in urban life rather than as outré characters whose primary function is to add spice to the narrative. As the novel demonstrates the continuing appeal of queerness as a site for imagining a more liberated, loving form of social organization—one that relishes the pleasure-in-difference that is a hallmark of McKay’s writing—it also anticipates formations within the queer liberationist politics of the decades that followed.

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Berliner, Jonathan. "From Ivory to Foolscap: Faulkner's Romance of Writing Materials." Mississippi Quarterly 70, no. 2 (2017): 135–46. http://dx.doi.org/10.1353/mss.2017.0008.

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PRATT, L. "Dialect Writing and Simultaneity in the American Historical Romance." differences 13, no. 3 (January 1, 2002): 121–42. http://dx.doi.org/10.1215/10407391-13-3-121.

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Vincent, Kerry. "Ethnographic romance: Allister Miller and Settler Writing in Swaziland." Journal of Literary Studies 17, no. 1-2 (June 2001): 72–82. http://dx.doi.org/10.1080/02564710108530275.

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14

Hodder, Ian. "Writing archaeology: site reports in context." Antiquity 63, no. 239 (June 1989): 268–74. http://dx.doi.org/10.1017/s0003598x00075980.

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As it is written in site reports today, the modern language of archaeology is not a handsome tongue, efficient though it may be at conveying neutral data (another horrid word). Are there lessons to be found in the beguiling style of site reports from a couple of centuries ago? And is there more to their charm than antiquarian romance?

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15

Meding, Twyla. "Pastoral Palimpsest: Writing the Laws of Love in L'Astré." Renaissance Quarterly 52, no. 4 (1999): 1087–117. http://dx.doi.org/10.2307/2901837.

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Mediated by Neoplatonist thought of the Quattrocento, paradox governs both form and content of Honoré d'Urfé's L'Astreé. The prefatory epistles to the work's first three parts establish a Foucaldian notion of “author function“ while simultaneously positing the author's profound distrust of writing and his preference for an oral medium. Within the romance itself, the three episodes featuring the authoritative Laws of Love, their falsification, and finally their complete revision illustrate deconstruction of the “author function” through the force of the Platonic textual “drift” against which d'Urfé cautions his protagonists in his prefaces. At the same time, the revised Laws of Love announce means of collective composition prevalent in the later seventeenth century. The romance's sylvan cabinet thus reflects and resolves the dilemmas of authority and composition conceived in the prefaces' paternal Cabinet.

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16

Franklin-Brown, Mary. "The Monstrous Birth of Alexander the Great." Journal of Medieval and Early Modern Studies 49, no. 3 (September 1, 2019): 541–61. http://dx.doi.org/10.1215/10829636-7724661.

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Alone among the French romances of Alexander the Great penned in the twelfth century, Thomas de Kent’s Roman de toute chevalerie reproduces the story of Alexander’s illegitimate birth from the principal Latin source. According to this account, Alexander’s father was Nectanabus, a mage and astrologer who seduced Queen Olympias with an astronomy lesson, deceived her by using animal pelts to disguise himself as a god, and then used his magic arts to retard the child’s birth when his astrological calculations indicated the child would be born a hybrid man-beast. Thomas wrote his romance at the very moment when both astrology and paradoxography (the writing of marvels) were being reevaluated as means of understanding the world, and so Alexander’s odd birth offers a reflection — shaped by the romance genre — on the limitations and ethical implications of medieval natural science.

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17

Ross, Dorothy. "Grand Narrative in American Historical Writing: From Romance to Uncertainty." American Historical Review 100, no. 3 (June 1995): 651. http://dx.doi.org/10.2307/2168599.

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Jary, Sheena. "Stanivukovic, Goran, ed. Timely Voices: Romance Writing in English Literature." Renaissance and Reformation 41, no. 4 (2018): 278. http://dx.doi.org/10.7202/1061956ar.

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Eckerle, Julie A. "Recent Developments in Early Modern English Life Writing and Romance." Literature Compass 5, no. 6 (November 2008): 1081–96. http://dx.doi.org/10.1111/j.1741-4113.2008.00576.x.

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Moran, Albert. "“No more virgins'’: Writing romance ‐ an interview with emma darcy." Continuum 4, no. 1 (January 1990): 37–53. http://dx.doi.org/10.1080/10304319009388180.

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21

Cohen, Walter. "The Rise of the Written Vernacular: Europe and Eurasia." PMLA/Publications of the Modern Language Association of America 126, no. 3 (May 2011): 719–29. http://dx.doi.org/10.1632/pmla.2011.126.3.719.

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When Students of Western European Medieval Literature speak of the rise of the vernacular, they often do not mean what you might think they mean—neither the continued use of Latin as a written vernacular for over five hundred years after the fall of the Roman Empire nor the first texts in Celtic, Germanic, and Semitic languages, from the fourth to the tenth century. They mean something later and geographically narrower—the writing that emerges from the breakup of Latin into distinct regional speech patterns, the Romance languages and literatures, primarily in the territories of modern France, Spain, Italy, and Portugal. Although understanding the rise of Romance-language literature as the rise of vernacular writing misrepresents medieval European literature, it has an important rationale. The twelfth-century literature of what is now France—Old French romance in the north, Occitan (formerly Provençal) lyric in the south—establishes continent-wide norms, thereby giving European literature a coherent set of forms and themes for the first time.

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Chivu, Gheorghe. "Le roumain littéraire moderne et l’analogisme." Studia Universitatis Babeș-Bolyai Philologia 65, no. 4 (October 30, 2020): 91–102. http://dx.doi.org/10.24193/subbphilo.2020.4.05.

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The Modern Literary Romanian and the Analogism. The adaption of Latin-Romance neologisms through phonetic transformations that characterized the constitution period of Romanian language as independent Romance idiom is considered, during the dawn of time of modern literary Romanian, a debatable action of Latin conception towards renewal and unification of our cultural language. The presence of certain analogical forms specific to etymological writing in texts of various authors that weren’t part of the Latin movement, but also the usage, included in the current literary Romanian, of several analogical phonetics motivates the cultivated nature of the mentioned phonetical adaptions and assesses the widespread application of these forms, viewed as Romanian modalities of borrowings, during the modernizing period of literary Romanian writing according to Latin pattern.

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23

Coelho, Luiz Henrique Ernesto. "Uma leitura da relação de Walter Benjamin com o historicismo e com a escrita romanesca de Alfred Döblin." Cadernos Benjaminianos 14, no. 1 (January 30, 2019): 11. http://dx.doi.org/10.17851/2179-8478.14.1.11-24.

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Resumo: A congruência entre os textos “O romance histórico e nós”, de Alfred Döblin, e “Sobre o conceito de história”, de Walter Benjamin, encontra-se na análise historicista, inserida em uma concepção vanguardista tanto no sentido sociocultural abordado por Benjamin quanto naquele delimitado mais especificamente por uma teoria sobre o gênero do romance, observado no texto de Döblin. Benjamin analisa os fenômenos históricos posicionando-se em relação à corrente historicista, criticando-a e se voltando sempre para uma visão vanguardista, inclusive no tocante à sua escrita. No texto sobre a crise do romance, parte de considerações sobre questões teóricas de autoria de Döblin e analisa a escrita desse autor em Berlin Alexanderplatz, reverenciando tanto a escrita quanto os aspectos teorizantes apontados por ele. Nesse ponto, encontra-se uma flagrante aproximação entre os dois autores como em outros textos de Benjamin e, também, nas proposições encontradas no texto de Döblin acerca do romance histórico. Na presente pesquisa, pretendeu-se analisar os pontos de aproximação entre os textos benjaminiano e dobliniano, bem como os seus distanciamentos, com a finalidade de se propor uma perspectiva que contemple também a escrita de ambos - amparada pela estética modernista - a partir de um viés histórico-teórico.Palavras-chave: Alfred Döblin; Walter Benjamin; romance histórico; conceito de história.Abstract: The congruence between the texts “Der historische Roman und wir” (The historical Roman and us) by Alfred Döblin and “On the concept of history” by Walter Benjamin concerns the historicist analysis, on a modernist conception both in a socialcultural sense, intended by Benjamin, and on that one defined more specifically by a theory about the Roman, observed in Döblin’s text. Benjamin analyses the historical phenomenon relating himself with the historicist stream, criticising it and placing himself in an avant-gardist point of view, including his writing on it. On the text about the Roman crisis, he begins with considerations about theoretical points from Döblin’s authorship and analyses this author’s writing on Berlin Alexanderplatz, reverencing both the writing method and the theoretical aspects pointed by Döblin. In this way, it is possible to find a flagrant approach between Benjamin and Döblin an, also, on the propositions found on Döblin’s text about the historical Roman. On the present article, it was intended to analyse the approaching points between the texts by Benjamin and Döblin, as well as their differences, with the finality to propose a perspective which contemplates also their writings – supported by the modernist aesthetics - from a theoretical historical bias.Keywords: Alfred Doblin; Walter Benjamin; historical roman; concept of history.

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George, Jodi Anne. "Writing for women: The example of woman reader in Elizabethan romance." Women's Studies International Forum 15, no. 4 (July 1992): 530. http://dx.doi.org/10.1016/0277-5395(92)90092-a.

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Armstrong, Jane, Liz Byrski, and Helen Merrick. "Love works: Reading and writing romance in the twenty-first century." Australasian Journal of Popular Culture 3, no. 3 (September 1, 2014): 257–61. http://dx.doi.org/10.1386/ajpc.3.3.257_7.

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26

Holmes, Diana. "The Return to Romance: Love Stories in Recent French Women's Writing." L'Esprit Créateur 45, no. 1 (2005): 97–109. http://dx.doi.org/10.1353/esp.2010.0486.

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27

Munro, B. M. "QUEER FAMILY ROMANCE: Writing the "New" South Africa in the 1990s." GLQ: A Journal of Lesbian and Gay Studies 15, no. 3 (January 1, 2009): 397–439. http://dx.doi.org/10.1215/10642684-2008-030.

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Rodgers, Stephen. "Miniatures of a Monumentalist: Berlioz's Romances, 1842–1850." Nineteenth-Century Music Review 10, no. 1 (June 2013): 119–49. http://dx.doi.org/10.1017/s1479409813000062.

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This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlioz's biography, I argue that their conventionality belies a deeply personal resonance and a musical ingenuity uncommon to the romance genre. As a whole, these songs show Berlioz returning to an intimate and direct style during an especially introspective and nostalgic period of his life. Even more, they suggest that his urge toward self-reflection was not confined to the programmatic and the large-scale, and that his miniatures and monuments have more in common than one might think.

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Maraschin, Leila. "O papel da tradução renascentista na reelaboração literária das línguas neolatinas." Scientia Traductionis, no. 16 (June 23, 2016): 63. http://dx.doi.org/10.5007/1980-4237.2014n16p63.

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http://dx.doi.org/10.5007/1980-4237.2014n16p63Este artigo apresenta algumas considerações sobre o papel da tradução renascentista na reelaboração das línguas neolatinas, focalizando especialmente a influência da elocutio retórica no novo modo de traduzir que aprimora suas literaturas.ABSTRACTThis article presents some considerations about the role of renaissance translation in the re-elaboration of the Romance languages, focusing particularly on the influence of Rhetoric’s elocutio to a new way of translating that enriches the literatures in those languages.Keywords: Renaissance Translation; Elocutio; Literary Writing; Romance languages

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Jennings, Margaret. "The “Sermons” of English Romance." Florilegium 13, no. 1 (January 1994): 121–40. http://dx.doi.org/10.3138/flor.13.008.

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The influence of sermon content on mediaeval secular literature has long been acknowledged. Widening the trail blazed by Gerald Owst in 1933, Siegfried Wenzel has recently identified sermon material in the fabliaux, the drama, the epic, and, very extensively, in the mediaeval lyric.1 Evidence for the usage of sermon formats, however, is considerably harder to develop, although efforts to do so—both brilliant and bizarre—have certainly been attempted.2 Many of the difficulties arise because the homily style in preaching design that had been dominant until the twelth century and remained a viable option especially in the thirteenth and fifteenth centuries was too unique and personalized to the individual sermon giver to be reduced to a scheme. In addition, the more organized pattern of preaching, which today is called “scholastic,” “university-style,” or more correctly “thematic,” vied for prominence with the homily throughout most of the mediaeval period. Only in the fourteenth century, and probably only in England where manuals on thematic design and sermons thus organized flourished, can the effect of a prescribed preaching structure on non-religious writing be easily discerned. Such a discovery occurs when certain unusually-shaped passages in English metrical romance are measured against thematic formats.

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31

Szpiech, Ryan. "Translating between the Lines: Medieval Polemic, Romance Bibles, and the Castilian Works of Abner of Burgos/Alfonso of Valladolid." Medieval Encounters 22, no. 1-3 (May 23, 2016): 113–39. http://dx.doi.org/10.1163/15700674-12342218.

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The Hebrew works of convert Abner de Burgos/Alfonso de Valladolid (d. ca. 1347) were translated into Castilian in the fourteenth century, at least partly and probably entirely by Abner/Alfonso himself. Because the author avoids Christian texts and cites abundantly from Hebrew sources, his writing includes many passages taken from the Hebrew Bible and the Talmud. The Castilian versions of his works translate these citations directly from Hebrew and do not seem to make any direct use of existing Romance-language Bibles (although his work might have relied indirectly on Jewish Bible translations circulating orally in the fourteenth century). Given the abundance of citations, especially in Abner/Alfonso’s earliest surviving work, the Moreh ṣedeq (Mostrador de justicia), his writing can serve as a significant source in the history of Hebrew-to-Romance Bible translation in the fourteenth century. The goal of this article is to consider the impact of polemical writing on Bible translation in the Middle Ages by analyzing these citations in Abner/Alfonso’s Castilian works.

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Souza, Cláudia. "109 Marcos Alves, de Fernando Pessoa: entre a psiquiatria e o desassossego." Revista do Centro de Estudos Portugueses 32, no. 48 (December 31, 2012): 109. http://dx.doi.org/10.17851/2359-0076.32.48.109-125.

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<p>Neste artigo pretendemos demonstrar, através da análise de documentos do espólio pessoano, as relações existentes entre o projeto Marcos Alves, romance pessoano inacabado, e as ciências do psiquismo humano a escrita do Livro do Desassossego.</p> <p>In this article we intend to show, through the analysis of the documents contained in the Pessoa Archive, the relations among the project Marcos Alves, a unfinished romance of Pessoa, and the sciences of the human psychism and the writing of the Book of Disquiet.</p>

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Santoso, Distania, Imam Basuki, and L. Dyah Purwita Wardani. "THE ROMANCE FORMULA IN CECELIA AHERN’S LOVE, ROSIE." Lentera: Jurnal Ilmiah Kependidikan 12, no. 2 (January 14, 2020): 267–84. http://dx.doi.org/10.52217/lentera.v12i2.418.

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This research analyzes the romance formula presented in Love, Rosie by discussing the standard convention of the novel. The romance formula analysis tends to prove what is the sociocultural background in 20th century of Ireland society which becomes the cultural background of the novel. We discuss the issues among popular culture and also finding out the dominant components of the story which builds the story into a romance story. The discussion is employed the Cawelti’s concept and supported by Radway’s theory of romance. This study discusses Romance formula in Love Rosie is presented by the two dominant elements, those are the romance plot formula and the characters. The inventions of the romance formula in Love Rosie is found in the writing style of the novel. The novel is written in the form of instant messages and letters that are sent between the hero and heroine. The results of this study indicate that Love, Rosie has two dominant elements that built the story into a romance story. The first element is the story plot and the second is the main characters of the story whom develops the love relationship in the story, which are the hero and the heroine. The story plot of Love, Rosie can be classified into four stages, those are the first meeting of Alex and Rosie, Alex and Rosie fall in love to each other, Obstacles which contain the internal and external conflicts of the hero and heroine, and the ending of the story.

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Relihan, Constance C., Caroline Lucas, and Milton Keynes. "Writing for Women: The Example of Woman As Reader in Elizabethan Romance." Sixteenth Century Journal 22, no. 2 (1991): 381. http://dx.doi.org/10.2307/2542762.

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최영자. "Collective Romance and Reflective Writing in the Novels of Hyen Gil Un." Journal of Korean Modern Literature ll, no. 51 (October 2013): 643–78. http://dx.doi.org/10.35419/kmlit.2013..51.018.

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Kray, Susan. "Deconstructive Laughter: Romance Author as Subject the Pleasure of Writing the Text." Journal of Communication Inquiry 11, no. 2 (July 1987): 26–46. http://dx.doi.org/10.1177/019685998701100203.

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Stoneman, Richard. "Oriental Motifs in the Alexander Romance." Antichthon 26 (November 1992): 95–113. http://dx.doi.org/10.1017/s006647740000071x.

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Over the centuries, the fabulous adventures of Alexander the Great have become as prominent in art and literature as his historical achievements. Medieval artists in particular are frequent sources of depictions of the hero in such adventures as the search for the water of life, the flight into the air in a basket borne by eagles, the descent into the sea in a diving bell, the interview with the talking trees of India and the visit to the dwellings of the gods. Familiar as these episodes are—or were—it is easy for us to forget how completely new a thing they represent in the tradition of Greek prose writing. With the decipherments of cuneiform some one hundred years ago, a number of scholars concluded that they could not have been developed entirely within the Greek tradition, and posited direct influence from one or more Babylonian or other near eastern sources or traditions to explain the occurrence in Greek literature of these curious tales. Despite the antiquity of these arguments, they have been accepted without examination by many more recent writers on the Alexander Romance.

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White, Mimi. "Representing Romance: Reading/Writing/Fantasy and the "Liberated" Heroine of Recent Hollywood Films." Cinema Journal 28, no. 3 (1989): 41. http://dx.doi.org/10.2307/1224860.

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Robison, Lori. "Writing Reconstruction: Racial Fluidity and National Reunion in A Romance of the Republic." ESQ: A Journal of the American Renaissance 61, no. 4 (2015): 631–66. http://dx.doi.org/10.1353/esq.2015.0017.

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Antolin, Pascale. "Romance Tradition to Modernist Writing: F. Scott Fitzgerald's "More Than Just a House"." F. Scott Fitzgerald Review 3, no. 1 (January 2004): 72–87. http://dx.doi.org/10.1111/j.1755-6333.2004.tb00005.x.

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González Cruz, Maria Isabel. "Exploring the dynamics of English/Spanish codeswitching in a written corpus." Revista Alicantina de Estudios Ingleses, no. 30 (December 15, 2017): 331. http://dx.doi.org/10.14198/raei.2017.30.12.

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This investigation is part of a much larger ongoing research project which approaches a corpus of popular romance fiction novels from a multidisciplinary perspective. The paper focuses on the usage of Spanish words and expressions in the English written discourse of two samples of romances taken from the corpus we are compiling for Research Project FFI2014-53962-P. When analyzing the occurrences of Hispanicisms in the samples, we will specifically address the issues of both their forms and the different socio-pragmatic functions that these cases of language switching seem to play. It is only recently that scholars have studied the patterns of codeswitching in literary writing, but, to the best of the author’s knowledge, no previous research has focused on codeswitching in this particular subgenre, which has always been doubly stigmatized for being both popular and feminine.

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Agnieszka Dryjańska. "WPŁYW EWALUACJI WYBRANYCH KOMPETENCJI NA POPRAWNOŚĆ WYPOWIEDZI PISEMNEJ." Neofilolog, no. 53/2 (December 30, 2019): 249–62. http://dx.doi.org/10.14746/n.2019.53.2.7.

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Writing is a complex skill since it requires the integration of various competences, which is a phenomenon extensively examined and discussed by researchers. However, the relation among these competences and their mutual influence, particularly at lower language proficiency levels (A1-A2/A2+), are analyzed more seldom. This issue constitutes the primary interest of our research. Carried out in the Institute of Romance Studies at Warsaw University, it focused on the following questions: how to adjust the evaluation method taking into account the above relation in order to facilitate the understanding of the complexity of the process of writing and to increase its effectiveness. The main study was preceded by a survey, conducted among all the students of the first year, who were beginners, concerning their perception of the difficulties of writing as well as their needs and expectations towards the writing class.

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Miquel Baldellou, Marta. "Passion beyond death? Tracing "Wuthering Heights" in Stephenie Meyer's "Eclipse"." Journal of English Studies 10 (May 29, 2012): 147. http://dx.doi.org/10.18172/jes.185.

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Stephenie Meyers’ Twilight tetralogy has lately become an enormously successful phenomenon in contemporary popular fiction, especially among a young adult readership. Regarded as a mixture of genres, the Twilight series can be described as a paradigm of contemporary popularculture gothic romance. Stephenie Meyer has recently acknowledged she bore one literary classic in mind when writing each of the volumes in the series. In particular, her third book, Eclipse (2007), is loosely based on Emily Brontë’s Victorian classic Wuthering Heights (1847). This paper aims at providing a comparative analysis of both Brontë’s novel and Meyer’s adaptation, taking into consideration the way the protofeminist discourse that underlines Brontë’s text is not only subverted but also acquires significantly reactionary undertones in Meyer’s popular romance despite its contemporariness.

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Lurie, Caroline. "Inaugural Elizabeth Jolley Conference: Reading and writing romance in the 21st century: Opening address." Australasian Journal of Popular Culture 3, no. 3 (September 1, 2014): 375–78. http://dx.doi.org/10.1386/ajpc.3.3.375_7.

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Melton, Jeffrey Alan. "Book Review: The Romance of the Holy Land in American Travel Writing, 1790–1876." Christianity & Literature 59, no. 1 (December 2009): 147–50. http://dx.doi.org/10.1177/014833310905900125.

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Suman. "Gendered Migrations and Literary Narratives: Writing Communities in South Asian Diaspora." Millennial Asia 9, no. 1 (April 2018): 93–108. http://dx.doi.org/10.1177/0976399617753755.

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Migrations are gendered journeys. During contemporary times when migrations happen due to personal reasons like pursuit of better job opportunities, the spouses, mostly women, face several challenges in finding jobs and sustaining a career. Many of these qualified women often turn to alternate means of finding identity and fulfilment. Writing is one activity that provides them with this sense of purpose and achievement. The personal act of writing a literary text becomes as much a social activity when few of them form writing communities. This socio-literary study begins with an analysis of the social and material conditions that foster gendered migrations, and goes on to analyse writing as an alternate career, the role these gendered writing communities play in the process of writing, publishing and marketing as well as the choice of certain topics, like romance, thus functioning as mini-publishing houses. Through detailed interviews of five women writers of South Asian origin, this paper posits that these popular narratives, the products of these writing communities, are very temporal in nature and a product of interesting intersections between migrations as a condition and the gendered communities.

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Percival, Mark. "Britain's ‘Political Romance’ with Romania in the 1970s." Contemporary European History 4, no. 1 (March 1995): 67–87. http://dx.doi.org/10.1017/s096077730000326x.

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‘King takes Queen’. This is how John Sweeney summed up his view of the state visit by Romanian President Nicolae Ceausescu to Britain in June 1978, an event which marked the high point of what theTimesreferred to as ‘Britain's political romance with Romania’ in the 1970s. Sweeney's book, in common with other post-revolutionary writing on Romania, roundly condemns Britain's foreign policy-makers for supporting a repressive regime.1However, in the 1970s the situation was not viewed in such clear-cut terms. In the early part of the decade, books by British writers praised Ceausescu, and Romania often received favourable coverage in the British press.2It was almost universally seen as a country which, although internally rigidly communist, pursued an independent foreign policy and was consequently a thorn in the flesh of the Soviet Union. It was keen to industrialise and to expand its economic ties with the West in order to do so. Apologists for British policy would argue that it was therefore both politically and economically beneficial to support Ceausescu. Politically it would weaken Moscow's control over the Eastern Bloc, and economically it would benefit British industry. Indeed, the two were related – the more economic ties Ceausescu had with the West, the stronger his political independence from Moscow would become.

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Farrell, John P. "ROMANCE NARRATIVE IN HARDY’S A PAIR OF BLUE EYES." Victorian Literature and Culture 42, no. 4 (September 19, 2014): 709–31. http://dx.doi.org/10.1017/s1060150314000266.

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Thomas Hardy came to the writer’s life with prodigious endowments and little self-confidence. His struggle with this unlikely predicament shows up repeatedly in his career, but nowhere so often as in its early stages. The “Studies and Specimens” Notebook, completed in the mid-1860s, bears touching witness to the labor of a greatly gifted writer teaching himself the very rudiments of literary form. The editors of the notebook speak accurately of the “diligence and doggedness” of his striving (Dalziel and Millgate xv). At the time his striving was dedicated to mastering poetry, the first and always most favored of his muses. But in 1867 “under the stress of necessity” he shifted his focus to “a kind of literature in which he had hitherto taken but little interest – prose fiction” (Life and Work of Thomas Hardy 58). With varying results he turned to writing novels, still testing his vocation until 1873 when he published A Pair of Blue Eyes, which, together with his impending marriage, fixed his literary course for decades to come.

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Craciun, Adriana. "Writing the Disaster: Franklin and Frankenstein." Nineteenth-Century Literature 65, no. 4 (March 1, 2011): 433–80. http://dx.doi.org/10.1525/ncl.2011.65.4.433.

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Adriana Craciun, “Writing the Disaster: Franklin and Frankenstein” (pp. 433–480) The occasion for this essay is the surprise meeting of three texts from distinct traditions—Gothic romance, evangelical theology, and Enlightenment exploration—during the course of an Arctic disaster. The essay explores the relationship of the official disaster narrative (John Franklin's Narrative of a Journey to the Shores of the Polar Sea [1823]) to these heterogeneous textual companions, particularly Mary Shelley's Frankenstein (1818). Published by the Admiralty's official bookseller, John Murray, the official Franklin Narrative emerged from a highly centralized governmental and publishing network, one that attempted a virtual monopoly on prestigious Arctic publications from 1818 to 1848. The essay uncovers the complex institutional connections of this publishing nexus, and the strong centripetal pull exerted upon them by governmental authorities, while simultaneously considering a range of fugitive writings—chief among them Frankenstein—that escaped the pull of this formidable nexus. Frankenstein's proximity to the center of polar print culture and its highly regulated discursive practices reaffirms the widespread persistence not only of collaborative authorship into the nineteenth century, but also of more radically unindividualized authorship practices carried out across institutional lines. Thus, rather than asking how novels like Frankenstein were influenced by polar exploration, this essay broadens the field of inquiry to consider authorship and publishing practices across diverse domains, including corporate, governmental, and commercial.

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Henn, David, and Pere Gifra-Adroher. "Between History and Romance: Travel Writing on Spain in the Early Nineteenth-Century United States." Modern Language Review 97, no. 1 (January 2002): 206. http://dx.doi.org/10.2307/3735665.

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Journal articles on the topic 'Writing romance'

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