Littérature scientifique sur le sujet « Autobiography – Women authors »
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Articles de revues sur le sujet "Autobiography – Women authors"
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Künstler-Langner, Danuta. « Kobieta w dawnej literaturze polskiej. Inspiracje, wzorce, twórczość ». Studia Interkulturowe Europy Środkowo-Wschodniej, no 13 (25 novembre 2020) : 153–81. http://dx.doi.org/10.31338/2544-3135.si.2020-13.8.
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This paper presents the images of women in European culture and Old Polish Literature. The works devoted to women from the Middle Ages to Baroque focused on their social and political duties or artistic creation. The authors chose different literary forms: chronicles, poems, epigrams, laments, odes, sonnets, or epic works. The created characters included: a saint, a beloved lady, a donna angelicata, a hero of a chronicle or an autobiography. The works described their life, creative activity, or artistic aspirations. Some of them are panegyric poems, religious works, meditations, or love poetry. Women with an amazing sense of observation were discovering the space of literature and were participating in a world in its dynamic changes. They were excellent creators of humanistic and religious literature, referring to ancient tradition and European values.
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P. Geetha Davenci. « Interrogating the Muteness in Lavanya Sankaran’s The Hope Factory ». Shanlax International Journal of English 12, S1-Dec (14 décembre 2023) : 208–11. http://dx.doi.org/10.34293/rtdh.v12is1-dec.91.
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Indian women authors who write in English represent the realities of India in the current Indian literary scene. They have a lot of duties in the literary community. As researchers in anthropology sociologists, novelists, essayists, and travel writers, they carry out their duties with remarkable skill and then assume worldwide responsibility for promoting peace in their capacity as ambassadors. Additionally, they have created the odd contradiction of reading and appreciating how skillfully they address the problems of sexual harassment of women in post-colonial and postmodern contexts, including rape and the exploitation of Indian women in modern society. The autobiography of The Red Carpet novelist Lavanya Sankaran describes her journey from an ordinary lady to a writer. She desired to tell tales in which she would be able to identify the characters.
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Gyimesi, Emese. « The Urban Space Through the Eyes of Women : The 1849 Siege of Buda in Women’s Ego-documents ». Hungarian Historical Review 11, no 4 (2022) : 789–823. http://dx.doi.org/10.38145/2022.4.789.
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This study examines how female city dwellers experienced the siege of Buda Castle, a crucial event of the Revolution and War of Independence of 1848–1849, and the image of the city in their writings. The analysis focuses on three women’s ego-documents: the autobiography of Emília Kánya, the first female editor in the Habsburg Empire, the letters written by a young actress, Lilla Bulyovszky, to her husband and a letter by Anna Glasz, a resident of Buda Castle. I explore the kinds of mental map that emerge in the ego-documents in which the authors reflect on the urban experiences during the siege and the emotions that dominate their writings.
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Kholoussi, Samia. « Not So Dangerous Liaisons : Interstitial Subjectivities and the Autobiography of Arab Women ». English Language and Literature Studies 7, no 4 (2 novembre 2017) : 11. http://dx.doi.org/10.5539/ells.v7n4p11.
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This research re-examines “cultural hybridity” from an Arab female standpoint. The concept is widely researched in post-colonial discourse, and in texts of bi-cultural Arab women, it is re-envisioned in the light of the specificity of their experience. Amidst a maze of proliferating theories, the study utilizes critical discussions in post-colonial discourse pertinent to the central argument namely; what does it mean to be hybrid for Arab women, and how do they perform cultural hybridity in their autobiographical writing? This study sets itself is to formulate a framework that allows us to talk about Arab women’s autobiography in this context. It explores a space that would take into account ethnic and gender linked issues to investigate alternatives for Arab female self-identification in cultural hybrid contexts. For case study, I use Assia Djebar’s Fantasia: An Algerian Cavalcade (1985) and Ahdaf Soueif’s In the Eye of the Sun (1992) as texts as growing out of, and emerging against the culturally hybrid reality in which the autobiographical persona finds herself; a reality from which these self -representations evolve and authors begin to tell their stories. The study yields inferences regarding the potential of interstitial subjectivities as catalyst for agency, and a site of resistance and subversion. Cultural hybrid reality, for Arab women, is a site of contested and complex identities. It opens up a playing field of performative contestation in which identity thrives in ongoing endeavor to reformulate the debates on assimilation, integration, and identity politics within such a discursive territory.
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Maxim, Ilyin. « Alternative Islamic Discourse : Autobiography as a Tool for Transformation of Religious Authority ». TECHNOLOGOS, no 1 (2021) : 112–21. http://dx.doi.org/10.15593/perm.kipf/2021.1.10.
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The article is based on a discursive analysis of autobiographical Islamic narratives that tell about the practices of challenging male religious authority by Muslim women in Afghanistan and Libya in the late XX - early XXI centuries. The research focuses on the authors' speech strategies, which are a tool for changing public perceptions about the right of women to interpret religious, political, and social practices. As a basic theoretical concept, it is proposed to consider an alternative Islamic discourse, which includes the problem of gender identification in Islamic communities. This article presents a hypothesis that modern practices of challenging religious authority and authority by women's Islamic communities are implemented not at the level of doctrinal discussions, but in social, educational and cultural contexts. The main format of the speeches of Muslim speakers is presented by video materials posted on open Internet platforms. The speeches of the Muslim authors under consideration are based on the idea of ideological control over the practice of interpreting religious norms. Distortions in the interpretation of religious texts and practices have taken root in the public consciousness of Muslims through traditions. According to the presented materials the leading role in the transformation of ideas is played by the institution of education. Within the framework of this study the transformation of social ideas is understood as a process aimed at overcoming dominance by a group or individuals who are aware of their starting position from the position of subordinates. Particular attention is paid to the concept of power as a subjective position of actors and the right to implement behavioral models in accordance with the requirements of the present.
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Ivankiva, Marina V. « Why read about animals : On the formation of the animal autobiography as a literary genre in the 18th–19th century British literature ». Vestnik of Saint Petersburg University. Language and Literature 20, no 3 (2023) : 495–515. http://dx.doi.org/10.21638/spbu09.2023.306.
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The article presents an analysis of the genesis of the genre of animal autobiography in English literature at the turn of the 18th–19th centuries. The emergence, formation and evolution of the genre is considered in three contexts. The ideas of Adam Smith and David Hume together with the pedagogical teachings of John Locke and Sarah Trimmer form the central philosophi cal concepts of the new genre: sentimental feeling, sympathy, concern for the well-being of another living being. Comparison of the animal autobiography with “novel of circulation”, a popular in the XVIII century type of novel about adventures of a thing, focuses readers atten tion on animate and inanimate narrator which leads to the didactics of a new genre. Auto biographical narratives such as “The Life and Perambulations of a Mouse” of Dorothy Kilner, “Adventures of a Donkey” of Arabella Argus, and “Black Beauty” of Anna Sewell are studied in the context of the 18th and 19th century novel culture and since the authors of such autobiogra phies were predominantly women, who were responsible for caregiving and education, within the female narrative strategies in biographies. Written over two centuries ago by women who appropriated the voices of animals and spoke of their well-being, animal autobiographies are studied in terms of ecofeminist critique and human-animal studies. It is concluded that this genre may be regarded as an enlightenment project, which had and still has not only a didac tic, but also an emancipatory function.
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Brueck, Laura R. « Narrating Dalit womanhood and the aesthetics of autobiography ». Journal of Commonwealth Literature 54, no 1 (3 juin 2017) : 25–37. http://dx.doi.org/10.1177/0021989417710067.
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This article will consider two Hindi-language autobiographies by Dalit women, to explain how we can emphasize the collective, relational, and specifically gendered character of Dalit women’s life writing without simplistically categorizing them as testimonio, “witnessing”. Nor should we over-privilege their gendered specificity, thereby effacing the very real narrative authority, purposefulness, and perspectival control of their authors. Instead, we must be especially attentive to the language of a text and understand how the relationality and collectivity of experience is not accidental or necessarily organic to a woman’s view on her world, but is actively, politically, and consciously constructed in the course of a narrative. Predicated on a reasonable concern over the appropriation of a revolutionary new literary voice, attention to narrative form has been slow in coming to the critical and scholarly analysis of Dalit literature, somewhat paradoxically resulting in the rendering of this literature too as “untouchable”. In exploring what is therefore only a nascent formal criticism of the Dalit autobiographical genre, I believe it is important to express a note of caution against replicating the same kinds of essentializing processes of differentiation (the kind we have seen before in the critical reception of life writing in other cultures and languages) between men’s and women’s Dalit life narratives as ego-driven and individualistic linear progressions to political awakening versus relational, community-based, politically and purposefully diffuse “witnessings”. In this exciting moment in which we have the opportunity to engage with a critically important and rapidly expanding rhetorical movement such as Dalit literature, it is, I believe, a diligent recourse to textual analysis that may yet save us from such facile stereotyping.
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Sen, Shoma. « The village and the city : Dalit feminism in the autobiographies of Baby Kamble and Urmila Pawar ». Journal of Commonwealth Literature 54, no 1 (21 juillet 2017) : 38–51. http://dx.doi.org/10.1177/0021989417720251.
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As a reaction against mainstream Indian feminism that tended to ignore the problems of caste, Dalit women and those who advocate their cause have been making a valid case for Dalit feminism. This standpoint acknowledges both the patriarchal oppression from outside the caste as well as within it. Both Baby Kamble and Urmila Pawar have been activists as well as writers, whose autobiographies and creative works are vivid elaborations of the same. Showing how Dalit autobiographies have broken the conventional notions of autobiography coming out of the post-industrial revolution West by locating the individual firmly within the community, Sharmila Rege has pointed out that the Dalit women’s “testimonios” are also their protest against a “communitarian control on the self” (Rege, 2008). Baby Kamble’s autobiography brings out the blatant caste exploitation and violence against women in pre-Ambedkar rural Maharashtra, while Pawar’s begins with the village but focuses more on subtler urban forms of oppression. The latter text reflects on the story of postcolonial India’s development as, even in an urban milieu, caste and gender only change forms of oppression. Both authors’ lives make interesting studies for Dalit gynocritics. Kamble seems to completely submerge the self in the community, living as she does in a feudal patriarchal milieu in the countryside. Writing from a generation later that has felt the impact of urban modernity and feminism, Pawar brings out the self in a bolder way, inviting criticism from established Dalit writers like Sharan Kumar Limbale and others. In a broader sense, both autobiographies are significant as women’s writing and as contemporary Indian literature.
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Sykes, Rachel. « ‘Never enough, never enough’ : Institutional autobiography and gendered labour in contemporary North American women’s writing1 ». European Journal of American Culture 42, no 1 (1 mars 2023) : 7–27. http://dx.doi.org/10.1386/ejac_00085_1.
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This article examines the gendered experience of labour in the North American university to theorize its implications for the production of autobiographical writing. Drawing on the work of Dodie Bellamy, Roxane Gay and Heidi Julavits, I make a specifically feminist argument about time, precarity and value in academia, arguing that the job of writing creatively in the academy is complicated by the invisibilization of education and administration as well as the preponderance of women and minorities in non-permanent and therefore precarious academic roles. The authors discussed in this article all play with supposedly marginal literary forms like the diary, personal essay or blog to trouble the institutional overvaluing of canonical work and destabilize what Sarah Sharma calls a ‘patriarchal temporality’ that designates their work and lives as marginal. With a particular focus on Bellamy, who documents her repeated denial of tenure in personal and often sexually explicit writing, I want to interrogate the peculiar circularity of narrating experiences of overwork, insecurity and discrimination in the body of a text that might be read by current or future employers, as women translate their personal and leisure time into new forms of workplace productivity and commit further areas of their life to the university without the promise of liberation from or reform of its oppressive structures.
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Brandt Sartain, Katie. « “To whom shall the outcast prostitute tell her tale!” : Endo/Exo-Writer Perspectives of Nineteenth-Century Sex Workers in Madeleine, An Autobiography and Mary Barton ». Victorian Popular Fictions Journal 5, no 1 (3 juillet 2023) : 142–57. http://dx.doi.org/10.46911/guil7181.
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This article analyses two portrayals of the nineteenth-century female sex worker: Madeleine, An Autobiography, written from the endo-perspective of the anonymous narrator, and Mary Barton, written from the exo-perspective of Elizabeth Gaskell. By placing these two texts in conversation, this project aims to illuminate the range of discourses that emerged about female sex workers during this period, and more broadly, the difficulties that arise when writers attempt to represent subalternity in the depiction of historically occluded identity groups. Through a comparison of the “outcast prostitute” Esther Barton in Gaskell’s novel with the first-person autobiographical account of Madeleine Blair, the article offers a comprehensive account of the lives of these women and explores the discursive specificities of the authors’ construction of the female sex worker in relation to other accounts of sex work. Attention is also given the ideologemes surrounding sex work that prevail in Western culture and the consequences they have for people within that community today.
Thèses sur le sujet "Autobiography – Women authors"
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Marching, Soe Tjen 1971. « Negotiating identity : Indonesian women's published autobiographies and unpublished diaries in the New Order ». Monash University, Dept. of Asian Languages and Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5825.
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Piroli, Marta. « Finding Voices : Italian American Female Autobiography ». Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145368184.
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Chen, Yuling, et 陳玉玲. « A study of subjectivity in the autobiography of modern Chinese women = ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B44569713.
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Attarian, Hourig. « Lifelines : matrilineal narratives, memory and identity ». Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115621.
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This inquiry explores matrilineal autobiographical narratives in the contexts of family stories and memories. This self-study traces the stories of a collective of five women of a common Armenian heritage, who represent various generational, homeland and diasporic portraits and experiences. Carrying the burden of being descendants of genocide survivors, the memories we reconstruct and interpret deal with issues of inherited exile, dispossession, loss, trauma, survival and healing. In exploring these narratives, I engage in self-reflexivity as we construct, re-construct, re-present our narratives and their impact on our constructions and negotiations of self and identity.I use the family album metaphor as a foundation for my narrative framework and weave together the participants' and my autobiographical reconstructions through the intertwined stories of memory, trauma and displacement. The self-reflexive nature of our multilayered autobiographical narratives reconnects our selves with our pasts. Within a diasporic frame, I use the narratives as interpretive tools to explore the effects of multigenerational diasporic experiences on constructions of identity and agency.
The relationships we develop using face-to-face group conversations, virtual discussions through a Web forum and emails, personal reflexive journals, photo props and collaged images, highlight a dialogic process of imagined possibilities for the transformative power of storying. The autobiographical inquiry bridges voice to self and self to voice. This authoring process is an essential medium to writing ourselves as women. The process also allows us to reclaim our vulnerabilities as sources of inner strength and to embrace this understanding as the locus of writing.
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Gumbar, Dziyana P. « Autobiographical subjectivity in Judith Ortiz Cofer's Silent dancing and Marjorie Agosín's The alphabet in my hands ». Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4567.
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Thesis (M.A.)--George Mason University, 2009.Vita: p. 154. Thesis director: Ricardo F. Vivancos Pérez. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies. Title from PDF t.p. (viewed Oct. 12, 2009). Includes bibliographical references (p. 147-153). Also issued in print.
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Martin, Victoria. « Creating a space in the freak show Katharine Butler Hathaway's The little locksmith / ». Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798481001&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Groves, Robyn. « Fictions of the self : studies in female modernism : Jean Rhys, Gertrude Stein and Djuna Barnes ». Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27310.
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This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades.
In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions.
In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones.
Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure.
These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general.Arts, Faculty of
English, Department of
Graduate
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Smit, Lizelle. « Narrating (her)story : South African women’s life writing (1854-1948) ». Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97034.
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Thesis (MA)--Stellenbosch University. 2015ENGLISH ABSTRACT: Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness.
AFRIKAANSE OPSOMMING: In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie selfvoorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig. Ek verwys deurlopend na voorbeelde van ander gemarginaliseerde Suid-Afrikaanse vroulike ego-tekse om aan te dui dat daar weliswaar ‘n magdom ‘vergete’ en ‘stof-bedekte’ vrouetekste geskryf is in die afgebakende periode. Ek voor aan dat die ‘stem’ van die vroulike ‘ek’ allermins stagneer het, en dat verdere bestudering waarskynlik nodig is.
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Winter, Angela Roorda. « Faith in the process, the hermeneutics of intersubjectivity in three women's autobiographies of trauma and healing ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21653.pdf.
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Huguley, Piper Gian. « Why Tell the Truth When a Lie Will Do ? : Re-Creations and Resistance in the Self-Authored Life Writing of Five American Women Fiction Writers ». unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04252006-174728/.
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Thesis (Ph. D.)--Georgia State University, 2006.Title from title screen. Audrey Goodman, committee chair; Thomas L. McHaney, Elizabeth West, committee members. Electronic text (253 p.) : digital, PDF file. Description based on contents viewed May15, 2007. Includes bibliographical references (243-253).
Livres sur le sujet "Autobiography – Women authors"
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Frame, Janet. The complete autobiography. London : The Women's Press, 1998.
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Stein, Gertrude. Everybody's autobiography. Cambridge, MA : Exact Change, 1993.
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Phyllis, Lassner, et Lawson Peter 1960-, dir. A tempered wind : An autobiography. Evanston, Ill : Northwestern University Press, 2010.
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Spark, Muriel. Curriculum vitae : Autobiography. London : Constable, 1992.
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Spark, Muriel. Curriculum vitae : Autobiography. London : Constable, 1992.
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Spark, Muriel. Curriculum vitae : Autobiography. Boston : Houghton Mifflin, 1993.
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Rider, Bhanu Kapil. Autobiography of a Cyborg. San Francisco, CA : Renee Gladman, 2000.
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Hiddleston, Janet. George Sand and autobiography. Oxford : Legenda, 1999.
Trouver le texte intégralChapitres de livres sur le sujet "Autobiography – Women authors"
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Rahbari, Ladan. « 21. ‘Who Deserves a Chair?’ Performative Kinships and Microaggressions in the European Academy ». Dans Migrant Academics’ Narratives of Precarity and Resilience in Europe, 213–24. Cambridge, UK : Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0331.21.
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In this chapter, the author reflects on the performative work that academics do in conference rooms and other spaces of academic performance. The chapter investigates the stark and sometimes harsh differences between research and (self)presentation performances and what happens in more private spaces by using an autobiographic approach. The chapter recounts a narrative based on the author’s experience with microaggressions as a visibly non-white and non-European woman researcher in conference spaces in the Global North. The narrative revolves around multiple experiences of everyday microaggressions and how (a sense of) belonging, and the allocation of time, space, and objects in institutional spaces of performance as its extension is often reserved for those who are considered insiders and ‘kins,’ namely white and mostly Western European academics.
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Van Hyning, Victoria. « The Morean Legacy at St Monica’s ». Dans Convent Autobiography, 129–75. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266571.003.0004.
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This chapter investigates the importance of women’s education and Latinity to the first chronicler of St Monica’s, who composed anonymously, but whom I have identified as Mary Copley, a descendant of Sir Thomas More. Copley was well-educated, and descended from a long line of well-educated men and women whose learning, she believed, was critical to the survival and flourishing of English Catholicism after the Reformation. Copley’s attention to More’s legacy at St Monica’s is more sustained than would have been possible had she written under her own name. Writing anonymously, she subsumes her concerns into the stories and voices of the other women and their family members who are represented in this significant early modern chronicle. Copley’s is the first of four detailed case studies of what I call ‘subsumed autobiography’: when an anonymous author, through the very vehicle of her anonymity, shapes a text around her own experiences, politics, theology or ideology to such a degree that the work can be read as an expression and exploration of the author’s selfhood. The case of Copley’s authorship rests on combined analyses of prosopographical, manuscript, and textual data, and provides a methodology for identifying anonymous authors.
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Yandell, Kay. « Introduction ». Dans Telegraphies, 1–23. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190901042.003.0001.
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In nineteenth-century America, Native Americans communicated long distance with smoke signals and Indian sign language to combat U.S. invasions across the American plains. Recently immigrated Morse telegraphers began to organize “online” for safer working conditions. Women telegraphers entered electric speech forums. These interactions inspired the creation of what this book dubs “telegraph literature”—the fiction, poetry, social critique, and autobiography that experiences of telecommunication inspired authors from vastly different social locations to write throughout nineteenth-century America. The telegraphic virtual inspired such canonical authors as Walt Whitman and Emily Dickinson, alongside such lesser known authors as Lida Churchill and Crow medicine woman Pretty Shield, to explore how seemingly instantaneous, disembodied, nationwide speech practices challenged American conceptions of self, text, place, nation, and God.
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Trower, Shelley. « Collective Life Stories ». Dans Sound Writing, 99—C5P47. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190905996.003.0006.
Texte intégralRésumé :
Abstract This chapter moves beyond the duality of auto/biographical coauthorship to consider how an editor-author mediates multiple voices, including their orality, into a single written text. It focuses on how feminist oral historians and authors have brought together collections of voices, including middle- and working-class suffragettes, black and Asian women in Britain, Italian activists, and Soviet women in wartime, and considers the benefits and limitations of turning vernacular speech into relatively “standard” English. The chapter foregrounds the authorial control over these multiple voices, from decisions of selection and exclusion to how to juxtapose voices and how much of the orality to keep and strip out. It also discusses the use of autobiography to blend personal and collective experiences, and finally the form of polyphony, whereby the minimizing of any authorial presence helps to equalize multiple voices and give autonomy to a reader who interprets them.
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Satyanarayana, K., et Joel Lee. « Weave of My Life ». Dans Concealing Caste, 165–68. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192865243.003.0017.
Texte intégralRésumé :
Abstract Part II of Concealing Caste: Passing and Personhood in Dalit Literature contains autobiographical writings by Dalit authors addressing the theme of hidden identity. This chapter is a selection from Urmila Pawar’s celebrated Marathi-language autobiography Aaydan (2003), later published in English as The Weave of My Life: A Dalit Woman’s Memoirs. In the selection of Aaydan presented here, translated by Kedar A. Kulkarni, Pawar describes the early days of the Dalit Women’s Literary Organization, a group she co-founded. In an attempt to reach out to Dalit women outside their social networks, Pawar and her co-founders make house calls in Bombay neighbourhoods where some middle-class Dalits are known to live, sometimes with their caste concealed. With her characteristic attention to the humorous, Pawar, in this selection, relates her encounter with a woman in this situation.
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Orr, Leah. « The Author as Subject ». Dans Publishing the Woman Writer in England, 1670-1750, 144–93. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886293.003.0004.
Texte intégralRésumé :
Abstract This chapter examines representations of women writers in autobiography and biography as well as images of women writers in portraits and frontispieces. It argues that women’s lives are often adapted to present them as though they are like the characters or readers of their work. Representations of women writers are therefore rhetorical rather than historical and should be read alongside their works rather than as factual reports of their lives. It concludes with an examination of the autobiography of Laetitia Pilkington, in which she adopts several contrasting, popular models for a woman writer for rhetorical effect: a poet, a coterie writer and reader, and a subscription- and patronage-hunter.
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Harding, Anthony. « Biography and autobiography ». Dans Romanticism, 445–62. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199258406.003.0029.
Texte intégralRésumé :
Abstract The half-century from 1776 to 1832 marked the arrival of biography and autobiography as major literary genres. Their rise to prominence is one of the most significant features of the literary culture that defines the Romantic movement. Reading biography and autobiography of this period is rewarding, not only for what the texts themselves tell us about the lives of prominent women and men of the period, but more especially because the rapid emergence of the genres at this time marks a crucial stage in the development of the modern idea of ‘the author’, as a figure of cultural significance.
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Sainz, Ángel Chaparro. « Memory and Writing in Kim Gordon’s Girl in a Band ». Dans Women in Rock Memoirs, 56—C3N*. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197659328.003.0004.
Texte intégralRésumé :
Abstract In “Memory and Writing in Kim Gordon’s Girl in a Band,” Ángel Chaparro Sainz deploys a combined critical approach in order to observe the associations and interrelations between gender, music, and identity in Kim Gordon’s autobiography. The author explores how Gordon’s identity is investigated in an autobiography in which her awareness of herself as a musician interacts with her being a woman, a mother, and a band member. In the process of writing it, Kim Gordon’s journey into her personal memory reveals a complex process in which her developing identity takes shape. Her memoir is understood as a multilayered examination of identity that takes place in a liminal space of transition, where identity is approached not as something established and narrated, but as a source for self-revelation, a quest for meaning, and the promise of definition.
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Joutseno, Astrid. « Childhood Trauma and the Musical In-Between in Memoirs by Astrid Swan and Dory Previn ». Dans Women in Rock Memoirs, 23—C1P75. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197659328.003.0002.
Texte intégralRésumé :
Abstract This chapter approaches My Last Book (Viimeinen kirjani: kirjoituksia elämästä, 2019) by the Finnish songwriter and author of this essay, Astrid Swan/Joutseno, as well as American songwriter Dory Previn’s (1925–2012) Midnight Baby: An Autobiography (1976). The chapter asks how childhood trauma narratives can be interpreted in the light of artist development and craft. It examines the relationship between childhood trauma narratives and the lack of music-related stories by introducing a novel concept, the musical in-between, deriving from Hanna Meretoja (2018). By contrasting writers from different times, it shows that the traditions of songwriting and life-writing share a lengthy cross-cultural history.
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Sinha, Anutosh. « Role of a Nineteenth Century Woman's Divinity in Self-Formation ». Dans Advances in Media, Entertainment, and the Arts, 1–9. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-6572-1.ch001.
Texte intégralRésumé :
Rashsundari Devi's autobiography, the first of its kind by any Bengali woman, Amar Jiban is the testimony of a 19th century Bengali woman's ordeals. It not only highlights the theme of women's education through her yearning for knowledge of letters; it also calls for equal spiritual status for women as she personally yearns for God. She chooses to rewrite her life in this autobiography, broadly in alignment with God's life. She attributes to God every good or bad thing happening around, even her life with transgressions. The chapter showcases how the re-presented self of Rashsundari follows the broad religious codes, yet not in the customary way and her personalized fantastic experiences, like precognitive dreams, help her mould the shape of her God. The author invokes the guru-shishya dynamics and looks through the glass of a few religious texts of Hinduism, especially the Bhagavad Gita, to analyse whether she transgresses from the whole religious system or actually encodes her discontent uniquely on the bedrock of religious following, adherence, and devotion.