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Seminar paper from the year 2008 in the subject English Language and Literature Studies - Linguistics, grade: 2, University of Frankfurt (Main) (Institut für England- und Amerikastudien), course: Getting High on Woolf’s Modernism, language: English, abstract: Virginia Woolf can undoubtedly be regarded as one of the most famous writers of the modernist era. However, she was not merely a writer, at the same time she was a biographer, an essayist and also a feminist. Being a female writer in a patriarchal society, Woolf raises issues on gender and gender roles, and challenges the role of the Victorian woman, both in her novels as well as in her other essays. The ideas of women, their role and identity become especially obvious in her novel To the Lighthouse, as here Woolf clearly juxtaposes the two images of women, namely the Victorian ideal and the New Woman. Furthermore, her novels do not merely demonstrate the redefinition of gender roles but also the changes happening in narrative techniques employed in novels during the modernist era. Being part of this movement and the literary changes happening during that time, Woolf herself contributes greatly to shaping the new woman’s identity, as she sets out to destroy the stereotype of that time which suggested that only men can write.
Seminar paper from the year 2008 in the subject English Language and Literature Studies - Linguistics, grade: 2, University of Frankfurt (Main) (Institut für England- und Amerikastudien), course: Getting High on Woolf's Modernism, language: English, abstract: Virginia Woolf can undoubtedly be regarded as one of the most famous writers of the modernist era. However, she was not merely a writer, at the same time she was a biographer, an essayist and also a feminist. Being a female writer in a patriarchal society, Woolf raises issues on gender and gender roles, and challenges the role of the Victorian woman, both in her novels as well as in her other essays. The ideas of women, their role and identity become especially obvious in her novel To the Lighthouse, as here Woolf clearly juxtaposes the two images of women, namely the Victorian ideal and the New Woman. Furthermore, her novels do not merely demonstrate the redefinition of gender roles but also the changes happening in narrative techniques employed in novels during the modernist era. Being part of this movement and the literary changes happening during that time, Woolf herself contributes greatly to shaping the new woman's identity, as she sets out to destroy the stereotype of that time which suggested that only men can write.
While critical studies of the American political novel date from the 1920s, such considerations of the genre have failed, whether wittingly or unwittingly, to recognize works by women. The exclusion is usually based on a distinction between "social" novels and "political" novels, and the result is an understanding of the "political" as a largely male province. In this thought-provoking collection of essays, the contributors seek not simply to add works by women to the canon of political novels but, rather, to demand a conceptual revolution - one that questions the very precepts on which the canon is based. This redefinition of the political novel takes many factors into account, including gender, race, and class and their relation to our most basic conceptions of literary and aesthetic value.
Focusing on six popular British girls' periodicals, Kristine Moruzi explores the debate about the shifting nature of Victorian girlhood between 1850 and 1915. During an era of significant political, social, and economic change, girls' periodicals demonstrate the difficulties of fashioning a coherent, consistent model of girlhood. The mixed-genre format of these magazines, Moruzi suggests, allowed inconsistencies and tensions between competing feminine ideals to exist within the same publication. Adopting a case study approach, Moruzi shows that the Monthly Packet, the Girl of the Period Miscellany, the Girl's Own Paper, Atalanta, the Young Woman, and the Girl's Realm each attempted to define and refine a unique type of girl, particularly the religious girl, the 'Girl of the Period,' the healthy girl, the educated girl, the marrying girl, and the modern girl. These periodicals reflected the challenges of embracing the changing conditions of girls' lives while also attempting to maintain traditional feminine ideals of purity and morality. By analyzing the competing discourses within girls' periodicals, Moruzi's book demonstrates how they were able to frame feminine behaviour in ways that both reinforced and redefined the changing role of girls in nineteenth-century society while also allowing girl readers the opportunity to respond to these definitions.
This guide steers students through significant critical responses to the Victorian novel from the end of the nineteenth century to the present day.
How does our understanding of Africa shift when we begin from the perspective of women? What can the African perspective offer theories of culture and of gender difference? This work, as unique and insightful today as when it was first published, brings together a wide variety of African academics and other researchers to explore the links between literature, popular culture and theories of gender. Beginning with a ground-breaking overview of African gender theory, the book goes on to analyse women's writing, uncovering the ways different writers have approached issues of female creativity and colonial history, as well as the ways in which they have subverted popular stereotypes around African women. The contributors also explore the related gender dynamics of mask performance and oral story-telling. This major analysis of gender in popular and postcolonial cultural production remains essential reading for students and academics in women's studies, cultural studies and literature.
Emma Heaney's The New Woman: Literary Modernism, Queer Theory, and the Trans Feminine Allegory traces the evolution of the "trans feminine" as an allegorical figure from its origins in the late nineteenth century to contemporary Queer Theory.
Before about 1840, there was little prestige attached to the writing of novels, and most English novelists were women. By the turn of the twentieth century, "men of letters" acclaimed novels as a form of great literature, and most critically successful novelists were men. In the book, sociologist Gaye Tuchman examines how men succeeded in redefining a form of culture and in invading a white-collar occupation previously practiced mostly by women. Tuchman documents how men gradually supplanted women as novelists once novel-writing was perceived as potentially profitable, in part because of changes in the system of publishing and rewarding authors. Drawing on unusual data ranging from the archives of Macmillan and company (London) to an analysis of the lives and accomplishments of authors listed in the Dictionary of National Biography, she shows that rising literacy and the centralization of the publishing industry in London after 1840 increased literary opportunities and fostered men’s success as novelists. Men redefined the nature of a good novel and applied a double standard in critically evaluating literary works by men and by women. They also received better contracts than women for novels of equivalent quality and sales. They were able to accomplish this, says Tuchman, because they were to a large extent the culture brokers – the publishers, publishers’ readers, and reviewers of an elite art form. Both a sociological study of occupational gender transformation and a historical study of writing and publishing, this book will be a rich resource for students of the sociology of culture, literary criticism, and women’s studies.
Argues that women's relationship to books and their promotion of reading contributed greatly to the cultural and intellectual vitality of the Enlightenment.