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Feminist Dialogics examines the structure of four novels (Hawthorne's The Blithedale Romance, James's The Golden Bowl, Wharton's The House of Mirth and Chopin's The Awakening) through the lens of Mikhail Bakhtin's critical framework. The author draws on Bakhtin's notion of heteroglossia to show how the interaction of many voices forms the social community of the novel and how the functioning of these voices makes clear statements about the position and fate of women in these specific societies. The novels present dialogic situations in which the women misinterpret their social texts and, therefore, fail to understand their own social power. The four works considered in this study represent the struggle for women's construction of self within a dialogic structure of many competing voices. Bauer introduces and enters into dialogue with other theorists who are concerned with the social implications of reading and interpretation, including Rene Girard, Wolfgang Iser, Sandra Gilbert, and Susan Gubar, as well as other American feminists. The recurring theme in the novels of this study is the exclusion and rivalry of discourse: the competition among characters for authoritative and interpretive power. Each voice in the novel is a thematization of an ideological perspective and, as such, competes for domination. The conspiracy of voices to exclude the female reflects the social reality as well. This work is an important contribution to literary criticism and feminist theory.
Aquest llibre proposa una lectura feminista dialògica de Charlotte Perkins Gilman, Meridel Le Sueur i Mikhail Bakhtin. La primera part està dedicada al relat curt, considerat un dels aspectes oblidats per Bakhtin. El gènere sexual ('gender'), un altre dels seus oblits, és la base fonamental d'aquesta investigació. Un dels arguments que l'autora defensa és que els híbrids artístics de Gilman i Le Sueur fan impossible que se les confine dins d'un sol gènere literari o sexual. En la segona part s'estudia com la saga deconstructivista de Gilman com el bildungsroman feminista de Le Sueur serveixen per a corregir i expandir la teoria bakhtiniana. Entre altres molts aspectes, els personatges femenins estudiats encarnen el subjecte parlant femení. La tercera part avalua les comunitats de dones creades per la ficció de Le Sueur i Gilman i el seu llegat per a les teories feministes i bakhtinianes. El treball (in)conclou proposant un avanç de la 'dialogia feminista' a una 'pràctica dialògica del feminisme', on totes les perspectives feministes apareixen com a gèneres literaris/veus en un diàleg dialògic.
Feminism, Bakhtin, and the Dialogic assembles thirteen essays on the intersection of Bakhtin's narrative theory, especially his concept of dialogism. The book explores the dimensions of using Bakhtin for a feminist analysis and discerns the connections between feminist dialogics and cultural materialism. The authors offer various views ranging from studies of ecofeminism, gender theories of novelistic discourse, Bakhtin and French feminism, to analyses of contemporary novelists such as Toni Morrison, Nadine Gordimer, and Pat Barker. Drawing on Bakhtin's sociolinguistics, this book provides an introduction to feminist work on Bakhtin and the development of a cultural politics of reading. Challenging questions are raised: What is dialogic feminism? Can Bakhtin's theories advance a feminist politics? How does a feminist dialogics fit into a materialist feminist practice? Can the "dialogic imagination" also describe some of the most radical moments within feminist thinking? The interdisciplinary focus of these responses represents the ongoing dialogue among literary critics, cultural theorists, and feminists.
This book examines slavery and gender through a feminist reading of narratives including female slaves in the Gospel of Luke, the Acts of the Apostles, and early Christian texts. Through the literary theory of Mikhail Bakhtin, the voices of three enslaved female characters—the female slave who questions Peter in Luke 22, Rhoda in Acts 12, and the prophesying slave of Acts 16—are placed into dialogue with female slaves found in the Apocryphal Acts, ancient novels, classical texts, and images of enslaved women on funerary monuments. Although ancients typically distrusted the words of slaves, Christy Cobb argues that female slaves in Luke-Acts speak truth to power, even though their gender and status suggest that they cannot. In this Bakhtinian reading, female slaves become truth-tellers and their words confirm aspects of Lukan theology. This exegetical, theoretical, and interdisciplinary book is a substantial contribution to conversations about women and slaves in Luke-Acts and early Christian literature.
Wordsworth's poetry has been a focus for many of the theoretical schools of criticism that comprise modern literary studies. Don Bialostosky here proposes to adjudicate the diverse claims of these numerous schools and to trace their implications for teaching. Bialostosky draws on the work of Bakhtin and his followers to create a 'dialogic' critical synthesis of what Wordsworth's readers - from Coleridge to de Man - have made of his poetry. He reveals Wordsworth's poetry as itself 'dialogically' responding to its various contexts, and opens up fruitful possibilities for criticism and teaching of Wordsworth. This challenging book uses the case of Wordsworth studies to make a far-reaching survey of modern literary theory and its implications for the practice of criticism and teaching today.
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Women in German Yearbook volume 13 opens with essays by Herta M
A multifaceted analysis of gender.
Defying traditional definitions of public and private as gendered terms, and broadening discussion of women’s writing in relation to feminist work done in other fields, this study addresses American women’s poetry from the seventeenth to late-twentieth century. Engaging the fields of literary criticism, anthropology, psychology, history, political theory, religious culture, cultural studies, and poetics, this study provides entry into some of the founding feminist discussions across disciplines, moving beyond current scholarship to pursue an interpretation of feminism’s defining interests and assumptions in the context of women’s writing. The author emphasizes and explores how women’s writing expresses their active participation in community and civic life, emerging from and shaping a woman’s selfhood as constituted through relationships, not only on the personal level, but as forming community commitments. This distinctive formation of the self finds expression in women’s voices and other poetic forms of expression, with the aesthetic power of poetry itself bringing different arenas of human experience to bear on each other in mutual interrogation and reflection. Women poets have addressed the public world, directly or through a variety of poetic structures and figures, and in doing so they have defined and expressed specific forms of selfhood engaged in and committed to communal life.