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Discusses the obstacles women have had to overcome in order to become writers, and identifies the sexist rationalizations used to trivialize their contributions
This book focuses on women and translation in cultures 'across other horizons' well beyond the European or Anglo-American centres. Drawing on transnational feminist connections, its editors have assembled work from four continents and included articles from Morocco, Mexico, Sri Lanka, Turkey, China, Saudi Arabia, Columbia and beyond. Thirteen different chapters explore questions around women's roles in translation: as authors, or translators, or theoreticians. In doing so, they open new territories for studies in the area of 'gender and translation' and stimulate academic work on questions in this field around the world. The articles examine the impact of 'Western' feminism when translated to other cultures; they describe translation projects devised to import and make meaningful feminist texts from other places; they engage with the politics of publishing translations by women authors in other cultures, and the role of women translators play in developing new ideas. The diverse approaches to questions around women and translation developed in this collection speak to the volume of unexplored material that has yet to be addressed in this field.
Humiliated to discover that her ex-boyfriend has been chronicling their sex life in a series of articles called "Loving a Larger Woman" in a popular women's magazine, journalist Cannie Shapiro embarks on an adventure-filled odyssey as she confronts her losses, makes peace with the past, and comes to terms with herself
The uptake of women’s writing as a distinct genre in literature since the 1960s has been rapid and multifarious. This development has fuelled a generation of literary and cultural studies, and can be seen in the growing influence of women’s and gender studies even in literary studies programs. The study of women’s writing has alerted literature to crucial social, political and cultural problems with which the discipline must continue to grapple. New Women’s Writing addresses this legacy and reflects upon the following questions: What is a critical history of women’s writing? How has women’s writing challenged literature’s rigid disciplinary construction? How can we derive a distinct philosophy of women’s writing and literary studies? How does an engagement with women’s writing contribute to a literary understanding of the complex politics of literature? This book is designed to interest both the seasoned scholar of women’s writing, as well as fledgling scholars who wish to grapple with the broad concept of women’s writing and its manifestations in the twentieth century and thereafter.
This book reviews major developments in feminist rhetorical studies in recent decades and explores the theoretical, methodological, and ethical impact of this work on rhetoric, composition, and literacy studies. The authors argue that there has been a dramatic shift in what is studied (diverse populations, settings, contexts, communities, etc.); how these communities are studied (methodologically, epistemologically); and how work in the field is evaluated (new criteria are required for new kinds of studies).
A reprint of the 1986 work in which Homans (English, Yale) explores the variety of ways in which 19th c. women writers attempted to reclaim their own experiences as paradigms for writing. Annotation copyrighted by Book News, Inc., Portland, OR
For my research I have conducted a comparative study of the select fiction by Gujarati women writers in its original Gujarati and in English translation. The primary texts considered for the same consists of some of the famous fiction by well-know Gujarati authors - Saat Pagla Akashma by Kundanika Kapadia, Vaad by Ila Arab Mehta, Andhari Galima Safed Tapka by Himanshi Shelat and two anthologies of Gujarati short-stories translated in English – Speech and Silence by Rita Kothari and New Horizons of Women’s Writing by Amina Amin and Manju Verma. For this comparative study I have applied Andre Lefevere’s (1945-1996) conceptual framework of ‘Translation as a Rewriting of the Original’ and his concepts of four constraints namely – Ideology, Poetics, Patronage and Universe of Discourse. Apart from this, another important aim of my research was to examine the representation of female gender and scrutinize any instance of manipulation to create a different and more acceptable image of the women of Gujarat. Often it has been observed that the translator’s personal prejudices and cultural background affect the meaning of the original text as well as the character portrayal to suit the convenience of the target language-culture readers. The book also involved a study of the literature of Gujarat with particular focus on the arrival and contributions of women writers to the Gujarati literary spectrum; a comparative analysis of the representation of women in fiction by male and female writers of the state, Along with mainstream literature, folk and tribal literatures too have been considered, especially the gender images they portrait. I have scrutinised select excerpts from both the original fiction and their translations of the primary texts to examine any instances of misrepresentation or ambiguity at socio-cultural-linguistic front as well as in the representation of female self with a theoretical background of general translation theory and Lefevere’s theory in particular with fascinating findings at the end of the research endeavour. In recent years translation studies has emerged as a major academic discipline along with the rise of translation industry with the availability of multiple foreign language texts available in English as well as Indian languages and vice versa. This booming industry also promised ample opportunities to translators assuring not only prestige but also financial security. However, the point under scrutiny is that does the commercialization of the translation industry promote quality translations? In such circumstances, it is essential to conduct a survey to analyse the quality of translations produced and to provide a better guideline to the aspiring translators to make them better equipped with translation technique and theory to help them produce good quality translations while overcoming various hurdles at linguistic, cultural and stylistic levels which are capable to represent the region, culture, society, writer and literature of the original language. This research focuses on this relatively new and less paved area and it is a humble initiative in this direction with an aim to spread awareness towards this much neglected aspect of translation activity.
This volume contributes to the vibrant, ongoing recuperative work on women’s writing by shedding new light on a group of authors commonly dismissed as middlebrow in their concerns and conservative in their styles and politics. The neologism ‘interfeminism’ – coined to partner Kristin Bluemel’s ‘intermodernism’ – locates this group chronologically and ideologically between two ‘waves’ of feminism, whilst also forging connections between the political and cultural monoliths that have traditionally overshadowed them. Drawing attention to the strengths of this ‘out-of-category’ writing in its own right, this volume also highlights how intersecting discourses of gender, class and society in the interwar and postwar periods pave the way for the bold reassessments of female subjectivity that characterise second and third wave feminism. The essays showcase the stylistic, cultural and political vitality of a substantial group of women authors of fiction, non-fiction, drama, poetry and journalism including Vera Brittain, Storm Jameson, Nancy Mitford, Phyllis Shand Allfrey, Rumer Godden, Attia Hosain, Doris Lessing, Kamala Markandaya, Susan Ertz, Marghanita Laski, Elizabeth Bowen, Edith Pargeter, Eileen Bigland, Nancy Spain, Vera Laughton Matthews, Pamela Hansford Johnson, Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier, Barbara Comyns, Shelagh Delaney, Stevie Smith and Penelope Mortimer. Additional exploration of the popular magazines Woman’s Weekly and Good Housekeeping and new material from the Vera Brittain archive add an innovative dimension to original readings of the literature of a transformative period of British social and cultural history. List of contributors: Natasha Periyan, Eleanor Reed, Maroula Joannou , Lola Serraf, Sue Kennedy, Ana Ashraf, Chris Hopkins, Gill Plain, Lucy Hall, Katherine Cooper, Nick Turner, Maria Elena Capitani, James Underwood, and Jane Thomas.
African Women Writing Diaspora: Transnational Perspectives in the Twenty-First Century examines contemporary fiction by African women authors to resonate diaspora perspectives on what it means to be African within transnational spaces. Through a critical lens, the collection interrogates the ways in which women construct new ways of telling the African story in the global age of social, economic, and political transformation. African Women Writing Diaspora illustrates that for African women, life in the diaspora is an uncharted journey across new landscapes of identity beyond Africa’s borders as a unifying theme. The fictional works analyzed represent the leading women writers who dominate the African literary canon, and the contributors explore diverse themes of immigrant life, racialized identities, and otherness within transnational spaces of the west.