Olga Peters Hasty's How Women Must Write provides an insightful analysis of the emergence of women poets in Russia during the late nineteenth and early twentieth centuries, a period of quickly shifting social, political, and cultural conditions.
Discusses the obstacles women have had to overcome in order to become writers, and identifies the sexist rationalizations used to trivialize their contributions
Extrait de la couverture : ""Here, for the first time, is a book that brings women's writings out of exile to rethink anthropology's purpose at the end of the century. ... As a historical resource, the collection undertakes fresh readings of the work of well-known women anthropologists and also reclaims the writings of women of color for anthropology. As a critical account, it bravely interrogates the politics of authorship. As a creative endeavor, it embraces new Feminist voices of ethnography that challenge prevailing definitions of theory and experimental writing."
The patriarchal structure of the Nation of Islam (NOI) promised black women the prospect of finding a provider and a protector among the organization's men, who were fiercely committed to these masculine roles. Black women's experience in the NOI, however, has largely remained on the periphery of scholarship. Here, Ula Taylor documents their struggle to escape the devaluation of black womanhood while also clinging to the empowering promises of patriarchy. Taylor shows how, despite being relegated to a lifestyle that did not encourage working outside of the home, NOI women found freedom in being able to bypass the degrading experiences connected to labor performed largely by working-class black women and in raising and educating their children in racially affirming environments. Telling the stories of women like Clara Poole (wife of Elijah Muhammad) and Burnsteen Sharrieff (secretary to W. D. Fard, founder of the Allah Temple of Islam), Taylor offers a compelling narrative that explains how their decision to join a homegrown, male-controlled Islamic movement was a complicated act of self-preservation and self-love in Jim Crow America.
Heilbrun looks at the biographies and memoirs of women who have altered the face of literature and the world, and reveals the ways in which feminism has changed our perceptions of their lives.
#1 INTERNATIONAL BESTSELLER • “A landmark manifesto" (The New York Times) that's a revelatory, inspiring call to action and a blueprint for individual growth that will empower women around the world to achieve their full potential. In her famed TED talk, Sheryl Sandberg described how women unintentionally hold themselves back in their careers. Her talk, which has been viewed more than eleven million times, encouraged women to “sit at the table,” seek challenges, take risks, and pursue their goals with gusto. Lean In continues that conversation, combining personal anecdotes, hard data, and compelling research to change the conversation from what women can’t do to what they can. Sandberg, COO of Meta (previously called Facebook) from 2008-2022, provides practical advice on negotiation techniques, mentorship, and building a satisfying career. She describes specific steps women can take to combine professional achievement with personal fulfillment, and demonstrates how men can benefit by supporting women both in the workplace and at home.
Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.
Writing Women in Korea explores the connections among translation, new forms of writing, and new representations of women in Korea from the early 1900s to the late 1930s. It examines shifts in the way translators handled material pertaining to women, the work of women translators of the time, and the relationship between translation and the original works of early twentieth-century Korean women writers. The book opens with an outline of the Chosôn period (1392-1910), when a vernacular writing system was invented, making it possible to translate texts into Korean--in particular, Chinese writings reinforcing official ideals of feminine behavior aimed at women. The legends of European heroines and foreign literary works (such as those by Ibsen) translated at the beginning of the twentieth century helped spur the creation of the New Woman (Sin Yôsông) ideal for educated women of the 1920s and 1930s. The role of women translators is explored, as well as the scope of their work and the constraints they faced as translators. Finally, the author relates the writing of Kim Myông-Sun, Pak Hwa-Sông, and Mo Yun-Suk to new trends imported into Korea through translation. She argues that these women deserve recognition for not only their creation of new forms of writing, but also their contributions to Korea’s emerging sense of herself as a modern and independent nation.
Duggan, and Adrion Dula hope both to foreground women writers' important contributions to the genre and to challenge common assumptions about what a fairy tale is for scholars, students, and general readers.
In this rewarding book, Laurie A. Finke challenges assumptions about gender, the self, and the text which underlie fundamental constructs of contemporary feminist theory. She maintains that some of the key concepts structuring feminist literary criticism need to be reexamined within both their historical context and the larger framework of current theory concerning language, representation, subjectivity, and value.