| 书目名称 | Legacies and Lifespans in Contemporary Women’s Writing | | 编辑 | Gina Wisker,Leanne Bibby,Heidi Yeandle | | 视频video | http://file.papertrans.cn/584/583672/583672.mp4 | | 概述 | Evaluates the field of contemporary women’s writing, looking back at its foundations the mid-1970s onwards.First volume to offer a sustained analysis of the relationships between 20th century & 21st c | | 丛书名称 | Palgrave Studies in Contemporary Women’s Writing | | 图书封面 |  | | 描述 | This book examines the connections and conversations between women writers from the twentieth century and the twenty-first century. The essays consider the ways in which twenty-first-century women writers look back and respond to their predecessors within the field of contemporary women’s writing. The book looks back to the foundations of contemporary women’s writing and also considers how this category may be defined in future decades. We ask how writers and readers have interpreted ‘the contemporary’, a moving target and an often-contentious term, especially in light of feminist theory and criticism of the late twentieth century. Writing about the relationships between women’s writings is an always-vital, ongoing political project with a rich history. These essays argue that establishing and defining the contemporary is, for women writers, another ongoing political project to which this collection of essays aims, in part, to contribute.. | | 出版日期 | Book 2023 | | 关键词 | 1970s; Twenty-first century; Feminist theory; Women‘s rights; Graphic novels; Genre fiction; Postcolonial | | 版次 | 1 | | doi | https://doi.org/10.1007/978-3-031-28093-1 | | isbn_softcover | 978-3-031-28095-5 | | isbn_ebook | 978-3-031-28093-1Series ISSN 2523-8140 Series E-ISSN 2523-8159 | | issn_series | 2523-8140 | | copyright | The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl |
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Front Matter |
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Abstract
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,Introduction: Writing Back and Looking Forward, |
Gina Wisker,Leanne Bibby |
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Abstract
This introduction outlines some of the parameters of this book, one of the first to examine the connections and conversations between women writers from the twentieth century and the twenty-first century. The essays summarised here consider the ways in which twenty-first-century women writers look back and respond to their predecessors within the field of contemporary women’s writing. The introduction also summarises some of the ways in which both the legacies of past forms of women’s writing and the lifespans of current ones are about understanding the limitations of patriarchal understandings of time, kinship, literary canons, political movements and relationships between subjects.
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,Haunting Relationships, Dark Visions, Personal Dangers and Encounters with Strangers in Gothic Shor |
Gina Wisker |
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Abstract
Gina Wisker’s chapter ‘Haunting relationships, dark visions, personal dangers and encounters with strangers in Gothic short stories by Katherine Mansfield (1920), Shirley Jackson (1946), Daphne du Maurier (1952), and Alice Munro (2012)’ considers some of the key Gothic writings of these four authors precisely in terms of their confrontation with womanhood, subjectivity, life, death and time itself. Wisker draws out the startling conversations between their Gothic short stories, in terms of their use of defamiliarization and the figure of the often male, ambivalent or dangerous stranger. The chapter situates these four women authors, more commonly read in separate contexts and categories such as Modernism (Mansfield) and the Gothic generally (Jackson and du Maurier), in the development of a vital, feminist ‘everyday Gothic.’
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,(Dis)continuing the Mother-daughter Dyad in Alison Bechdel’s , Working Back Through Our Mothers, |
Caleb Sivyer |
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Abstract
Caleb Sivyer’s chapter ‘(Dis)continuing the mother-daughter dyad in Alison Bechdel’s . Working Back Through Our Mothers’ offers crucial new responses to matrilineal metaphors in feminist criticism through the work of an important author. Sivyer poses the title of Bechdel’s autobiographical graphic (that is, ‘auto-bio-graphic’) novel in different forms to consider biological, literary and therapeutic forms of ‘mother’-hood. This book is, Sivyer argues, ‘about continuity and difference, lineage and innovation’—a text that manages the complexities of time, memory and meaning-making through the familiar metaphor of motherhood. A highlight of this chapter is its compelling reading of literary mothers, providing evidence of the deliberateness with which women writers respond both to literary predecessors and the idea itself of literary mothers.
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,‘You’ll be told lies about me, or perhaps even nothing at all.’ Facts, Fictions, and Anachronism an |
Leanne Bibby |
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In ‘“You will be told lies about me, or perhaps even nothing at all.” Facts, Fictions, and Anachronism and Realism in Contemporary Women’s Historical Novels’, Leanne Bibby looks at the hugely popular genre of historical romance and its critical marginalisation. Specifically, Bibby considers the novels of Deryn Lake and Suzannah Dunn, and their portrayals of doomed Tudor queens Anne Boleyn and Katherine Howard. Following the romantic historical novels of the late twentieth-century, Bibby argues, Dunn’s more self-conscious Tudor fictions intensify Lake’s deliberately inventive, provocative but always knowledgeable use of historical facts, myths and legends side-by-side. This demands re-consideration of twenty-first-century historical fictions such as Dunn’s that bridge many assumed gaps between popular and literary fictions, with important implications for novels marketed and perceived in limiting terms as ‘women’s fiction.’ Bibby uses Hayden White’s notion of ‘the practical past’ to contend that Lake, Dunn and other women authors including Hilary Mantel help to question the boundaries between professional historiography and literary appropriations of historical narrative.
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,A Feminist Genealogy: ,, ,, and Contemporary Puerto Rican Women Writers, |
Melissa R. Sande |
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Abstract
In her chapter ‘A Feminist Genealogy: ., The Youngest Doll, and Contemporary Puerto Rican Women Writers’, Melissa Sande argues against progressive narratives of literary history in favour of ‘forged space’ for new writing and identities with a focus on the woman authors of Puerto Rico. As part of this compelling reading, Sande embraces French feminist theorisation’s of women’s language, desire, and mother-daughter genealogies as part of understanding the complex relationships between the past and present. ., Sande argues, makes women the possessors of their own discourse, a reminder of the persistent power of this late twentieth-century framework for reading women’s cultural production. This chapter breaks vital ground in reading conversations between women’s writing across geographical distances.
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,The Smallest Room of One’s Own: Virginia Woolf and Jeanette Winterson in Close Quarters, |
Shareena Z. Hamzah-Osbourne |
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Abstract
Shareena Hamzah contributes to studies of Virginia Woolf and Jeanette Winterson in her chapter ‘The Smallest Room of One’s Own: Virginia Woolf and Jeanette Winterson in Close Quarters’ by arguing that both are, in comparable ways, writers at the forefront of shifts in thinking about women’s writing itself. Hamzah’s critique provides parameters for thinking of Woolf and Winterson as part of the same literary lifespan between modernism, postmodernism and post-postmodernism. At its most fundamental, Hamzah suggests, writing is the exercise of a type of freedom, and this chapter points back to some of the many ways in which Woolf indicated feminist concerns that were then addressed more directly by Winterson, taking as a starting point the ‘places of refuge’ for reading and writing that these authors described—‘a room of one’s own’ for Woolf and the outdoor toilet for Winterson. The ‘close quarters’ of the chapter’s title refers in part to these spaces of refuge and also to the linguistic spaces that make up these authors’ works’ close and ambivalent relationship to each other.
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,“They are not only one; they’re two, and three, and four”: Building a Trauma Community in Toni Morr |
Laura Dawkins |
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Abstract
Laura Dawkins, in her chapter ‘“They are not only one; they’re two, and three, and four”: Building a Trauma Community in Toni Morrison’s . and Yaa Gyasi’s ., carries out an insightful new reading of Morrison’s peerless neo-slave novel by reading its legacies and parallels in Gyasi’s acclaimed historical novel. Here, Dawkins frames both books as commentaries on the intergenerational and transatlantic trauma caused by slavery and colonialism. Gyasi’s character Akua is read as a counterpart of Morrison’s Sethe to demonstrate this intergenerational impact on African as well as African American mothers. Especially striking in this chapter is Dawkins’s use of the notion of ‘rememory’ and the various ways in which these texts make it possible to remember the almost unimaginable horrors of slavery. As Dawkins explains, ‘In ., as in ., “passing on” traumatic memory through storytelling both strengthens communal bonds and enables survivors to gain narrative control over an “unspeakable” past.’ Legacies between stories as between historical narratives are never simply about lineage and inheritance, as women’s neo-slave narratives remind us.
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,‘Ageing and Care in Contemporary Women’s Writing: Doris Lessing’s , and Margaret Drabble’s ,’, |
Katsura Sako |
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Katsura Sako’s chapter ‘Ageing and Care in Contemporary Women’s Writing: Doris Lessing’s . and Margaret Drabble’s .’ approaches the question of lifespans directly in its consideration of ageing and care in these novels. Lessing and Drabble, as Sako explains, are representative of writers publishing into the twenty-first century who started writing ‘in the post-war period or in the sixties and seventies.’ Lessing, Sako argues, broke new ground by writing about ageing and care in the 1980s, a project in which Drabble then participated in the 2010s. Thus, the chapter address literal legacies and lifespans, human and literary, while at the same time critiquing ‘the linear progressive model of time that marginalises women’s care, and those older and less able’ in the first place. This chapter addresses time itself in vital ways for the study of contemporary women’s writing, gathering together key feminist scholarship on the ways in which hegemonic clock time marginalises women, their lives and their work. Sako argues compellingly that clock time cannot capture certain important forms of feminine experience.
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,(Re)Writing the Future/Disavowing the Past: Reading Feminism(s) in , and , |
Adele Jones |
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Adele Jones’s chapter ‘(Re)Writing the Future/Disavowing the Past: Reading Feminism(s) in . and .’ offers a timely reading of two feminist visions of the future in order to examine notions of ‘friendship, mentorship and collaboration’ between Margaret Atwood and Naomi Alderman, in the case of some of their most popular and critically contentious works. Jones refreshes discussions of canonically feminist works and feminist theory by arguing that the relationship between these texts has ‘converged to both mirror and inform a particular moment within feminism and within contemporary women’s writing’, a moment that is about questioning contemporary discomfort with certain aspects of feminist history, and confronting anxieties about feminism’s future. Jones reads the . and . in view of the contemporary feminist movements such as #MeToo and #TimesUp, in the context of which . has been read and . adapted into a hugely popular TV series. Importantly, Jones expands on these authors’ own complex, self-confessed relationship to feminism, and the sometimes ironic conversations between their texts.
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Back Matter |
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Abstract
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