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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination
... Se seu verso, de acordo com Rouffiax, implica a presença de musas idealizadas, sua prosa aplica um efeito contrário (Azevedo, 2002, p. 07). A mulher, seja em seus poemas, em Macário ou em Noite na taverna, acaba por ser desumanizada de uma forma ou de outra, seguindo o que é ressaltado por Susan Gubar e Sandra Gilbert (1980). Ou tratada como ser angelical, divino, ou como o oposto, demoníaco. ...
... Os personagens azevedianos são desviantes por excelência, de acordo com a ideia de desviante descrita por autores como Foucault (2010) e Moraes (2013). Apesar da inovação em termos do tratamento temático e formal, Azevedo não se priva da tendência oitocentista de desumanização feminina, tratando suas personagens mulheres na dicotomia anjodemônio relatada por Gubar e Gilbert (1980). Aliás, dicotomia que, sob outras vestes, também se manifesta na disputa entre o libertino e o virtuoso, na dialética que marca Macário, bildungsroman do desvio. ...
Resumo: A prosa de Álvares de Azevedo é marcada por elementos fragmentários, como bem aponta Antonio Candido. Todavia, há elementos que se repetem a despeito de sua irregularidade qua-litativa. A proposta deste artigo é aprofundar-se sobre um desses elementos: o erotismo. Tomando como marco teórico discussões propostas pelo próprio Candido e por Eliane Robert Moraes, a intenção é tomar o erotismo como elemento aglutinador, como ponto de consenso entre duas obras azevedianas: Macário e Noite na taverna. Assim, por meio desta dialética entre teoria e objetos, será possível adicionar uma nova camada aos estudos azevedianos ao pensar na forma com que sua prosa reconstrói a noção de erótico no século XIX, antecipando o explícito do estilo modernista. Palavras-chave: Álvares de Azevedo; erotismo; Noite na taverna; Macário; desviantes. Abstract: Álvares de Azevedo›s prose is marked by fragmentary elements, as pointed out by Antonio Candido. However, there are elements that repeat themselves despite their qualitative irregularity. The purpose of this paper is to delve into one of these elements: eroticism. Taking as a theoretical framework discussions proposed by Candido himself and Eliane Robert Moraes, the intention is to consider eroticism as a unifying element, as a point of consensus between two Azevedian works: Macário and Noite na taverna. Thus, through this dialectic between theory and objects, it will be possible to add a new layer to Azevedian studies by considering how his prose reconstructs the notion of the erotic in the 19th century, anticipating the explicitness of the modernist style.
... In The Madwoman in the Attic, feminist literary critics Sand ra Gilbert and Susan Gubar examine the ways in which women writers have been marginalized and excluded from the literary canon. They argue that The Bell Jar is a significant work because it challenges trad itional notions of femininity and explores the psychological complexities of women's experiences (Gilbert & Gubar, 2000). ...
Identity crisis has been a long-discussed topic in English literature and it is vastly connected with the notion of self-autonomy. Most of the works of Sylvia Plath—regarded as one of the dynamic and controversial poets of the twentieth century—centre around the themes of identity crisis and self-autonomy that are intricately woven into the fabric of twentieth-century English literature. Through the character of Esther Greenwood in Sylvia Plath’s The Bell Jar (1963), this paper investigates how identity crisis takes its origin in the psyche of Plath’s heroine, a middle-class woman coming of age in 1950s America. Moreover, this paper equally shows what role the ideology of cultural containment of 1950s America has played in fracturing Esther’s self-esteem and sense of individuality. The researcher has reasoned that Esther’s individual suffering transcends the immediate vicinity of her personal space and resonates with the struggles that the female population of that time went through, thus making it a generic experience which has become a predominant issue of discussion in the modern era. Finally, the researcher demonstrates the ways via which Esther is able to win back her personalized identity and autonomy, though not fully but partially. Keywords: Identity crisis, Self-autonomy, Mental illness
... Supporting the former notion, Knoepflmacher's (2001) research shows that "Jane Eyre" has had a significant impact on changing perceptions of culture and gender in society, whilst Gilbert and Gubar's (2000) research also proclaim the latte viewpoint put forth a convincing reason since the work has made a breakthrough in portraying the tone and personality of female characters in literature. Furthermore, other studies such as Beer's (1983) and Jones's (2012) show that the influence of this work extends worldwide and is considered one of the most influential literary works in world history. ...
The present study employed Peter Newmark's flattened-bottomed V paradigm translation methods to examine the correlation between the titles of English literary works and their Vietnamese counterparts. The research explored in Peter Newmark’s translation methods in translating English novel titles to Vietnamese in the form of a descriptive-quanlitative and quantitative study. It was crucial to investigate the prevalence of Newmark’s translation methods in translating titles of classic novels in both English and Vietnamese and to evaluate their effectiveness in accurately conveying the essence of these titles when utilized by translators. By Newmark's translation method theory, the researchers chose 88 best-loved English novels from the reputable The Big Read BBC Top 200 classic literary novels ranking. These novels served as references for comparing their corresponding Vietnamese-translated titles. More specifically, by utilizing synthesis, comparative and descriptive analysis, the result includes the titles translated with translation methods applied, titles without using translation methods, and how the most frequently used translation method effectively conveyed the essence of the work. The analysis, comparing 88 original titles with 88 translated versions, revealed that out of the 88 translated titles, 81 titles were translated with translation methods employed, while 7 titles were untranslated titles without any translation method. The 81 translation versions with binary groups of translation methods accounted for a significant proportion (92.05%), indicating the attentiveness of novel translators in Vietnam towards title translation. Among the 81 titles that preserved the information, there is Word-for-word translation (12 titles), Literal Translation (27 titles), Faithful Translation (1 title), Semantic Translation (15 titles), Communicative Translation (21 titles), Free Translation (2 titles), Adaptation (3 titles). The implications of these results inferred that translators predominantly employ Literal Translation when translating titles of classic English novels from the 1800-2000 period.
Keywords: Translation, Translation Methods, Peter Newmark’s Translation Methods, Novel, Titles, Novel Titles Translation
... Her sister Cassandra's tragic, unfulfilled love affair and her own unrequited feelings for Tom Lefroy undoubtedly informed her understanding of love's complexities [5] . Critic Sandra M. Gilbert [7] notes, 'Austen's fiction. Explores the economic and social realities of marriage, the dangers of female dependency, and the emotional costs of female submissiveness' (p. ...
... Feminist literary criticism has evolved to encompass a wide array of perspectives and methodologies. Scholars such as Gilbert and Gubar (1979) in their book, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination have laid the foundation for feminist critique by emphasizing the role of women in literature. This foundational work is crucial in understanding the broader context of feminist narrativization. ...
The study explores on the feminist standpoint of trauma narration in Julia Alvarez's magnum opus, In the Time of the Butterflies. Set against the tragic backdrop of the Mirabel sisters' 1960 massacre and the pervasive exploitation of women during Trujillo's cruel reign in the Dominican Republic, Alvarez intricately weaves personal and political struggles. In this backdrop, the research focuses on Alvarez's use of storytelling techniques to illuminate the traumatic experiences of women, particularly highlighting Dede Mirabel as a testimonial figure in the broader feminist strife. So, the study purposes to unravel the complex layers of feminist discourse within the novel. Utilizing a descriptive based qualitative approach grounded in narrative procedures, this research integrates insights from trauma studies scholars such as Leigh Gilmore, Cathy Caruth, Laura Stark, Hawkins et al., and Jeffrey C. Alexander. The overarching goal is to develop a theoretical framework that elucidates how the novel depicts traumatic experiences within patriarchal structures. This research is significant as it uncovers the intersection of gender and historical trauma, offering a subtle understanding of women steering their experiences amid political oppression. The findings are expected to deepen our grasp of the novel's feminist dimensions and serve as a foundation for future inquiries into the juncture of feminist literature encouraging further exploration of how women's stories shape societal perceptions. Thus, this study lays the groundwork for future research in similar themes across trauma literature.
... 14 Frankenstein je i feministička literatura. Sandra Gilbert i Susan Gubar govore o matrijarhalnoj aproprijaciji Miltonova Izgubljenoga raja: "(…) uzeti muški kulturni mit Izgubljenog raja u njegovoj punoj vrijednosti -u njegovim zasebnim terminima, uključujući sve analogije i paralele koje on implicira -i ponovo ga napisati tako da se značenjski razjasni" 15 . Čudovište koje se ne da imenovati i bijes koji se ne da kontrolirati manifestno razotkrivaju mizoginiju, implicitno prisutnu u univerzalijama rodno napučenoga svijeta. ...
Frankenstein Mary Shelley fabulira i problematizira koncept identiteta na barem tri razine. Na prvoj se postuliraju one bitnosti koje uopće omogućuju proces identifikacije – to je razina filozofije identiteta. Na drugoj se postuliraju elementi koji jamče individualni integritet – to je razina psihologije identiteta. Najposlije, na trećoj se postulira povijesni okvir u kojemu se individualni integritet konkretizira – to je razina politike identiteta. U ovome je radu analiza i interpretacija navedenih identitetskih kategorija polazište za raspravu o suvremenome poimanju i posljedičnoj konceptualizaciji identiteta. Tako se pokazuje da se identitetska politika nameće drugim razinama identifikacije, dok se povijesni okvir u konačnici reducira na manipulativni prostor samoopstanka. Ključne riječi: filozofija; Frankenstein; identitet; politika; psihologija.
... Статус «монстра» и «безумной» сохраняется за мисс Хэвишем и в классическом труде гендерного литературоведениякниге С. Гилберт и С. Губар «Безумная на чердаке» (1979), предопределившей все последующие гендерно релевантные интерпретации данного образа (см., например, авторитетное исследование Э. Шоуолтер (Showalter, 1985)). Одновременно С. Гилберт и С. Губар отмечают логику оборачивания, заложенную в любом «ангеле в доме», который в любой момент способен обернуться монстром (Gilbert, Gubar, 1984, p. 28), «присваивая» себе тем самым «мужские» атрибуты активности и напористости и, соответственно, в силу отклонения от нормы характеризуясь как носитель «безумия». Уже в этапной монографии Гилберт и Губар отмечается «таинственная сила» викторианской женщины-монстра как «персонажа, который отказывается оставаться на своем текстуально предписанном "месте" и тем самым порождает историю, которая "уходит" от своего автора» (Gilbert, Gubar, 1984, p. 28). ...
The study aims to identify the plot function of Miss Havisham, one of the most famous deviant female images of Ch. Dickens (“Great Expectations”, 1861). According to the hypothesis put forward, this function consists in the heroine implicitly (and unconsciously) pushing the protagonist to self-improvement and social growth. The image of the “mad” Miss Havisham is considered in three aspects: 1) social stratification and the impulse to self-improvement: the impulse of a Bildungsroman; 2) Miss Havisham’s “terrible tenderness”: a hybrid of the paternal and the maternal; 3) Miss Havisham as a “witch” and a “fairy”: the authorship of Pip’s “story”. The scientific originality of the study is determined by the fact that, although the “madness” of the heroine was emphasized by all researchers of Dickens’ novel, the plot function of this character has been correlated thus far, as a rule, with the status of a passive marginalized woman, the question of the significance of Miss Havisham’s image for depicting the dynamic educational path of the protagonist has not been raised. At the same time, the results of the study confirm the non-marginal (active in terms of the novel’s events, narrative organization) status of the deviant heroines of the novel – Miss Havisham, as well as her pupil Estella, an example of which is their participation (sometimes implicit or by contradiction) in building the life path of the protagonist Pip, in his gaining of self-identity.
... Entremig d'aquests dos models femenins extrems, se situa la dona «normal», representada per la rosa, en una àmplia gradació cromàtica que va des de la innocència fins a la transgressió, des del color rosat fins al vermell. La crítica feminista (Gilbert Gubar 1984;Miller 2021) ha interpretat d'acord amb els seus paràmetres tots aquests tipus de dona. No em correspon ara examinar-ne els matisos. ...
Aquest article examina la presència i la significació de les fades en la literatura modernista catalana. D’entrada, descarta els abundants personatges assimilables a les fades per via de metàfora, tant les dones-àngel com la versió negativa i perversa relacionada amb la prostitució i el vici. Un cop centrat en les fades d’origen folklòric, i després d’uns apartats contextualitzadors sobre la fada en el folklore, sobre la llegenda en el Modernisme català i sobre el poema Canigó, de Jacint Verdaguer, s’hi analitza el tema central de l’estudi. Llavors s’observa que, des d’estètiques i plantejaments diferents, les tres caracteritzacions bàsiques del personatge són la fada seductora d’homes, les que se simbolitzen com a esperits de la natura i, dintre d’aquestes darreres, les que formen part de textos que enfoquen la qüestió des d’un plantejament ecologista.
... Do original: "project concerned with decolonizing the sacred from oppressive Christian and western worldviews that perpetuate desconocimientos that negatively impact women's lives"(LARA, 2005, p. 12).16 Ver The madwoman in the attic: the woman writer and the nineteenth-century literary imagination(GILBERT & GUBAR, 2000). ...
As obras Vasto mar de Sargaços (Wide Sargasso Sea), de Jean Rhys (1966)(2012) e Eu, Tituba: bruxa negra de Salem (Moi, Tituba, sorcière… noire de Salem), de Maryse Condé (1986) (2019), reescrevem a trajetória de personagens que foram (in)visibilizadas e escritas no contexto eurocêntrico/colonizador. As feiticeiras/bruxas Chistophine e Man Yaya, assim nomeadas pelo olhar eurocêntrico branco colonizador, se apresentam respectivamente nas duas obras como detentoras do conhecimento e da cultura caribenha. A partir da teoria decolonial de Maria Lugones (2014) e (2020), Rita Segato (2012) e Sylvia Wynter (1990), esse artigo se propõe a fazer uma análise destas existências e seus apagamentos. [Recebido em: 30 mar. 2023 – Aceito em: 10 jun. 2023]
... Artikel yang ditulis (Supriatna, 2016) dengan kajian tentang kearifan local atau pendekatan etnopedagogi secara khusus dapat memberikan inspirasi kepada para guru di bidang ilmu sosial, yaitu IPS, Sejarah, dan Sosiologi, untuk menggali dan memanfaatkan nilai-nilai kearifan lokal dengan sebaik-baiknya mengacu pada bentuk pendekatan dan praktik pendidikan yang berbasis kearifan local. Dari data sejarah, ternyata cerita rakyat Bugis dalam Epos I La Galigo dapat ditransmisikan melalui tiga media, adalah tradisi lisan melalui mulut ke mulut, melalui gambar, dan melalui tulisan (Gilbert & Gubar, 2020). Namun dalam penelitian ini cerita rakyat Bugis fokus pada media tradisi lisan yang telah dibukukan. ...
This research is based on important developments in historiography which are critical of tradition as a source of history. Traditional cultural heritage can be found in folklore around the world, including Bugis folklore in Epic I La Galigo which is a source of personality identity for South Sulawesi, Indonesia which must be passed on to the younger generation. This condition demands that the Bugis folklore, Indonesia in the First Epic of La Galigo must be transformed according to the demands of technology with fun, creative and innovative learning. The purpose of this study is to examine the cultural value of Bugis folklore, South Sulawesi, Indonesia in the Epic I La Galigo as a source of social studies learning, and to find out the transformation of Bugis I La Galigo folklore as an innovation or challenge-based social studies learning resource. The research method used is the literature study method by reviewing the literature from various criteria ranging from books, journals or articles and documentation at the La Galigo Museum. The results of the study show that the cultural values in Epic I La Galigo are: (1) Siri' and Pesse', (2) Sumangeq and Inninawa, (3) Preservation of the environment, (4), Lempuk (honest), (5) Getteng (steadfast on the establishment) and (6) Mutual respect. The transformation of Bugis folklore in I La Galigo is an innovative social studies teacher's creative pedagogy by improvising through the development of material content into three media: (1) an oral tradition based on picture story media, (2) an oral tradition based on video animation media as visualization, and (3) webtoon-based media. This research is expected to be a responsive social studies learning transformation movement with a technology-based approach, so that teachers and students are qualified and skilled at innovating through folklore.
... Jane Eyre, la protagonista de la célebre novela, descubre la existencia de Bertha Antoinetta Mason, comúnmente conocida como Bertha Mason, el día en que iba a tener lugar su boda con Rochester, que acontece en el último tercio del texto, en el capítulo 26. La esposa de Rochester, considerada por muchos autores el alter ego de Jane Eyre (Azim, 1993;Gilbert y Gubar, 1979;Rich, 1995), vive durante años encerrada en el desván de Thornfield, debido al que se denomina en la novela su "trastorno mental", 2 uno de los factores que contribuyen a construir su otredad. Además de este condicionante, en el contexto victoriano británico, la alteridad de Bertha Mason viene determinada por otros dos elementos de su identidad que, asimismo, le proporcionan una situación de inferioridad, subordinación y opresión: 1) su condición como mujer 2 Se entrecomillan todas las referencias a esta supuesta condición mental alterada de Bertha Mason, siguiendo la interpretación de Foucault (1988) de la "locura" como un constructo histórico y cultural que se ha ido redefiniendo a lo largo de los siglos. ...
Este artículo tiene como punto de partida la otredad en el personaje de Bertha Antoinetta Mason, que aparece en la novela Jane Eyre, de Charlotte Brontë (1847). Conocida como Bertha Mason, la esposa jamaicana criolla de Mr Rochester, vive durante años encerrada en el ático de Thornfield, debido al que se denomina en la novela su “trastorno mental”, uno de los elementos que contribuyen a construir dicha otredad. Además de este condicionante, en el contexto victoriano, la alteridad de Bertha Mason viene determinada por otros dos factores que asimismo le proporcionan una situación de inferioridad, subordinación y opresión: 1) su condición como mujer y 2) su mestizaje. En este estudio se analiza el tratamiento de esta otredad en la primera traducción de Jane Eyre publicada en el franquismo en España, llevada a cabo por Juan G. de Luaces en 1943. Por otra parte, se examina si ha existido (auto)censura en esta versión un siglo después de la publicación del texto inglés, en un contexto de involución hacia modelos ideológicos decimonónicos. Con este propósito se estudia, en primer lugar, el expediente de censura de la traducción; después, se indaga en los agentes involucrados en esta versión y se tienen en cuenta los criterios de censura de la época enumerados por Abellán; también se analizan los contextos de partida y llegada y, finalmente, se lleva a cabo un análisis microtextual para determinar los cambios encontrados en la traducción al español.
Este artículo explora la novela Sirena Selena vestida de pena, de Mayra Santos Febres y la relación que se establece entre su protagonista, un travesti puertorriqueño, y Hugo Graubel, un empresario dominicano. Propongo que el vínculo, inicialmente una transacción erótica bajo el control de Graubel, deviene un juego de inversión de poderes en el que la sexualidad de Sirena Selena obliga a Graubel a transgredir sus estatutos performativos y perder el poder que devenga como agente hegemónico. Así, la transacción erótica, que a primera vista no atenta contra las convenciones sociales ni sexuales de la sociedad caribeña, funge también como espacio de empoderamiento del sujeto queer, a través de la transgresión y la rearticulación identitarias.
A história da recepção literária não raro ignorou a produção fantástica em nosso país e ainda mais a produção insólita de autoria feminina. Tendo em vista essa defasagem, faz-se necessário reconhecer o trabalho de profissionais que têm recuperado suas vozes e histórias. Neste ensaio, pretendo expandir a definição que damos ao termo “fantasismo”, tema do presente dossiê da revista Antares, para um escopo que, além de autoral, seja também editorial. Farei isso, de dois modos. Primeiro, ao estudar o trabalho de tradução, editoração e produção da autora e pesquisadora carioca Marcia Heloisa, numa carreira que serve de exemplificação desse movimento. Em segundo lugar, ao analisar uma de suas produções, a antologia Vitorianas macabras (DarkSide Books, 2020), uma obra que tanto traz à luz do presente e no contexto nacional autoras vitorianas que o tempo e o contexto apagaram quanto fomenta no contexto brasileiro contemporâneo a visibilidade da autoria feminina de ontem e de hoje.
The biopic has emerged as a popular mode of film making in contemporary culture. As such it deserves greater critical attention than it has so far received. Like its literary counterpart—the biography, the biopic too is a fascinating but complex and hybrid genre interlacing the ‘real’ and the ‘reel’. The paper shall attempt to bring forth the significance of biopic in the contemporary age by looking at the cultural implications of adapting woman authors—Virginia Woolf in the 2002 film, The Hours and Sylvia Plath in the 2003 film, Sylvia. The objective of this research is to study the significance of the biopic in the contemporary age vis-à-vis the cultural implications of adapting the woman author from ‘real’ to ‘reel’. It is pertinent to note that adaptations of the author, from real to reel, carry inflections arising from the adaptor’s gender and socio-cultural position. What further complicates matters in case of adapting the author is that the process of adaptation distorts the sequence of reception. While the adaptation of texts release multiple often fertile interpretations of the original text, the adaptation of the author, generally produces versions which satiate commercial concerns of mass entertainment thereby frustrating the original expression of the creative writer, overshadowing it with the veil of popularity.
The Latvian writer and poet Jana Egle devotes special attention in her texts to people who are perceived by society as “others”. Such individuals are frequently regarded as anomalous by those in their immediate vicinity, which often results in a sense of detachment and disconnection. In her short fiction, Egle examines a range of forms of otherness, including individuals from diverse national backgrounds, members of the LGBTQ+ community, and those facing social disadvantage. Adults are frequently influenced by long-standing stereotypes and traumatic experiences, whereas children tend to be more receptive to forming close relationships due to the absence of such biases. This article seeks to examine the manifestations of otherness in Egle’s works through the lens of the self-other binary and the insights gleaned from contemporary researchers on identity issues. Egle adroitly depicts the tenuous and nebulous border between the self and the other by exploring the inner realms and experiences of the marginalised. Through catharsis, she fosters a sense of proximity between these “others” and the reader. Despite portraying tragic scenarios, she maintains a quality of levity that is challenging to articulate but perceptible.
One of the most referenced plays in psychoanalysis, Hamlet has served as an example for theories proposed by the likes of Freud, Lacan, and others. While the title character generally acts as the vehicle for discussing personal conflicts—especially those concerning the mother—I argue instead that these anxieties regarding the mother are more visible through Ophelia than Hamlet. It is not her role throughout the play, however, but the way in which artists across four centuries have created a collective of images depicting her death, becoming a recognizable iconography. A popular motif today, despite its passive presence across narratives since the ancient world, the dead girl trope has become a frequent topic in media discussions since the 2010s with the seemingly unanswerable question regarding why dead women are everywhere.
Recent studies on language and gender have proved that language is not simply a system of words or signs shared by a group of people to establish communication and convey messages, but rather it plays an active and dominant role in creating a subjugated and subservient life for women. In fact, it is the man-made language that constructs the patriarchal ideologies imprisoning women into 'no-choice choice' situations, where women are judged against a masculine standard. However, it is high time women stopped defining themselves in accordance with the appropriate behavior and language created by men and changed their submissive and secondary positions. Considering those issues and basing its argument on post-structuralist feminist theories, this study aims to manifest the alternative ways for women to subvert and de(con)struct the patriarchally constructed gender norms and roles.
The essay discusses the last volume of Ford Madox Ford’s tetralogy Parade’s End (1924-28). As Andrew Hampson and Robert Purssell highlight, whether The Last Post is an integral part of the tetralogy has been heavily debated since Graham Greene decided to publish the 1963 edition of the ‘Tietjens Saga’ as a trilogy. As they go on to explain, a major charge against the volume is “tying up too neatly various loose ends” (2013). Indeed, The Last Post seems to call for an interpretation in the pastoral tradition, which suggests that Ford’s novel—especially in comparison with Rebecca West’s The Return of the Soldier (1918)—ends in an idyll even if it is not free from certain ironies inherent in pastoral literature, as Seamus O’Malley (2007) maintains. In my view, on closer scrutiny, these ironies fundamentally undermine the “too neat” ending of the tetralogy. Haunted by the aftereffects of war and the ghosts of Mark’s, Christopher’s and Valentine’s former selves, dissolving identities not only by decentering but also by doubling, this apparent idyll far too often offers glimpses of its own Gothic alter ego, a narrative of madness, imprisonment and disintegration. Yet, as consistent readings of the novel in the pastoral mode imply, the Gothic double never fully takes over but, in my interpretation, subverts the superficial idyll of The Last Post, and with that, fully optimistic interpretations of the entire tetralogy.
This chapter outlines literature which has been collected under the umbrella of ‘author studies’ or ‘writing about writers’ in which the writer appears in both abstract and concrete forms. It examines the history of ideas around authorship including the philosophical disappearance of the writing individual and looks at some of the work about the ‘real writer’ in relation to the publishing industry, which is mostly found in publishing or literary studies. It considers the few studies which approach writing as cultural work and, finally, it offers a categorisation of non-academic texts about writers and writing which, it is suggested, play a role in setting the terms of the discourses employed by writers when talking about themselves as workers.
Feminist ideologies are often thought to have been attempted by the West for the first instance and have been transferred to other parts of the world. In reality, the different Feminist ideology routes can be traced to the major religions of the world, mainly Hinduism. The paper tries to elaborate on specific aspects of Hinduism and modern Feminism, which have certain common points that cross each other for the welfare of society.
Este ensayo aprovecha la presencia del concepto interdependencia para analizar su origen y cómo se aplica en el cómic autobiográfico El Secreto de la Fuerza Sobrehumana (2021) de Alison Bechdel y en la práctica feminista. Inicialmente sirve de coordenada entre el hinduismo, el budismo, la literatura de evasión, el trascendentalismo y la contracultura, pero en su último cómic, Bechdel lo usa para conectar los hitos autobiográficos que acabaron por forjar su identidad como artista y como propuesta feminista. Se plantea aquí la posibilidad de que Alison Bechdel descubriera en la persecución y conquista de dicho hito, una verdad subyacente a la cuestión de la mujer en la sociedad occidental. No obstante, este cómic es sobre dicha lucha y la de aquellas que quisieron recorrer, antes que ninguna de nosotras, dichos parajes. Entre aquellas, escritoras y líderes del movimiento feminista como Margaret Fuller, Dorothy Coleridge, Betty Friedan, Judith Butler, Virginia Woolf; etc. Con sus viñetas, Bechdel reivindica el valor y las dificultades de alcanzar dicha interdependencia para las mujeres artistas, activistas y exploradoras a lo largo de su vida y durante las diferentes olas del feminismo en el contexto de los EE. UU, al tiempo que ella misma asume conquistar esa meta que por fin le brinde la fuerza sobrehumana. Para ello, la intertextualidad; es decir, el diálogo entre este y otros textos en sus viñetas también juega un papel muy importante cuyo fin es acomodar el sujeto mujer al ideal Emersoniano, a pesar de que él, Ralph Waldo Emerson, tuviera otros planes para nosotras.
The goal of this research paper is to analyse social roles depicted in Katherine Mansfield’s short story “The Doll’s House”. In the paper, Betty Friedan’s Liberal Feminist Theory forms the lens through which the researcher investigates the social roles present in the short story. The paper is a qualitative research paper based on a short story and seeks to analyze the text in details in order to make meaning out of it. The research focuses on the role of character relations and social expectations and norms tangent to the story to reinforce gender subordination. Using Friedan’s arguments on the “feminine mystique” and the call for the women’s liberation movement, the research aims at bringing out further aspects of gender relations and the lessons that can be gained from them for the study of the socially constructed structures. Besides enhancing the hermeneutics of Mansfield’s work, the current approach also affirms the significance of feminism in the scrutiny of literary material. In sum, it leads to the theories of post-1990s second-wave feminism and offers further analysis for Mansfield’s texts.
The scientific monograph presents theoretical and practical aspects of the development of science, technology, and innovation in the context of the global transformation of society. It covers general issues of technical, physical, and mathematical sciences, agricultural sciences, economics and law sciences, historical sciences, etc. The publication is intended for scientists, educators, postgraduate students and undergraduates, as well as the general readership.
Cet article se propose d’étudier la façon dont The Female Quixote de Charlotte Lennox porte sur un Don Quichotte féminin, Arabella, en quête d’un amour aussi excessif que celui dépeint dans les romances qu’elle a lues. Il s’agira d’examiner la façon dont Lennox définit le donquichottisme d’Arabella dans sa création d’une véritable poétique de l’excès qui fait osciller The Female Quixote entre la romance et l’anti- romance , refusant ainsi toute catégorisation clôturante. Analysant l’excès comme thème et comme modalité d’écriture, cet article aboutira à une réflexion sur la façon dont Lennox s’approprie l’amour de l’excès de son personnage féminin pour mener une analyse critique sur l’écriture des excès de l’amour au xviii e siècle, prenant part à la controverse sur le statut de la fiction.
The concept of borders and boundaries is one of the important themes in English literature. It might refer to national borders or divisions within countries or symbolize physical barriers, societal divisions or personal limitations. Metaphorically, borders and boundaries might mean the boundaries based on caste, color, creed or sex or represent expectations and prejudices or search for selfhood and identity. Writers from the marginalized communities take up the themes of construction of identity in their writing. Similarly, African-American writers, while addressing the issues of race, gender and class, illustrate their struggle and experiences. Their own lives serve as an inspiration to write about the trauma of displacement and slavery. The English novel in the 18th and 19th century largely focused on women primarily confined to the roles of wife, mother and homemaker. However, some novelists such as Mary Wollstonecraft and Aphra Behn challenged gender stereotypes and advocated for greater female autonomy and intellectual freedom. Similarly, Jane Austen, Elizabeth Gaskell, Thomas Hardy, Charlotte Bronte etc. questioned the prevailing attitudes and provided a fresh perspective on gender issues. Whereas Jane Austen celebrates intelligent and strong-willed female characters who resist societal pressures, Gaskell delves into the lives of working-class women and those on the margins of society. Similarly, Hardy chooses the sub-title A Pure Woman for his novel Tess of the D’Urbervilles in order to question the Victorian norms. The paper discusses Charlotte Bronte’s Jane Eyre and analyses how the novel embodies rebellion against societal constraints by presenting an unconventional heroine who is able to move beyond boundaries and carve her path amid restrictions imposed by society in which she lives.
This paper explores the theme of empiricism in Charlotte Bronte’s novel “Jane Eyre.” The paper argues that the novel examines the importance of experience and the dangers of ignoring the emotional and psychological effects of experience. The paper analyzes the character of Jane, and Bertha Mason to show the intersection of race and gender in the novel and to illustrate the limitations of empiricism. The research methods used in this paper are close reading and analysis of the novel and critical literary theory. The paper concludes that a balance between reason and emotion, experience and intuition is necessary for a meaningful and fulfilling life.
This article explores the approaches that modern women poets use in their revised mythical notions to expose and implicate the inappropriate effects of patriarchal norms and conventions on women and gender inequality. This study addresses Anne Sexton and Carol Ann Duffy as modern woman poets who redefine archetypal myths and revise fairy tales to narrate the stories of those who have been left out of historical and cultural narratives within female characters. Sexton and Duffy shake up gender stereotypes with determined humorous plot complexities, allowing women to shed the secondary classic roles assigned to them. The female characters in the poems recapture their power through literary reconstruction, confronting male dominance and instilling guilt for feeling worthless. These modern women poets focus on what the female characters in their fairy tales think, feel, react, and decide what they look like in appearance, which is not employed in these writing norms in common fairy tales. Sexton and Duffy are the innovative versions of fairy tales, in which the poets not only satirize the patriarchal society in which they grew up but also reject the female stereotype that their upbringing assumed. This study examines the feminist messages that Sexton and Duffy's fairy tales intended to convey to reveal the poets' position on feminism and their relationship with the female role models and male characters they portray in their fairy tales. The findings confirm that these revising approaches and changing writing fairy tale norms can aid in creating a female identity and generate a critical return to the patriarchy’s despotic discourse.
Transmedia storytelling involves unfolding several narratives across differing platforms while each text makes a distinctive contribution to the creation of a unique grand narrative. According to Hen- ry Jenkins, one of the ways in which contemporary writers are using transmedia literature is by recreating old stories in a new way. Madeline Miller has challenged the dominant male perspective by re-writing an ancient myth through the female point of view and renegotiating the female pres- ence in literary history. Transmedia has allowed the writer to rewrite mythical history and partici- pate in the recreation of literary history. Through transmedia, the readers are no longer passive observers, but rather active participants involved in the creation of the literary world that in Circe’s case is an enhanced myth.
This article presents a critical reading and a reassessment of lesser-known psychoanalyst Michèle Montrelay's innovative theorizations of human sexuality, examining Montrelay's theorizations of masculine sexuality vis-à-vis the feminine and vice versa, and not in a particular hierarchical or gender-specific order. By following a psychoanalytical Freudian-Lacanian-Montrelayan framework while also incorporating elements from queer theory and (trans)gender studies that, at the same time, will be subjected to critical scrutiny in light of their potential limitations and inherent blind spots, I suggest that Montrelay's conceptualizations of masculine and feminine sexuality can function as productive springboards to a contemporary exploration of human sexuality, jouissance (enjoyment) and desire, and their consequent linguistic signification via what I term the "queer" signifier in the latter part of this article. Transcending the limitations of identity politics, this article brings thus the discourses of psychoanalysis (especially in its Lacanian, linguistically inflected orientation) and queer theory into a theoretical, conceptual, and practical dialogue that is neither binary and normative nor even non-binary and nonnormative but semiotically singular. Finally, the "queer" signifier and an accompanying, "queer" modality of jouissance will be theorized as structurally homologous to feminine jouissance and feminine writing (écriture féminine).
Dominating the study of Emily Dickinson’s life and work for the past twenty years, feminist critics have revolutionized conceptions of the poet by turning attention away from the reclusive habits of her life or the purported themes of her poems in order to focus instead on her rebellious engagement with her culture and its experimental expression in her work. Varied and changing as they are, feminist conceptions of Dickinson have worked nonetheless to create a new understanding of the importance of gender and of sexual identity in her life and her poetry. The Dickinson that emerges from these conceptions is a poet whose language, as Mary Loeffelholz claims, “speaks back to all theories–deconstructive, feminist, materialist, psychoanalytic–that would address it” (6) because feminist conceptions of Dickinson and Dickinson’s conception of feminism have been a two-way process.
This article aims to analyze Valerie Martin’s novel Mary Reilly (1990) in the context of intertextuality and claims that her work creates a dialogue with its pre-text. Before the analysis, this paper presents a short historical overview of intertextual theories, from the ancient ideas regarding this matter, through the theories that contributed to the coining of the term, to the three directions in which the notion of intertextuality developed – structuralist, poststructuralist, and socio-political. Martin’s text is analyzed in regard to Gerard Genette’s notion of transtextuality, concentrating mainly on one of its categories, hypertextuality; however, the study employs also the theory of spin-offs, arguing that Martin’s text very directly leads the reader towards its one intertextual source. Mary Reilly initiates a dialogue with its main pre-text, Robert Louis Stevenson’s novella Strange Case of Dr Jekyll and Mr Hyde (1886) by redirecting the focus of the already familiar to the reader story and presenting aspects previously omitted in the classic. This text introduces a very specific dynamic between the figures of a father and a daughter. Their relationship is present on the level of the story, but also on the level of authorship, discussing the situation of a female writer. Moreover, this spin-off creates a space for once silenced characters, such as members of the working class, to be finally heard.
King Lear, a masterpiece by Shakespeare, explores the human desire for authority and the marginalization of women in history. Through the Marxist lens, the exploration of societal norms and their subversion is presented through the characters Gonerill, Regan, and Edmund. The play reveals the patriarchal nature of authority and its influence on individual identities. Through deconstructive, Marxist, and feminist theories, the exploration of power dynamics and individual identities is a profound exploration.
Keywords: Marxist Theory, Feminism, Women, Lear, Patriarchal Society
In Art & Lies (1994), Jeanette Winterson presents three characters who are alter egos of Handel, Picasso, and Sappho. This article focusses on Picasso as an alter ego not only of Pablo Picasso but also of the character itself, whose birth name is Sophia, and of Pablo Picasso’s lovers, who were silenced, abused, and driven to madness like Winterson’s Picasso. The main aspects taken into account are the fact that the character is silenced by her family and that she is sexually abused by her brother in order to understand that her journey towards becoming the madwoman in the attic is induced by the harmful context that she is surrounded by in the same way that occurred to Pablo Picasso’s lovers and to Bertha Mason in Jane Eyre.
Uzun bir süre cinsiyetçi terimlerle tanımlanıp eril yazarlık ve okuyucu kitlesi ile ilişkilendirilen tarihsel kurgudaki kadın bakış açısı, giderek daha popüler hale geliyor olmasına rağmen, edebiyat eleştirisi açısından ihmal edilmiştir. Kadın yazarlar tarafından yazılan ve yeniden yazım pratiği ile şekillenmiş tarihsel kurgu romanlarının sayısının ve bu romanlara olan ilginin son yıllarda giderek arttığı yadsınamaz bir gerçektir. Bu çalışma, kadın yazarların yeniden yazım pratiği ile şekillenmiş çağdaş tarihsel kurgu eserleri temelinde, ‘yeniden yazım’ kavramının postmodernist ve feminist bir eylem olarak kuramsal temellerini ortaya koymayı amaçlamaktadır. Tarihsel kurgunun ataerkil kalıplarla şekillenen tanımı ve aynı zamanda yakın zamana dek resmî ideolojilerin tekilci yönlendirmelerine maruz kalan kısıtlayıcı tarihi incelendikten sonra, postmodernizmin ve ikinci dalga feminizmin ‘yeniden yazım’ pratiğine ve bu pratik ile şekillendirilen tarihsel kurgunun yükselişine nasıl ve ne şekilde katkıda bulunduğu tartışılacaktır. Çalışmanın son bölümde ise, çağdaş kadın yazarların ‘yeniden yazım’ bağlamındaki görüşlerinin bu çalışmanın temel savlarını nasıl uyumlu bir şekilde yansıttığı da çeşitli örneklerle gösterilecektir.
As Nixon has argued, orphans were very often ‘intimately…connected to the law.’ The eighteenth century saw many works of non-fiction define the orphan as ‘a problematic collective,’ even while certain narratives gradually sought to ‘replot’ them within the public consciousness as fairly well off, or at least supported financially by some sort of wardship arrangement.
This study explores gender issues in the historical narrative structure of A. S. Byatt’s novel Possession: A Romance (1990) by critically examining women’s exclusion from society, men’s identity crisis in gender environments, and the separation and union between two sexes in the novel. To reveal these complicated gender issues, Byatt combines history with narrative, which accords well with Hayden White’s historical narrative that fictive history can unveil historical truth. Additionally, Byatt’s three levels of historical narratives echo Giambattista Vico’s cycle of history to reveal the recurring gender issues in human history. In this respect, this study investigates how Byatt uses historical narratives to examine gender dilemmas of men and women to explore how characters free themselves from their gendered travails. In conclusion, Byatt employs historical narratives to reveal the recurring gender dilemmas and gender opposition in the history of human development. Meanwhile, Byatt is seeking a new type of gender relations in the cycle of human history as well—it is androgyny that liberates men and women from the limitation of defined gender roles and dissolves gendered conflicts to realize the union between body and soul in men and women.
Bu makale, kanon dışı edebiyatın dil içerisinde “söylenemeyeni” ifade etme kapasitesine sahip olduğunu ileri sürmektedir. Bu iddiayı desteklemek için kanonik romana bir örnek olarak Peyami Safa’nın Fatih-Harbiye’si ile Safiye Erol’un kanon dışında kalan eserleri, edebî ve kültürel gelenekle kurdukları ilişki bağlamında incelenmektedir. Müslüman Türk toplumunun yerleşik kültürel değerlerine bağlı kalan Safa’nın aksine, Erol geleneği ustalıkla anlatılarına dâhil ederek Türk edebiyatında büyük ölçüde keşfedilmemiş bir alana yönelir. Bu gelenek, özellikle Osmanlı şiirinde bulunan bir dizi imge ve metaforla karakterize edilen aşk kültürüdür. Erol’un eserleri “kadın edebiyatı” etiketinin ötesine geçerek Osmanlı aşk kültürünü cumhuriyetçi yeni Türk toplumu içinde yeniden yorumlar. Bu süreçte Doğu/Batı, geleneksel/modern ve söylenemeyen/söylenebilen gibi ikilikler arasında ustaca manevralar yapar. Romanlarındaki derinlik ve zenginlik ile geleneğe dair getirdiği yorumun, kanon dışı edebiyatın kullanılmayan ifade potansiyeline işaret ettiği iddia edilmektedir.
Jane Eyre, written by Charlotte Brontë and first published in 1847, has been translated more than five hundred times into over sixty languages. Prismatic Jane Eyre argues that we should see these many re-writings, not as simple replications of the novel, but as a release of its multiple interpretative possibilities: in other words, as a prism.
Prismatic Jane Eyre develops the theoretical ramifications of this idea, and reads Brontë’s novel in the light of them: together, the English text and the many translations form one vast entity, a multilingual world-work, spanning many times and places, from Cuba in 1850 to 21st-century China; from Calcutta to Bologna, Argentina to Iran. Co-written by many scholars, Prismatic Jane Eyre traces the receptions of the novel across cultures, showing why, when and where it has been translated (and no less significantly, not translated – as in Swahili), and exploring its global publishing history with digital maps and carousels of cover images. Above all, the co-authors read the translations and the English text closely, and together, showing in detail how the novel’s feminist power, its political complexities and its romantic appeal play out differently in different contexts and in the varied styles and idioms of individual translators. Tracking key words such as ‘passion’ and ‘plain’ across many languages via interactive visualisations and comparative analysis, Prismatic Jane Eyre opens a wholly new perspective on Brontë’s novel, and provides a model for the collaborative close-reading of world literature.
Prismatic Jane Eyre is a major intervention in translation and reception studies and world and comparative literature. It will also interest scholars of English literature, and readers of the Brontës.
Jane Eyre, written by Charlotte Brontë and first published in 1847, has been translated more than five hundred times into over sixty languages. Prismatic Jane Eyre argues that we should see these many re-writings, not as simple replications of the novel, but as a release of its multiple interpretative possibilities: in other words, as a prism.
Prismatic Jane Eyre develops the theoretical ramifications of this idea, and reads Brontë’s novel in the light of them: together, the English text and the many translations form one vast entity, a multilingual world-work, spanning many times and places, from Cuba in 1850 to 21st-century China; from Calcutta to Bologna, Argentina to Iran. Co-written by many scholars, Prismatic Jane Eyre traces the receptions of the novel across cultures, showing why, when and where it has been translated (and no less significantly, not translated – as in Swahili), and exploring its global publishing history with digital maps and carousels of cover images. Above all, the co-authors read the translations and the English text closely, and together, showing in detail how the novel’s feminist power, its political complexities and its romantic appeal play out differently in different contexts and in the varied styles and idioms of individual translators. Tracking key words such as ‘passion’ and ‘plain’ across many languages via interactive visualisations and comparative analysis, Prismatic Jane Eyre opens a wholly new perspective on Brontë’s novel, and provides a model for the collaborative close-reading of world literature.
Prismatic Jane Eyre is a major intervention in translation and reception studies and world and comparative literature. It will also interest scholars of English literature, and readers of the Brontës.
Jane Eyre, written by Charlotte Brontë and first published in 1847, has been translated more than five hundred times into over sixty languages. Prismatic Jane Eyre argues that we should see these many re-writings, not as simple replications of the novel, but as a release of its multiple interpretative possibilities: in other words, as a prism.
Prismatic Jane Eyre develops the theoretical ramifications of this idea, and reads Brontë’s novel in the light of them: together, the English text and the many translations form one vast entity, a multilingual world-work, spanning many times and places, from Cuba in 1850 to 21st-century China; from Calcutta to Bologna, Argentina to Iran. Co-written by many scholars, Prismatic Jane Eyre traces the receptions of the novel across cultures, showing why, when and where it has been translated (and no less significantly, not translated – as in Swahili), and exploring its global publishing history with digital maps and carousels of cover images. Above all, the co-authors read the translations and the English text closely, and together, showing in detail how the novel’s feminist power, its political complexities and its romantic appeal play out differently in different contexts and in the varied styles and idioms of individual translators. Tracking key words such as ‘passion’ and ‘plain’ across many languages via interactive visualisations and comparative analysis, Prismatic Jane Eyre opens a wholly new perspective on Brontë’s novel, and provides a model for the collaborative close-reading of world literature.
Prismatic Jane Eyre is a major intervention in translation and reception studies and world and comparative literature. It will also interest scholars of English literature, and readers of the Brontës.
ÖZ Yeni medyanın uygulama sahası olan dijital platformlar, dizi film yapımları için önemli bir içerik mecrası olarak kabul edilmektedir. Dizi filmlerinin geniş ölçekte kabul edilmesi konusunda son yıllarda sanal kullanıcılara yönelik içeriklere ağırlık verildiği görülmektedir. Bu konuda ücretli erişim hizmetleriyle üyelik sistemine göre oluşturulan ağ platformlarının özellikle genç kesime yönelik bir beğeni kültürü oluşturmaya çalıştığı anlaşılmaktadır. Z kuşağının izleyici kitlesini oluşturduğu bu platformlarda ağ toplumu, niteliksel olarak marjinal özelliklere sahip kişilik çatışması yaşayan ana ve yardımcı karakterler üzerinden şekillendirilmektedir. Bu çalışmada, Netflix yapımı Wednesday adlı dizi, dünyada en fazla izlenen 10 yapım içerisinde yer almaktadır. Wednesday dizisinde, postmodern pastiş betimlemeye sahip olup karakterle patolojik açıdan ironik bir ilişki kurulması ön plana çıkmaktadır. Sosyal psikoloji tanımlamalarındaki kimlik ilişkisi ile ruhsal değişkenlik yapıları dizinin ilk sezonunda yer alan sekiz bölümü içerisinde çeşitli temsiller, kahramanlık yapıları ve cinsiyetçi rolleri ile iletişim biçimleri ifadeler düzeyinde incelenerek adet ve yüzdelikler cinsinden içerik analizi yöntemiyle ele alınmaktadır. Wednesday dizisinin ilk sezonunu temsil eden sekiz bölümünde ilk aşamada ana karakter Wednesday Addams üzerinden sözel ifadeleri tipolojik olarak sınıflandıran üçlü niteleme grubu oluşturulmuştur. Dizinin ilk sezonunda söylem olarak 250 adet niteleme ve imgelem saptanmış olup, aile ve çevre nitelemesi 79 adet ve %31,60 oran, özeleştiri özelliği taşıyan nitelemeler 53 adet ve %21,20 oran, diğer kişilere yapılan nitelemeler 107 adet ve %42,80 şeklinde belirlenmiş olup, görüntünün bir yansıması olan imgelem sayısı 11 olup genel oran içerisinde %4,40 düzeyindedir.
The unfolding ecological crisis is often blamed on an excerpt from the bible, according to which humans should “[b]e fruitful and increase in number; fill the earth and subdue it” (Gen 1:28). This command is repeatedly contrasted with another, saying that “[t]he LORD God took the man and put him in the Garden of Eden to work it and take care of it” (Gen 2:15). Could the current climate change have been avoided if the “second” command had carried more weight? Darren Aronofsky directed two films that deal with this question. In Noah (2014), it is the “second,” “eco-friendly” command that seems to reflect the intent of God; therefore, the secular techno-capitalist development of humankind, which is leading to an ecological disaster, is a revolt against this command and a manifestation of the Fall. As opposed to this, mother !, made three years later, suggests that it is the intertwining of the Christian tradition with patriarchy and anthropocentrism that lies behind the destruction of the environment, which in turn implies that the disaster can actually be interpreted as an adherence to the “first” command. (AH)
This book is a modest attempt to explore the complex
interconnections and undercurrents that ride the debate on gender
and its dynamics. The included essays in this volume investigate
the current conflicts and tensions from the Third World Feminist
standpoint. The books presents the intersectionality of feminism,
which instead of assimilating women’s struggle in terms of gender
actually in affect, differentiates and contextualizes them by
foregrounding the diverse overlapping identities of women. The
signifiers of race, class, caste, diaspora, culture, ethnicity, religion
and sexual orientation intersect in the experiences of being a
woman. Hence the gender can no longer be a unified monolithic
and homogenized template of oppression that can be applied
uniformly to all women. The book I believe is thus crucial in
attending to the differences and diversity of evolving feminist
approaches. For the purpose of clarity, the book is subsumed under
three broad categories namely Literal Representations, Cultural
Paradigms and Historical Perspectives. The Literal Representation
examines the representation of women and gender relationships
in largely Indian feminist texts. This section deconstructs the
meaning of gender in its contrapuntal readings by locating the
women as material and cultural subjects of their specific histories.
In Cultural Paradigms, valorized and vilified concept of
motherhood, body, desire, performance, veiling, diaspora and
social media are developed and discussed. The section on one
hand unequivocally celebrates the body in performance and on
the other salvages the veil by carefully demolishing the reductive
stereotypes surrounding the women. The historical perspective
looks back at the canon of women writers and develops the
contours of the coming of a new one. By revisiting the historical
narratives, this section reinvents the old myths with new
metaphors for change. Mapping the marginalized history of dalit
women and the untold and unrecorded sufferings of the women
from North-East India, embodying the pain of violence, war and
trauma, the history and histography of women’s writing gains
urgency it deserves and demands.
Although sapphic modernism is a phenomenon thoroughly examined in Western European cultures, the history of East European sapphic writings remains a relatively neglected area, both in global lesbian and queer studies and in local histories. This article is devoted to nineteenth-century Polish, Russian, and Ukrainian literature. It outlines the complicated emergence of local queer studies and draws attention to the position of women's writing within it. It also discusses the tools provided by intersectional, transnational approaches. Combined with the extensive knowledge of global lesbian studies, these methods allow for the exploration of local histories of queer women writing, particularly from the Russian Empire's territories. This article highlights intersections between same-sex desire's literary expressibility and the writers' affi liation within the same imperial structure, which forced diff erent strategies of sapphic expressions to emerge from this intersection. To illustrate those strategies, the article discusses examples provided by Narcyza Żmichowska, Lesya Ukrainka, and Lydia Zinovieva-Annibal.
ResearchGate has not been able to resolve any references for this publication.