Caribbean Women Writers And Globalization: Fict...
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Caribbean Women Writers and Globalization offers a fresh reading of contemporary literature by Caribbean women in the context of global and local economic forces, providing a valuable corrective to much Caribbean feminist literary criticism. Departing from the trend towards thematic diasporic studies, Helen Scott considers each text in light of its national historical and cultural origins while also acknowledging regional and international patterns. Though the work of Caribbean women writers is apparently less political than the male-dominated literature of national liberation, Scott argues that these women nonetheless express the sociopolitical realities of the postindependent Caribbean, providing insight into the dynamics of imperialism that survive the demise of formal colonialism. In addition, she identifies the specific aesthetic qualities that reach beyond the confines of geography and history in the work of such writers as Oonya Kempadoo, Jamaica Kincaid, Edwidge Danticat, Pauline Melville, and Janice Shinebourne. Throughout, Scott's persuasive and accessible study sustains the dialectical principle that art is inseparable from social forces and yet always strains against the limits they impose. Her book will be an indispensable resource for literature and women's studies scholars, as well as for those interested in postcolonial, cultural, and globalization studies.
Originally published by South End Press in 2003, Women Writing Resistance gathers voices of writers from the Anglophone and Francophone Caribbean, Chicanas negotiating the US-Mexico border, Puertorriqueñas grappling with their hybrid American political identities, and Indigenous women fighting for sovereignty and cultural rights.
Since the mid-1970s, Caribbean poetry has gained increasing visibility with the publication in Britain and North America of several anthologies. Over the decades the canon has shifted and expanded, drawing both on oral and literary traditions and including more women poets and politically charged works. Caribbean writers, performance poets, newspaper poets, singer-songwriters have created a popular art form, a poetry heard by audiences all over the world. Caribbean oral poetry shares the vigour of the written tradition.
There is great abundance of talent, styles, and subjects covered by Caribbean women writers spanning the genres of poetry, theater, short stories, essays, and novels. There is also a burgeoning field of scholarship on how women authors address women's lives under dictatorships, eroticism and the body, history and identity, migration, Afro Caribbean history, decolonization, revolution, queer theory, among countless other topics.
Essays on Latinx and Caribbean identity and on globalization by renowned women writers, including Julia Alvarez, Edwidge Danticat, and Jamaica KincaidWomen Writing Resistance: Essays on Latin America and the Caribbean gathers the voices of sixteen acclaimed writer-activists for a one-of-a-kind collection. Through poetry and essays, writers from the Anglophone, Hispanic, and Francophone Caribbean, including Puertorriqueñas and Cubanas, grapple with their hybrid American political identities. Gloria Anzaldúa, the founder of Chicana queer theory; Rigoberta Menchú, the first Indigenous person to win a Nobel Peace Prize; and Michelle Cliff, a searing and poignant chronicler of colonialism and racism, among many others, highlight how women can collaborate across class, race, and nationality to lead a new wave of resistance against neoliberalism, patriarchy, state terrorism, and white supremacy.
In The New Woman in Early Twentieth-Century Chinese Fiction, Jin Feng proposes that representation of the \"new woman\" in Communist Chinese fiction of the earlier twentieth century was paradoxically one of the ways in which male writers of the era explored, negotiated, and laid claim to their own emerging identity as \"modern\" intellectuals. Specifically, Feng argues that male writers such as Lu Xun, Yu Dafu, Ba Jin, and Mao Dun created fictional women as mirror images of their own political inadequacy, but that at the same time this was also an egocentric ploy to affirm and highlight the modernity of the male author. This gender-biased attitude was translated into reality when women writers emerged. Whereas unfair, gender-biased criticism all but stifled the creative output of Bing Xin, Fang Yuanjun, and Lu Yin, Ding Ling's dogged attention to narrative strategy allowed her to maintain subjectivity and independence in her writings; that is until all writers were forced to write for the collective.
Feng addresses both the general and the specialized audience of fiction in early-twentieth-century Chinese fiction in three ways: for scholars of the May Fourth period, Feng redresses the emphasis on the simplistic, gender-neutral representation of the new women by re-reading selected texts in the light of marginalized discourse and by an analysis of the evolving strategies of narrative deployment; for those working in the area of feminism and literary studies, Feng develops a new method of studying the representation of Chinese women through an interrogation of narrative permutations, ideological discourses, and gender relationships; and for studies of modernity and modernization, the author presents a more complex picture of the relationships of modern Chinese intellectuals to their cultural past and of women writers to a literary tradition dominated by men.
A ENG 368 (= A WSS 368) Women Writers (3)Selected works of English and/or American women writers in the context of the literary and cultural conditions confronting them. The course focuses on the development of a female tradition in literature and on the narrative, poetic, and/or dramatic styles of expression, voice, and values of women writers. May be repeated once for credit when content varies.
Although her public persona has projected her on the Island as the contemporary national literary matriarch, Santos-Febres and her edited volume do not seek to inscribe her in that role. Las espinas del erizo: antología de escritoras boricuas del siglo XXI places the women writers in a century that searches deeper but does not venerate the model of literary generations and their imposing patriarchs and now, more recently, their equally imposing matriarchs.
The exclusion of this early nationalism from historiography has distorted our understanding of the history of feminism and women's writing in Jamaica, by promoting the impression that feminism was the sole project of Pan Africanism and not part of much broader movement. As a result, both the existence of Jamaican women writers at the turn of the century and their self-conscious participation in building Jamaican nationalism have been obscured. My objective in this article is thus two-fold: to extend Jamaican historiography to include this early nationalism and to illuminate the significance of the feminism it promoted and the women writers who contributed to it. In so doing, I build on the work of anthropologist Deborah Thomas who has made the case that black Jamaican civic leaders in the 1880s espoused a middle-class respectable nationalism that developed into the multi-racial middle-class nationalism that dominated in 1960s. I look also to the strong parallels with nationalism in nineteenth-century Bengal, which like early Jamaican nationalism, promulgated a feminist ideology and was at first overlooked by historians. In the case of Bengali nationalism, however, subaltern historians have successfully expanded the historical tradition to include early nationalism (Chatterjee, 1993). Moreover, feminist historian, Mrinalini Sinha, has made a strong case that early Indian nationalism gave middle-class women a certain amount of agency despite its patriarchal ideology but that it also implicated them in a divisive class and ethnic politics that had far-reaching consequences long into independence (Sinha, 1994, 2000).
Women writers shaped Jamaican national literature in two further ways: they consistently challenged the stereotype of elite creole women, particularly white women, in British literature, and they subtly opened the category of elite heroines to include middle-class Afro-Jamaicans. Small's heroines are marked as white through references to blue eyes and white skin. Other writers such as Somerset present heroines with beautiful dark eyes and wavy hair. Many heroines are simply virtuous and attractive. The presence of dark beauties combined with the lack of specific reference to colour allows for a silent expansion of the category of lady to include the genteel women of the Afro-Jamaican middle classes. 59ce067264
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