Searching for Sycoraxhighlights the unique position of Black women in horror as both characters and creators. Kinitra D. Brooks creates a racially gendered critical analysis of African diasporic ...women, challenging the horror genre's historic themes and interrogating forms of literature that have often been ignored by Black feminist theory. Brooks examines the works of women across the African diaspora, from Haiti, Trinidad, and Jamaica, to England and the United States, looking at new and canonized horror texts by Nalo Hopkinson, NK Jemisin, Gloria Naylor, and Chesya Burke. These Black women fiction writers take advantage of horror's ability to highlight U.S. white dominant cultural anxieties by using Africana folklore to revise horror's semiotics within their own imaginary. Ultimately, Brooks compares the legacy of Shakespeare's Sycorax (ofThe Tempest) to Black women writers themselves, who, deprived of mainstream access to self-articulation, nevertheless influence the trajectory of horror criticism by forcing the genre to de-centralize whiteness and maleness.
Domesticity and Design in American Women’s Lives and Literature explores the ways in which four American women writers from the mid-nineteenth to the early-twentieth century inhabited domestic space ...and portrayed it in their work. Hellman explores independent female authors who had intriguing and autonomous relationships with home, relocating frequently either to begin the creative processes of designing and decorating anew or to avoid domestic obligation altogether by remaining in transit. She also looks at how women authors wrote female characters into existence who had strikingly different relationships with home, and contended with profound burdens of housekeeping in an oppressive domestic sphere. The disjunction between the authors' individual existences and the characters to whom they gave life reveals multiple narratives about women at home in nineteenth- and twentieth- century America. This interdisciplinary inquiry undertakes a dual treatment of domesticity in an effort to synthesize a more complete understanding of the relationships between social history and literary accomplishment. Syncretising domestic literature with domestic practice, Hellman appraises the ways in which the authors appropriate domestic rhetoric to address issues of political import: economy, health, and social welfare in the case of Stowe, material feminism for Alcott, the landscape for Cather, and World War I for Wharton.
Caroline Hellman is an Assistant Professor of English at New York City College of Technology, CUNY, where she teaches writing and literature. She is the recipient of a 2010-2011 Fulbright Award in American Literature at the University of Antwerp, Belgium.
Introduction 1. Frocks and Aprons or Geographies: Harriet Beecher Stowe's Reconception of Domesticity 2. A House Multiplied: Louisa May Alcott's Material Feminism 3. Mad persons in Assorted Attics: Willa Cather's Domestication of Discontent 4. War on the Interior: Edith Wharton's Cabinet War Rooms in the House of the Homeless 5. Conclusion
Redrawing established boundaries between genres, Podnieks builds a broad critical and theoretical range on which she maps the diary as an aesthetic work, showing how diaries inscribe the aesthetics ...of literary modernisms. Drawing on feminist theory, literary history, biography, and personal anecdotes, she argues that the diary is an especially subversive space for women writers. Podnieks details how Virginia Woolf, Antonia White, Elizabeth Smart, and Anaïs Nin wrote their diaries under the pretence that they were private, while always intending them to be published. She travelled extensively to examine the original diary manuscripts and offers unique first-hand descriptions of the manuscripts that underscore the artistic intentions of their authors.
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.
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Voices from the borderlands push against boundaries in more ways than one, as Donna M. Kabalen de Bichara ably demonstrates in this investigation into the twentieth-century autobiographical ...writing of four women of Mexican origin who lived in the American Southwest.
Until recently, little attention has been paid to the writing of the women included in this study. As Kabalen de Bichara notes, it is precisely such historical exclusion of texts written by Mexican American women that gives particular significance to the reexamination of the five autobiographical works that provide the focus for this in-depth study.
“Early Life and Education” and Dew on the Thorn by Jovita González (1904–83), deal with life experiences in Texas and were likely written between 1926 and the 1940s; both texts were published in 1997. Romance of a Little Village Girl , first published in 1955, focuses on life in New Mexico, and was written by Cleofas Jaramillo (1878–1956) when the author was in her seventies. A Beautiful, Cruel Country , by Eva Antonio Wilbur-Cruce (1904–98), introduces the reader to history and a way of life that developed in the cultural space of Arizona. Created over a ten-year period, this text was published in 1987, just eleven years before the author’s death. Hoyt Street , by Mary Helen Ponce (b. 1938), began as a research paper during the period of the autobiographer’s undergraduate studies (1974–80), and was published in its present form in 1993.
These border autobiographies can be understood as attempts on the part of the Mexican American female autobiographers to put themselves into the text and thus write their experiences into existence.
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Women in cardiology experience considerable gender disparities in publications, which hinders their career advancements to higher faculty and senior leadership positions. However, the extent of these ...disparities across different types of cardiovascular literature is not well understood.
We investigated gender differences in authorship across various cardiovascular publications over a decade and examined geographic variations in the representation of women authors.
All papers published from January 1, 2010, to December 31, 2019, in 4 major cardiovascular journals (Journal of the American College of Cardiology, European Heart Journal, Journal of the American Medical Association Cardiology, and Nature Reviews Cardiology) were reviewed.
Of the 18,535 papers with 111,562 authors, 20.6% of the authors were women, and 47.7% of the papers had no women authors. Over 10 years, the proportion of women authors remained low (20.7% in 2010 to 21.4% in 2019), with the lowest proportion in editorial papers (14.8%) and the highest in research papers (21.8%). More women as first (34.6%) and last (47.6%) authors were affiliated with institutions in the United States compared with other countries. The proportion of women middle-order authors was higher on papers with women as first authors (29.4% vs 20.5%) or last authors (30.6% vs 21.3%), compared with papers with men as first or last authors, respectively.
Over the past decade, the proportion of women authors across all article types in major cardiovascular journals remained low. A call to action is needed to promote women in cardiology and provide them with equitable opportunities.
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