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Articles 1 - 11 of 11
Full-Text Articles in Arts and Humanities
“No Friend Like A Sister”: Christina Rossetti’S Fantastic Departure From Pre-Raphaelite Poetics And Art In “Goblin Market”, Anna M. Lee
The Criterion
Christina Rossetti’s poetics and artistic vision in her seminal poem, “Goblin Market,” have yielded a range of critical theories, from positions on sisterhood to the ambiguous position of capitalist markets. While considering the socioeconomic and cultural context behind the poem’s development and resonance among contemporary feminist movements, readers also ought to consider the actual “goblin brotherhood” — the Pre-Raphaelite Brotherhood (PRB) — behind Rossetti’s authorial ventures. This paper argues that Rossetti’s fantastical methods draw influence from and participate in the PRB’s poetics and artistic traditions, while subverting the same conventions within a feminist paradigm. Rossetti not only envisions a homosocial …
Love, Ladies, And Lucretius, Stacey Kaliabakos
Love, Ladies, And Lucretius, Stacey Kaliabakos
Parnassus: Classical Journal
No abstract provided.
Heurodis's Body: Reading "Sir Orfeo" With Three Significant Losses, Grace J. Bromage
Heurodis's Body: Reading "Sir Orfeo" With Three Significant Losses, Grace J. Bromage
The Criterion
No abstract provided.
Women, Writing, And Storytelling In Medieval England And The Canterbury Tales, Sadie O'Conor
Women, Writing, And Storytelling In Medieval England And The Canterbury Tales, Sadie O'Conor
The Criterion
For a woman to succeed in an academic sphere, it is never enough for her to be clever-- she must be brilliant. “The Second Nun’s Tale” in Chaucer’s The Canterbury Tales explores the metaphorical brilliance (in sexual purity, intelligence, and faith) of St. Cecilia. The tale is also a mechanism for the Second Nun to advocate for her own vocation of “holy work,” for the sake of the learned religious women who preserved such writings. The themes of her tale are quite different from those espoused by the Wife of Bath, but the Wife also argues to have her voice …
“Women Must Weep—Or Unite Against War”: Virginia Woolf’S Feminist Critique Of Classical Epic In To The Lighthouse, Kit Pyne-Jaeger
“Women Must Weep—Or Unite Against War”: Virginia Woolf’S Feminist Critique Of Classical Epic In To The Lighthouse, Kit Pyne-Jaeger
New England Classical Journal
Previous scholarship on Virginia Woolf’s classicism has acknowledged her debt to Vergil primarily in the context of the Eclogues or Georgics, and her debt to classical epic as a genre rarely and sparsely. Tremper (1992) and Tudeau-Clayton (2006) have both suggested a reading of “The Lighthouse,” the third part of To the Lighthouse, as an example of modernist epic. This paper, conversely, proposes that the novel in its entirety functions as a satirical critique of epic, specifically of Vergil’s Aeneid, with the goal of demonstrating the pitfalls of epic ideology as it impacted English society during the First World War.
Sillage, Trace, Empreinte: La Migrance Ambulatoire De Fatou Diome, Catherine Mazauric
Sillage, Trace, Empreinte: La Migrance Ambulatoire De Fatou Diome, Catherine Mazauric
Présence Francophone: Revue internationale de langue et de littérature
From Le ventre de l'Atlantique and Impossible de grandir to Marianne porte plainte!, going as far back as her early poems and short stories published in journals, Fatou Diome uses recurring patterns of wake, trace and footprints as different forms of physical and ethical engagements in the world. In the process of literary creation, such engagement generates a mobile third location, "a space of migrance" where various sets of cultural heritages and ethical values undergo reformulation. This paper argues that it is in such a space that Diome locates the emergence of a powerful feminine subjectivity which gained its autonomy …
Humanity's Unlikely Heroine: Examining Eve In John Milton's 'Paradise Lost' And "Paradise Regained", Alyssa V. White
Humanity's Unlikely Heroine: Examining Eve In John Milton's 'Paradise Lost' And "Paradise Regained", Alyssa V. White
The Criterion
This essay explores the biblical world of John Milton’s poetry through the eyes of the only woman given dialogue in his most famous works, Paradise Lost and Paradise Regained. Eve has often been read with scrutiny and judgment, with many readers and scholars dismissing her character as weak and uninteresting. The paper draws on sources from several scholars, but it works primarily with the actual text of Milton’s epics themselves. The argument of this paper seeks to counter those beliefs and provide a thorough analysis of Eve’s character and development throughout Paradise Lost, as well as her impact on the …
« Les Celles Qui Sont Pas Contentes » : Françoise Durocher, Waitress D’André Brassard Et De Michel Tremblay (1972), Maxime Blanchard
« Les Celles Qui Sont Pas Contentes » : Françoise Durocher, Waitress D’André Brassard Et De Michel Tremblay (1972), Maxime Blanchard
Présence Francophone: Revue internationale de langue et de littérature
More relevant than ever, Françoise Durocher, waitress, a 1972 short film directed by André Brassard (based on a screenplay by Michel Tremblay), keeps highlighting the current political alienation of the Québécois people within Canada. By analyzing the main character, Françoise Durocher, this article reveals the contradictions of a cultural, social, and feminist struggle against imperialism and domination.
Libération Sexuelle Ou Aliénation Textuelle : La Subalterne Peut-Elle Parler De Son Corps ?, Carla Calargé, Alexandra Gueydan-Turek
Libération Sexuelle Ou Aliénation Textuelle : La Subalterne Peut-Elle Parler De Son Corps ?, Carla Calargé, Alexandra Gueydan-Turek
Présence Francophone: Revue internationale de langue et de littérature
This article analyzes two erotic works : L’amande and La traversée des sens. It aims to look at whether the sexual liberation of the female protagonists succeeds in defining a subversive discourse which allows Arab women to escape binary representations made of them or whether, on the contrary the author reproduces such representations. After a quick overview of the difficult situation in which Arab feminists often find themselves both the East and the West, this study examines if Nedjma’s two novels adopt a feminist posture or if they fail to reach the objectives that critics have attributed to them.
Femmes Arabes Au Harem : La Magie Et Le Pouvoir De L’Oralité Dans L’Écriture De Fatima Mernissi, Samira Farhoud
Femmes Arabes Au Harem : La Magie Et Le Pouvoir De L’Oralité Dans L’Écriture De Fatima Mernissi, Samira Farhoud
Présence Francophone: Revue internationale de langue et de littérature
This article examines the polysemy of the word harem in several of Fatima Mernissi’s texts. Moreover, it considers the role of orality in the form of “oral archives” that were nurtured, maintained and passed on from mother to daughter. The related issue of Mernissi’s feminist activism is also analyzed. Women in Mernissi’s harem constructed complex narratives and “stories” that incorporated many fragments of “professional” or “national” histories, including the “official” history of Morocco’s attainment of independence in 1956. Accounts of femininist movements in the Middle East and Morocco, including the al-Safaa Akhwat or Sisters of Purity (1946) and the group’s …
L’Intertextualité Géopolitique Dans Le Petit Chat Est Mort De Fejria Deliba, Sarah B. Buchanan
L’Intertextualité Géopolitique Dans Le Petit Chat Est Mort De Fejria Deliba, Sarah B. Buchanan
Présence Francophone: Revue internationale de langue et de littérature
In this article, Buchanan examines how Fejria Deliba’s short film, Le petit chat est mort, questions the ideas that conservative members of North African and French communities mobilize to separate themselves from each other. Using theories of intertextuality and geopolitical conscience, Buchanan illustrates how “imagined communities” are always influenced by other national narrations, and how “home” is never isolated, pure or preserved. On the contrary, Buchanan highlights how Deliba presents the French and North African cultures as spaces of intersection and interface, that is, of intertext.