Women In The Literary Landscape

Literary Nonfiction. Women's Studies. From colonial times, women have been at the forefront of significant developments in the literary community and the book world. Despite this important history, no single publication has provided an overview of women's roles in writing, publishing, bookselling, and librarianship. With WOMEN IN THE LITERARY LANDSCAPE, in honor of its Centennial, the WNBA breaks new ground with a narrative connecting women's contributions in these fields with the relevant social history.

Thesis (M.A.) from the year 2008 in the subject American Studies - Literature, grade: 1,3, Ernst Moritz Arndt University of Greifswald (Institut f r Anglistik/Amerikanistik), 64 entries in the bibliography, language: English, abstract: Canada has always been associated with its landscape, with a vast and inviolate nature, including prairies, forests with innumerable lakes, idyllic mountain ranges and the Arctic barrens in the far north. With an area of almost 10 million square kilometers, Canada is the second largest country in the world, but with only 31 million people living there and a population density of 3,2 inhabitants per square kilometer, it is also the less populated.1 The theme of nature and wilderness has also been reflected throughout Canadian literary tradition. As Canadian author Aritha van Herk notes, " t]he impact of landscape on artist and artist on landscape is unavoidable" (1992, 139). Adopting the northern concepts of early explorers and settlers, most literature about the Canadian wilderness has been written by male authors. For a long time, the Canadian North served as background for historical romances and adventure stories. The response to the landscape was often very negative, the wilderness was described as being hostile and dangerous. Parallel to that image, the landscape was portrayed in female terms, as being innocent, inviolate and beautiful - the Canadian North appeared as a femme fatale. Especially in its beginnings, Canadian literature was strongly influenced by its American and British predecessors and the early writers reinforced the myth of the Canadian North. In the early twentieth century, the North was mainly a place of retreat for the fictive heroes of the South who went from the city to the wilderness to find themselves. One of the most famous texts of this time is Frederick Philip Grove's autobiography In Search of Myself (1946). His journey to the North became a synonym for the search of the own self.

Mapping the changes that have occurred in Irish literature over the past fifty years, this volume includes twenty-one writers, poets, and playwrights from the North and South of Ireland, who tell their own stories. They are funny, tragic, angry, philosophical, but all are vivid personal accounts of their experiences as women writing during a pivotal period in the history of Ireland. With a foreword by Martina Devlin, and an introduction by Éilís Ní Dhuibhne, the anthology includes essays by Cherry Smyth, Mary Morrissy, Lia Mills, Moya Cannon, Aine Ní Ghlinn, Catherine Dunne, Éilís Ní Dhuibhne, Mary O'Donnell, Mary O'Malley, Ruth Carr, Evelyn Conlon, Anne Devlin, Ivy Bannister, Sophia Hillan, Medbh McGuckian, Mary Dorcey, Celia de Fréine, Máiríde Woods, Liz McManus, Mary Rose Callaghan, and Phyl Herbert.

This five-volume series, British Women’s Writing From Brontë to Bloomsbury, 1840–1940, historicallycontextualizes and traces developments in women’s fiction from 1840 to 1940. Critically assessingboth canonical and lesser-known British women’s writing decade by decade, it redefines the landscapeof women’s authorship across a century of dynamic social and cultural change. With each ofits volumes devoted to two decades, the series is wide in scope but historically sharply defined. Volume 2: 1860s and 1870s continues the series by historically and culturally contextualizing Victorianwomen’s writing distinctly within the 1860s and 1870s. Covering a range of fictional approaches,including short stories, religiously inflected novels, and comic writing the volume’s 16 original essaysconsider such developments as the sensation craze, the impact of new technologies, and the careeropportunities opening for women. Centrally, it reassesses key nineteenth-century female authors inthe context in which they first published while also recovering neglected women writers who helpedto shape the literary landscape of the 1860s and 1870s.

For centuries women have been marginalized and overlooked in American literary history. That injustice is corrected in this entertaining and provocative collection of 350 years of poetry and fiction by American women. From Puritan poet Anne Bradstreet to Margaret Fuller to Harriet Beecher Stowe, readers will encounter scores of lesser-known and forgotten writers who fully deserve to be rediscovered and enjoyed by new generations. Our famous women writers, including contemporary stars like Annie Proux and Jhumpa Lahiri, are showcased in their full literary context, offering an epic overview of the canon in one monumental, dazzling volume. This landmark anthology features the best work of our best American women, and was inspired and informed by the author's groundbreaking history celebrating women writers, A Jury of Her Peers.

In the early 1970s, empowered by the civil rights and women's movements, a new group of women writers began speaking to the American public. Their topic, broadly defined, was the postmodern American West. By the mid-1980s, their combined works made for a bona fide literary groundswell in both critical and commercial terms. However, as Krista Comer notes, despite the attentions of publishers, the media, and millions of readers, literary scholars have rarely addressed this movement or its writers. Too many critics, Comer argues, still enamored of western images that are both masculine and antimodern, have been slow to reckon with the emergence of a new, far more "feminine," postmodern, multiracial, and urban west. Here, she calls for a redesign of the field of western cultural studies, one that engages issues of gender and race and is more self-conscious about space itself_especially that cherished symbol of western "authenticity," open landscape. Surveying works by Joan Didion, Wanda Coleman, Maxine Hong Kingston, Leslie Marmon Silko, Barbara Kingsolver, Pam Houston, Louise Erdrich, Sandra Cisneros, and Mary Clearman Blew, Comer shows how these and other contemporary women writers have mapped new geographical imaginations upon the cultural and social spaces of today's American West.

Ladies of the Canyons is the true story of a group of remarkable women whose lives were transformed by the people and landscape of the American Southwest in the first decades of the twentieth century.

The poems in Landscape with Sex and Violence explore what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.