This paper focuses on Domnica Radulescu’s creative solutions when deconstructing myths, stereotypes, and prejudices and on the translator’s responses. In Domnica Radulescu’s plays, Exile is My Home and The Virgins of Seville (compiled, in their Spanish versions, in Dos Obras Dramáticas/Two Plays), the translator’s knowledge of both the author’s background and the target readership’s duality (Spanish host society and Romanian migrants) plays an important role in her decisions. Acknowledging that theater as a genre directly exposes hybridity of the author, translator, actors, and audience, this paper discusses the cultural context underpinning the original texts and translational options. At the same time, the reception of the translation into Spanish is partially confirmed through a small survey of Romanian diaspora and Spanish readers.
本文主要探讨了Domnica Radulescu在解构神话、刻板印象和偏见时的创造性解决方案以及译者的回应。在多米尼卡·拉杜列斯库的戏剧《流亡是我的家》和《塞维利亚的处女》(西班牙语版本汇编于Dos Obras Dramáticas/Two plays)中，译者对作者背景和目标读者的二元性(西班牙收容社会和罗马尼亚移民)的了解在她的决定中起着重要作用。承认戏剧作为一种体裁直接暴露了作者、译者、演员和观众的混杂性，本文讨论了支撑原文的文化背景和翻译选择。与此同时，通过对罗马尼亚侨民和西班牙读者的小型调查，部分证实了西班牙语翻译的接受程度。
{"title":"Rebel with a Cause: Domnica Radulescu’s Theater Translated into Spanish","authors":"Catalina Iliescu-Gheorghiu","doi":"10.1093/cww/vpaa012","DOIUrl":"https://doi.org/10.1093/cww/vpaa012","url":null,"abstract":"\u0000 This paper focuses on Domnica Radulescu’s creative solutions when deconstructing myths, stereotypes, and prejudices and on the translator’s responses. In Domnica Radulescu’s plays, Exile is My Home and The Virgins of Seville (compiled, in their Spanish versions, in Dos Obras Dramáticas/Two Plays), the translator’s knowledge of both the author’s background and the target readership’s duality (Spanish host society and Romanian migrants) plays an important role in her decisions. Acknowledging that theater as a genre directly exposes hybridity of the author, translator, actors, and audience, this paper discusses the cultural context underpinning the original texts and translational options. At the same time, the reception of the translation into Spanish is partially confirmed through a small survey of Romanian diaspora and Spanish readers.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42480125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the consequences of the so-called “memoir boom” of the 1990s and early 2000s is that it both reflected and generated an enormous hunger for memoirs of grief and suffering; these memoirs combine to provide that increasingly codified genre of storytelling (what the Bookseller magazine and industry jargon term “misery lit”) with fixed conventions. Here, I look at two memoirs, Helene Cooper’s The House at Sugar Beach (2009) and Joan Didion’s The Year of Magical Thinking (2007), in order to trace writerly strategies of resistance against the modes of interpretation that the genre expectations of the grief memoir create. I analyze the moves that the writers make in order to honor the stories they tell despite the pressures that attend generic discourses of suffering, including where those discourses are moored to racial and gender associations.
{"title":"Grief As It Is: Genre and Narrative Withholding in the Miserable Memoir","authors":"Tesla Schaeffer","doi":"10.1093/cww/vpaa015","DOIUrl":"https://doi.org/10.1093/cww/vpaa015","url":null,"abstract":"\u0000 One of the consequences of the so-called “memoir boom” of the 1990s and early 2000s is that it both reflected and generated an enormous hunger for memoirs of grief and suffering; these memoirs combine to provide that increasingly codified genre of storytelling (what the Bookseller magazine and industry jargon term “misery lit”) with fixed conventions. Here, I look at two memoirs, Helene Cooper’s The House at Sugar Beach (2009) and Joan Didion’s The Year of Magical Thinking (2007), in order to trace writerly strategies of resistance against the modes of interpretation that the genre expectations of the grief memoir create. I analyze the moves that the writers make in order to honor the stories they tell despite the pressures that attend generic discourses of suffering, including where those discourses are moored to racial and gender associations.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":"14 1","pages":"13-30"},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43926016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reads Ali Smith’s 2014 novel How to Be Both alongside Deborah Levy’s Hot Milk (2016) and Sally Rooney’s Conversations with Friends (2017). Using Lauren Berlant’s conception of neoliberal “crisis subjectivity” and Sara Ahmed’s vision of feminist wonderment as an antidote to the neoliberal “promise of happiness,” it argues that each novel considers what might be salvaged and what might grow from situations in which young women become attuned to their mutual incarceration in neoliberal time’s double bind. It contends that the forced improvisation and feminist reorientation undertaken by the protagonists can be analyzed through the lens of temporality. Finally, it contemplates how the disciplinary-specific modes through which the novels’ protagonists consider temporality might be connected to the specific literary projects of their authors.
{"title":"Making Her Time (and Time Again): Feminist Phenomenology and Form in Recent British and Irish Fiction Written by Women","authors":"M. Gray.","doi":"10.1093/cww/vpaa014","DOIUrl":"https://doi.org/10.1093/cww/vpaa014","url":null,"abstract":"\u0000 This article reads Ali Smith’s 2014 novel How to Be Both alongside Deborah Levy’s Hot Milk (2016) and Sally Rooney’s Conversations with Friends (2017). Using Lauren Berlant’s conception of neoliberal “crisis subjectivity” and Sara Ahmed’s vision of feminist wonderment as an antidote to the neoliberal “promise of happiness,” it argues that each novel considers what might be salvaged and what might grow from situations in which young women become attuned to their mutual incarceration in neoliberal time’s double bind. It contends that the forced improvisation and feminist reorientation undertaken by the protagonists can be analyzed through the lens of temporality. Finally, it contemplates how the disciplinary-specific modes through which the novels’ protagonists consider temporality might be connected to the specific literary projects of their authors.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":"14 1","pages":"66-83"},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46870484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article undertakes a feminist analysis of rape in the semi-autobiographical novel Fang Siqi’s Paradise of First Love (“房思琪的初恋乐园” / “Fang Siqi de chulian leyuan”) by Taiwanese author Lin Yihan (林奕含). For Siqi, the traumatic experience of rape intertwines with a discourse of love, interpreted as an effort to disavow victimization and claim agency. A major strength of the novel is the way depictions of personal tragedies are accompanied by lucid exposures of rape as a decidedly social act, which shifts the conventional focus of rape narratives from victims to perpetrators and, in so doing, interrogates the victim-blaming culture and places the responsibility on both social factors and individual perpetrators. In the end, the novel identifies women’s bonding and collective resistance as an effective site for hope and agency.
{"title":"Rape, Victimization, and Agency in Fang Siqi’s Paradise of First Love","authors":"Lisa Chu Shen","doi":"10.1093/cww/vpaa013","DOIUrl":"https://doi.org/10.1093/cww/vpaa013","url":null,"abstract":"\u0000 This article undertakes a feminist analysis of rape in the semi-autobiographical novel Fang Siqi’s Paradise of First Love (“房思琪的初恋乐园” / “Fang Siqi de chulian leyuan”) by Taiwanese author Lin Yihan (林奕含). For Siqi, the traumatic experience of rape intertwines with a discourse of love, interpreted as an effort to disavow victimization and claim agency. A major strength of the novel is the way depictions of personal tragedies are accompanied by lucid exposures of rape as a decidedly social act, which shifts the conventional focus of rape narratives from victims to perpetrators and, in so doing, interrogates the victim-blaming culture and places the responsibility on both social factors and individual perpetrators. In the end, the novel identifies women’s bonding and collective resistance as an effective site for hope and agency.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":"14 1","pages":"31-50"},"PeriodicalIF":0.2,"publicationDate":"2020-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49642570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on Valerie Gillies’s contribution to women’s poetry through an examination of her 2016 exhibition, A Garden of Time and Silence, with textile artist Anna S. King, at Dawyck Botanic Gardens in the Scottish Borders. While Gillies is an acclaimed print-page poet, this piece represents her skill at alternative uses of poetry. Throughout her career, Gillies has employed collaborative multimedia art to engage in contemporary political discussion, often on the environment, in order to challenge, more directly than is possible with print text, poetry’s gendered assumptions.
2016年，瓦莱丽·吉利斯与纺织艺术家安娜·s·金(Anna S. King)在苏格兰边境的达维克植物园(Dawyck Botanic Gardens)举办了一场名为《时间与寂静的花园》(A Garden of Time and Silence)的展览，本文将重点关注她对女性诗歌的贡献。虽然吉利斯是一位广受好评的印刷诗人，但这篇文章代表了她在诗歌的另类使用方面的技能。在她的整个职业生涯中，吉利斯一直采用协作式多媒体艺术参与当代政治讨论，通常是关于环境的，目的是比印刷文本更直接地挑战诗歌的性别假设。
{"title":"Valerie Gillies: Inscriptions in the Wind","authors":"L. Severin","doi":"10.1093/cww/vpaa019","DOIUrl":"https://doi.org/10.1093/cww/vpaa019","url":null,"abstract":"\u0000 This article focuses on Valerie Gillies’s contribution to women’s poetry through an examination of her 2016 exhibition, A Garden of Time and Silence, with textile artist Anna S. King, at Dawyck Botanic Gardens in the Scottish Borders. While Gillies is an acclaimed print-page poet, this piece represents her skill at alternative uses of poetry. Throughout her career, Gillies has employed collaborative multimedia art to engage in contemporary political discussion, often on the environment, in order to challenge, more directly than is possible with print text, poetry’s gendered assumptions.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43103812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the relationship between concrete poetry and women’s writing, focusing especially on the concrete-influenced work of the Scottish poet and literary critic Veronica Forrest-Thomson. I initially acknowledge the male-dominated nature of the concrete poetry movement, consider some sociological reasons for the exclusion of women from the movement, and bring to light some examples of women creatively involved with concrete poetry. I then explore Forrest-Thomson’s early concrete-influenced verse and argue that Forrest-Thomson’s willingness and ability to experiment with concrete and other late-modernist literary styles reflected an exceptional degree of intellectual and economic independence. Finally, I consider the possibility that the term “Scottish women’s poetry” sometimes indicates a resistance to intellectually adventurous work such as Forrest-Thomson’s.
{"title":"Concrete Poetry and Scottish Women’s Writing: The Case of Veronica Forrest-Thomson","authors":"Greg Thomas","doi":"10.1093/CWW/VPAA021","DOIUrl":"https://doi.org/10.1093/CWW/VPAA021","url":null,"abstract":"\u0000 This article explores the relationship between concrete poetry and women’s writing, focusing especially on the concrete-influenced work of the Scottish poet and literary critic Veronica Forrest-Thomson. I initially acknowledge the male-dominated nature of the concrete poetry movement, consider some sociological reasons for the exclusion of women from the movement, and bring to light some examples of women creatively involved with concrete poetry. I then explore Forrest-Thomson’s early concrete-influenced verse and argue that Forrest-Thomson’s willingness and ability to experiment with concrete and other late-modernist literary styles reflected an exceptional degree of intellectual and economic independence. Finally, I consider the possibility that the term “Scottish women’s poetry” sometimes indicates a resistance to intellectually adventurous work such as Forrest-Thomson’s.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CWW/VPAA021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43131189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Long Thoughts With Aritha van Herk. An Interview","authors":"Veronika Schuchter","doi":"10.1093/CWW/VPAA007","DOIUrl":"https://doi.org/10.1093/CWW/VPAA007","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CWW/VPAA007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44499415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“A central figure in transnational intellectual history” (Roynon, 2013), Toni Morrison’s oeuvre has helped deconstruct the triangulated relationship between a European Graeco-Roman classical tradition, Africa, and America. Morrison’s deconstruction of the classical past and its aesthetics have laid the foundation for the reconstructive work of a new generation of writers, including Robin Coste Lewis. Both writers renegotiate and reclaim a classical aesthetic by recovering its African roots and situating it in an African American context. In addition, the article (1) examines the role of a classical aesthetic in beauty discourse and Robin Coste Lewis’s re-vision of the black female body and (2) addresses what this means for canonicity, linking Lewis’s ambivalence about reclaiming a classical aesthetic to Morrison’s ambivalence in “Unspeakable Things Unspoken” (1987).
{"title":"“I Know I Can’t Change the Future, But I Can Change the Past”: Toni Morrison, Robin Coste Lewis, and the Classical Tradition","authors":"Grace McGowan","doi":"10.1093/cww/vpaa001","DOIUrl":"https://doi.org/10.1093/cww/vpaa001","url":null,"abstract":"\u0000 “A central figure in transnational intellectual history” (Roynon, 2013), Toni Morrison’s oeuvre has helped deconstruct the triangulated relationship between a European Graeco-Roman classical tradition, Africa, and America. Morrison’s deconstruction of the classical past and its aesthetics have laid the foundation for the reconstructive work of a new generation of writers, including Robin Coste Lewis. Both writers renegotiate and reclaim a classical aesthetic by recovering its African roots and situating it in an African American context. In addition, the article (1) examines the role of a classical aesthetic in beauty discourse and Robin Coste Lewis’s re-vision of the black female body and (2) addresses what this means for canonicity, linking Lewis’s ambivalence about reclaiming a classical aesthetic to Morrison’s ambivalence in “Unspeakable Things Unspoken” (1987).","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49431823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Toni Morrison and the New Black: Reading God Help the Child","authors":"Y. Begum","doi":"10.1093/cww/vpaa005","DOIUrl":"https://doi.org/10.1093/cww/vpaa005","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/cww/vpaa005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45154405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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