Women artists, women exiles : "Miss Grief" and other stories
著者
書誌事項
Women artists, women exiles : "Miss Grief" and other stories
(American women writers series / Joanne Dobson, Judith Fetterley, and Elaine Showalter, series editors)
Rutgers University Press, c1988
- : [cloth]
- : pbk
大学図書館所蔵 全13件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Bibliography: p. xliv-xlvii
内容説明・目次
内容説明
This anthology contains nine stories by Constance Fenimore Woolson (1840-1894) that dramatize the dilemmas and strategies of the first generation of American women writers to see themselves as artists. As the great-niece of James Fenimore Cooper and the intimate friend of Henry James, Woolson was acutely conscious of her situation as a woman writer. Her stories offer answers to her own urgent questions: ""Why do literary women break down so?"" At the same time, they demonstrate that women's struggles with patriarchal culture and with their own womanhood could be a source of distunctive female art. Woolson's early stories are witty and incisive critiques of those conventions of literary Romanticism that encode women's marginality. Set in the wilderness that surrounded the Great Lakes, these stories revise male literary texts to clear a space where women's voices can be heard. In a group of stories set in the post-Civil War south, women artists are shown as exiles both away from their homes and from themselves. One superb tale, ""Felipa,"" pairs a repressed woman artist with a wild child who rejects both patriarchal religion and approved heterosexual behavior. Woolson here explores the possibility of a collaboration between female wildness and female form of control. Stories written during Woolson's years in Europe confront woman artists with successful male writers and critics who resemble Henry James. These carefully crafted stories reflect James's mixed impact on women artists: as a model literary realist and as a subtle denigrator of women's talent. Joan Weimar's introduction uses unpublished letters to reconstruct and interpret Wool's life and her probable suicide. It places Woolson in the male and female literary traditions of her time and offers extended analysis of the stories.
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