Details

Women Writers and Experimental Narratives


Women Writers and Experimental Narratives

Early Modern to Contemporary

von: Kate Aughterson, Deborah Philips

106,99 €

Verlag: Palgrave Macmillan
Format: PDF
Veröffentl.: 23.01.2021
ISBN/EAN: 9783030496517
Sprache: englisch

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Beschreibungen

<p></p><p>This book explores the history of women’s engagement with writing experimentally.&nbsp;Women writers have long used different narratives and modes of writing as a way&nbsp;of critiquing worlds and stories that they find themselves at odds with, but at the&nbsp;same time, as a way to participate in such spaces. Experimentation—of style,&nbsp;mode, voice, genre and language—has enabled women writers to be&nbsp;simultaneously creative and critical, engaged in and yet apart from stories and&nbsp;cultures that have so often seen them as ‘other’. This collection shows that&nbsp;women writers in English over the past 400 years have challenged those ideas not&nbsp;only through explicit polemic and alternative representations but through&nbsp;disrupting the very modes of representation and story itself.</p><p></p>
<p>1.&nbsp;&nbsp;Introduction.-&nbsp;2.&nbsp;‘Unlink the Chain’: Experiment in Aphra Behn’s&nbsp;Novels.-&nbsp;3.&nbsp;Experiment in Prose: Authority and Experience in Lady Mary Wortley Montagu’s Letters.-&nbsp;4.&nbsp;Experiments, Experimentalists, Experimentation: Dissecting <i>Frankenstein.-&nbsp;</i>5.&nbsp;Genre-Bending and Experimentation in Sensation Fiction; The Case of Mary Braddon and Ellen Wood.-&nbsp;6.&nbsp;The Ironic Strategies of Kate Chopin’s <i>The Awakening.-&nbsp;</i>7.&nbsp;Realms of Resemblance: Virginia Woolf, Simone de Beauvoir and Maï Zetterling.-&nbsp;8.&nbsp;Neo-Victorian Experimental Narrative:&nbsp; Writing the Absent Objects of History in <i>Affinity</i> and <i>In the Red Kitchen.-&nbsp;</i>9.&nbsp;1966 and <i>Wide Sargasso </i>Sea: The Climate that Made Jean Rhys Legible.-&nbsp;10.&nbsp;&nbsp;Troublesome reading: story and speculation in African American and African originated women’s writing. Resurrecting the past, re-imagining the future.-&nbsp;11. 'She’s a Fine Girl': An Autotheoretical Examination of Early Experiences of Sexuality and Selfhood in Eimear McBride’s <i>A Girl is a Half-Formed Thing</i> and Charlotte Roche’s <i>Wetlands.-&nbsp;</i>12. Helen Oyeyemi at the Vanguard of Innovation in Contemporary Black British Women’s Literature.-&nbsp;13. 'Daring to tilt worlds': the fiction of Irenosen Okojie.-&nbsp;14. Working from the Wound: Trauma, memory and experimental writing praxis in Jeanette Winterson’s <i>Why Be Happy When You Could Be Normal?.</i></p>
<div><p>Kate Aughterson is Principal Lecturer in English Literature at the University of&nbsp;Brighton, UK, specializing in women’s writing and early modern drama. Her books&nbsp;include <i>Renaissance Woman</i> (1995), <i>Webster: The Tragedies</i> (2001), <i>Aphra Behn:&nbsp;</i><i>The Comedies</i> (2003), <i>Shakespeare: The Late Plays</i> (2013) and she is co-author of <i>Jim&nbsp;Crace</i>: <i>Into the Wilderness</i> (2018) and <i>Shakespeare and Gender</i> (2020).<br></p></div><div><div><br></div><div>Deborah Philips is Professor of Literature and Cultural History at the University&nbsp;of Brighton, UK. Her books include: <i>Writing Romance: Women’s Fiction 1945–</i><i>present</i> (2006), <i>Fairground Attractions (2012)</i>,&nbsp;<i>The Trojan&nbsp;</i><i>Horse&nbsp;</i>(with Garry Whannel, 2015)&nbsp;and&nbsp;<i>Brave New Causes</i> (with Ian Haywood, 1999). Her study of&nbsp;Sandy Wilson, <i>And this is My Friend Sandy</i>, will be published in 2020.</div></div>
<div>This book explores the history of women’s engagement with writing experimentally.&nbsp;Women writers have long used different narratives and modes of writing as a way&nbsp;of critiquing worlds and stories that they find themselves at odds with, but at the&nbsp;same time, as a way to participate in such spaces. Experimentation—of style,&nbsp;mode, voice, genre and language—has enabled women writers to be&nbsp;simultaneously creative and critical, engaged in and yet apart from stories and&nbsp;cultures that have so often seen them as ‘other’. This collection shows that&nbsp;women writers in English over the past 400 years have challenged those ideas not&nbsp;only through explicit polemic and alternative representations but through&nbsp;disrupting the very modes of representation and story itself.<br></div>
<p>Examines experimental women's writing from the seventeenth century to the present day</p><p>Examines the work of well-known writers such as Angela Carter, Aphra Behn and Virginia Woolf, in addition to less widely-studied writers</p><p>Provides a serious re-valuation of a tradition of women’s writing as one of necessary experimentalism, questioning dominant stories, identities and rhetorical modes</p>

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