1,721,335 research outputs found
Writing a History of Women's Writing from 700 to 1500
No full textHow can a history of British women’s writing be written? Such a project must necessarily be collaborative if it is to attempt to be comprehensive, but even then any claim to comprehensiveness has to be qualified: paradoxically the more expansive the history, the more partial it will be. The challenges of writing such a history are perhaps even greater for scholars working in the early periods because we are forced to confront and to rethink many deeply ingrained assumptions about women’s writing. This introductory essay focuses on a period of literary history that is often marginalized in accounts of women’s writing in English: the Middle Ages. It is a widely accepted view that there are only two women writers in English in the period before 1500, and therefore there is little to be said for an age (or ages) when women writers were so much an exception. Furthermore, the two medieval English women writers whose names are widely known, Julian of Norwich (1342/3-after 1416) and Margery Kempe (c.1373-after 1439), did not think of themselves as writers or authors. Nor were they responsible for literature as it is thought of today—they did not compose poetry, or romances, or fiction of any sort. Even these two ‘named’ women writers do not comfortably fit established evolutionary models of women’s literary history over the longue durée, with their emphases on the spread of literacy, the bias towards print culture, and the emergence of the woman poet, and ultimately of the professional author of drama or fiction. Yet the difficulty of locating how the medieval period fits in to literary history is not unique to women’s writing: medieval understandings of authorship, literature, and national identity, and the contexts and processes of writing and textual circulation were quite distinct from later periods and therefore deemed problematic more generally. This essay explores some of these issues and reflects on the difficulties we face writing a history of early women's writing
Writing a History of Women's Writing from 700 to 1500
No full textHow can a history of British women’s writing be written? Such a project must necessarily be collaborative if it is to attempt to be comprehensive, but even then any claim to comprehensiveness has to be qualified: paradoxically the more expansive the history, the more partial it will be. The challenges of writing such a history are perhaps even greater for scholars working in the early periods because we are forced to confront and to rethink many deeply ingrained assumptions about women’s writing. This introductory essay focuses on a period of literary history that is often marginalized in accounts of women’s writing in English: the Middle Ages. It is a widely accepted view that there are only two women writers in English in the period before 1500, and therefore there is little to be said for an age (or ages) when women writers were so much an exception. Furthermore, the two medieval English women writers whose names are widely known, Julian of Norwich (1342/3-after 1416) and Margery Kempe (c.1373-after 1439), did not think of themselves as writers or authors. Nor were they responsible for literature as it is thought of today—they did not compose poetry, or romances, or fiction of any sort. Even these two ‘named’ women writers do not comfortably fit established evolutionary models of women’s literary history over the longue durée, with their emphases on the spread of literacy, the bias towards print culture, and the emergence of the woman poet, and ultimately of the professional author of drama or fiction. Yet the difficulty of locating how the medieval period fits in to literary history is not unique to women’s writing: medieval understandings of authorship, literature, and national identity, and the contexts and processes of writing and textual circulation were quite distinct from later periods and therefore deemed problematic more generally. This essay explores some of these issues and reflects on the difficulties we face writing a history of early women's writing
Margery Kempe
No full textWhile some critical scrutiny has been given to Kempe’s relationships with her male spiritual advisors, and the extent to which she relied on them to authorize her controversial piety, other scholars have paid close attention to the ways in which she framed her spirituality around her experiences as a mother. Some, most significantly Kathy Lavezzo, have focused not on biological relationships, but instead examined the importance of female same-sex bonding within the Book. Yet a gap remains within feminist scholarship on The Book of Margery Kempe: consideration of Kempe’s troubled, earthly (though not strictly or narrowly familial or spiritual) relationships with other women. In this essay I look at two examples of such marginalized female presences in The Book – Margery Kempe’s daughter-in-law and her maid—which appear in the thematically and structurally foregrounded accounts of her major overseas pilgrimages. My focus is, then, not on the women who love Margery Kempe, but on those who do not
'Margery Kempe'.
Full text linkThis online annotated bibliography introduces the reader to key criticism and studies of The Book of Margery Kempe and its contexts. It offers an overview of the field, followed by a review of scholarly texts, editions, text books and translations, and anthologies. Covering religious and historical contexts, it looks at mysticism, hagiography, orthodoxy and heterodoxy, English and European contexts, and geographies of belief. It considers issues of authority, authorship and voice, and of gender and sexuality, including feminist approaches, queer readings, and studies of the body. The final sections look at Kempe's reputation and the afterlife of the Book and at fictionalizations of Kempe's life
L'activité du Centre:
No full textWatt D. C. L'activité du Centre:. In: Politique étrangère, n°1 - 1957 - 22ᵉannée. pp. 82-106
Watt (D. E. R.). A Biographical Dictionary of Scottish Graduates to A.D. 1410
No full textPaquet Jacques. Watt (D. E. R.). A Biographical Dictionary of Scottish Graduates to A.D. 1410. In: Revue belge de philologie et d'histoire, tome 59, fasc. 2, 1981. Histoire médiévale, moderne et contemporaine — Middeleeuwse, moderne en hedendaagse geschiedenis. pp. 490-494
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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