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Showing 1 to 4 of 4 for “"Feminine Voices"”.

  1. Re-visionary bodies: Feminist/Brechtian theory in the plays of Paula Vogel

    … re-vision constructions of gender, sexuality and feminine desire, to re-define the American theatrical canon, and to create her own gestic, feminist theater. In The Baltimore Waltz, Vogel re-visions the AIDS virus in order to expose and critique stereotypes surrounding AIDS. In And Baby Makes …

    unlv Repository record for Re-visionary bodies: Feminist/Brechtian theory in the plays of Paula Vogel (opens in a new tab)

  2. Transatlantic Acts: Nation, Self-Narration, and Celebrity in Victorian and Modernist Women's Autobiography

    … of Western Travel (1838) conflates masculine and feminine voices, drawing from genres of memoir, travelogue, fiction, and folklore alike in audience-aware ways that subversively challenge narratives of New World history in-the-making. Kemble's Journal of a Residence on a Plantation in 1838-1839 …

    duquesne Repository record for Transatlantic Acts: Nation, Self-Narration, and Celebrity in Victorian and Modernist Women's Autobiography (opens in a new tab)

  3. The love dialectic

    … than it has sometimes received. Strident feminine voices may be unpleasant, but they less often now may be patronizingly dismissed as hysteric.</p> <p>Misogyny, misandry, and mutual mistrust are older than the mystique of romantic love which has so preoccupied the lives and literature of …

    binghamton Repository record for The love dialectic (opens in a new tab)

  4. La quebrada y la costa peruanas en voces narrativas a mediados del siglo XX: María Rosa Macedo y Sara María Larrabure

    … the three last decades of the 19th century. The feminine thematic contents of her later works are not only present in her early novel, but in this view, they surpass those framed by the mostly male writings of the 1950s. Posthumous works of Sara Larrabure (1963, 1966) are explored here, raising …

    cuny-grad Repository record for La quebrada y la costa peruanas en voces narrativas a mediados del siglo XX: María Rosa Macedo y Sara María Larrabure (opens in a new tab)