Yellow Wallpaper. Selections

[2], 20 pages, [5] pages of plates : color ill. ; 29 cm. 5 colograph relief prints; mounted paste paper frontispiece. Illustrated paste-down end papers (collographs). Issued in an illustrated dust-jacket (frottage and acrylic paint on tracing paper, laminated with acrylic medium). The text ... first published in New England Magazine, January 1892 ... This book was designed and produced by Crystal Cawley. It was typeset and printed at Wolfe Editions ... --Colophon. Edition limited to 30 numbered copies. Library has copy no. 22.https://digitalcommons.risd.edu/specialcollections_artistsbooks/1244/thumbnail.jp

Situating Arab women’s writing in a feminist ‘global gothic’ : madness, mothers and ghosts

This article sketches a new way of approaching some contemporary Levantine (Egyptian and Lebanese) feminist texts. Extending Glennis Byron’s notion of the ‘global gothic’, I examine Hanan Al-Shaykh’s The Story of Zahra (1986), Mansoura Ez Eldin’s Maryam’s Maze (2007) and Joumana Haddad’s The Seamstress’ Daughter (2019) as examples of an Arab feminist Gothic approach, which serves as a framework to theorise difficult and pressing questions that feminism poses regarding women’s rights. Arab feminist Gothic writers use the jahiliyyah period, or the ‘time of ignorance’, as a folkloric referential backdrop for texts which theorise the female condition under contemporary patriarchal society. The presence of ghosts, madness, doubles in the form of the folkloric qarina spirit-doubles and dreams can be read as part of a local Gothic feminist mode. This as-yet unacknowledged Arab feminist Gothic tradition, while emerging from debates over statehood and postcolonial subjectivities, delves into the intensity of personal traumas through the lens of women’s relationships to other women, especially mothers and daughters. Taking Arab feminist fiction as its focus, this article models how feminist scholarship can use genre, particularly the Gothic, to trace artistic feminist theorising in non-western contexts

Women In the Cut

Through a comparison between Daphne du Maurier's 1938 novel Rebecca and Susanna Moore's 1995 novel In the Cut, this article considers the extent to which Franco Moretti's theory of the inevitable dissolution of literary genres is true, with specific regard to the genre of the gothic romance. In evaluating both novels' treatment of female subjectivity, unregimented masculinity and the symbiotic relationship between sexual pleasure and mortal danger, this article investigates the degree to which a contemporary novel such as In the Cut, which is generally acknowledged to be an ‘erotic thriller’, is heavily indebted to the gothic romance and may therefore be interpreted as a continuation of this more traditional genre, and, conversely, the means through which Moore's novel exhibits an overt and defiant resistance to the gothic romance, thereby signifying the dissolution of this particular genre within twentieth-century women's writing

Introduction

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/67161/2/10.1177_0308275X9301300401.pd

La terra delle donne. Herland e altri racconti (1891-1916)

Prefazione di Vittoria Franco. introduzione di Anna Scacchi (pp. XV-XXXII) Tre viaggiatori americani arrivano in una terra misteriosa, abitata solo da donne