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The Bitch Is Back : Wicked Women in Literature Sarah A. Aguiar
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Standort: Danielson, Connecticut, USA
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eBay-Artikelnr.:397262591231
Artikelmerkmale
- Artikelzustand
- Country of Origin
- United States
- Book Title
- The Bitch Is Back : Wicked Women in Literature Paperback Sarah Ap
- ISBN
- 9780809323623
Über dieses Produkt
Product Identifiers
Publisher
Southern Illinois University Press
ISBN-10
0809323621
ISBN-13
9780809323623
eBay Product ID (ePID)
1742681
Product Key Features
Number of Pages
208 Pages
Language
English
Publication Name
Bitch Is Back : Wicked Women in Literature
Publication Year
2001
Subject
Subjects & Themes / Women, Feminist, General, American / General, Subjects & Themes / General
Type
Textbook
Subject Area
Literary Criticism
Format
Trade Paperback
Dimensions
Item Height
0.5 in
Item Weight
10 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
00-039506
Reviews
Not only is Aguiar's title intiguing, but her text reveals that the bitch never left. She reveals what is different and more complex in today's image by examining the variations in and perceptions about women from biblical texts onward. Undergraduate students of literature will particularly enjoy all the examples Aguiar scrutinizes; the variation of Aguiar's reading clarifies why readers can respect the much-maligned tough female often dismissed as ‘a bitch.'" — Choice, Aguiar accurately perceives that contemporary women writers are reclaiming and celebrating a figure that both literary history and conventional literary criticism have regarded as negative: the woman who is willfully and unapologetically ‘bad' by societal standards and who, in her opposition to conventional approved female behavior, manifests an individual strength which she can share with others." — Nancy A. Walker , author of The Disobedient Writer: Women and Narrative Tradition, "Not only is Aguiar's title intiguing, but her text reveals that the bitch never left. She reveals what is different and more complex in today's image by examining the variations in and perceptions about women from biblical texts onward. Undergraduate students of literature will particularly enjoy all the examples Aguiar scrutinizes; the variation of Aguiar's reading clarifies why readers can respect the much-maligned tough female often dismissed as ‘a bitch.'" -- Choice, Not only is Aguiar's title intiguing, but her text reveals that the bitch never left. She reveals what is different and more complex in today's image by examining the variations in and perceptions about women from biblical texts onward. Undergraduate students of literature will particularly enjoy all the examples Aguiar scrutinizes; the variation of Aguiar's reading clarifies why readers can respect the much-maligned tough female often dismissed as #145;a bitch.'" — Choice, "Aguiar accurately perceives that contemporary women writers are reclaiming and celebrating a figure that both literary history and conventional literary criticism have regarded as negative: the woman who is willfully and unapologetically 'bad' by societal standards and who, in her opposition to conventional approved female behavior, manifests an individual strength which she can share with others." - Nancy A. Walker , author of The Disobedient Writer: Women and Narrative Tradition, "Not only is Aguiar's title intiguing, but her text reveals that the bitch never left. She reveals what is different and more complex in today's image by examining the variations in and perceptions about women from biblical texts onward. Undergraduate students of literature will particularly enjoy all the examples Aguiar scrutinizes; the variation of Aguiar's reading clarifies why readers can respect the much-maligned tough female often dismissed as 'a bitch.'" -- Choice, "Not only is Aguiar's title intiguing, but her text reveals that the bitch never left. She reveals what is different and more complex in today's image by examining the variations in and perceptions about women from biblical texts onward. Undergraduate students of literature will particularly enjoy all the examples Aguiar scrutinizes; the variation of Aguiar's reading clarifies why readers can respect the much-maligned tough female often dismissed as 'a bitch.'" - Choice, Aguiar accurately perceives that contemporary women writers are reclaiming and celebrating a figure that both literary history and conventional literary criticism have regarded as negative: the woman who is willfully and unapologetically #145;bad' by societal standards and who, in her opposition to conventional approved female behavior, manifests an individual strength which she can share with others." — Nancy A. Walker , author of The Disobedient Writer: Women and Narrative Tradition, "Aguiar accurately perceives that contemporary women writers are reclaiming and celebrating a figure that both literary history and conventional literary criticism have regarded as negative: the woman who is willfully and unapologetically 'bad' by societal standards and who, in her opposition to conventional approved female behavior, manifests an individual strength which she can share with others." -- Nancy A. Walker , author of The Disobedient Writer: Women and Narrative Tradition, "Aguiar accurately perceives that contemporary women writers are reclaiming and celebrating a figure that both literary history and conventional literary criticism have regarded as negative: the woman who is willfully and unapologetically 'bad' by societal standards and who, in her opposition to conventional approved female behavior, manifests an individual strength which she can share with others." -Nancy A. Walker, author ofThe Disobedient Writer: Women and Narrative Tradition, "Not only is Aguiar's title intiguing, but her text reveals that the bitch never left. She reveals what is different and more complex in today's image by examining the variations in and perceptions about women from biblical texts onward. Undergraduate students of literature will particularly enjoy all the examples Aguiar scrutinizes; the variation of Aguiar's reading clarifies why readers can respect the much-maligned tough female often dismissed as 'a bitch.'"-Choice, Aguiar accurately perceives that contemporary women writers are reclaiming and celebrating a figure that both literary history and conventional literary criticism have regarded as negative: the woman who is willfully and unapologetically 'bad' by societal standards and who, in her opposition to conventional approved female behavior, manifests an individual strength which she can share with others. - Nancy A. Walker, author of The Disobedient Writer: Women and Narrative Tradition
TitleLeading
The
Dewey Edition
21
Dewey Decimal
813/.5409352
Synopsis
Although the "bitch" has always commanded a prominent spot in popular culture--television, movies, art--she virtually disappeared from the work of the second wave of feminist writers in the late 1960s and early 1970s. Now, announces Sarah Appleton Aguiar, the bitch is back, returned once more to cultural center stage in the world of serious literature. Feminist writers such as Mary Gordon and Alice Walker, to name only two, felt obligated to subvert literary misrepresentations of females as dimensionless, to refute preconceptions of objectified characters, and, of paramount importance, to create memorable women full of complexity and character. They wanted to create a subjective reality for their protagonists. And they succeeded admirably. But along the road to subjectivity, that vital woman, empowered with anger, with ruthless survival instincts--the bitch--was banished from the pages of feminist fiction. The village gossips, calculating gold-diggers, merciless backstabbers, sinful sirens, evil stepmothers, deadly daughters, twisted sisters, hags, bags, and crones--all had vanished from the fiction written by women. Ubiquitous in other forms of media, the bitch was noticeably absent from the feminist literary canon. Aguiar, however, points to indications in contemporary culture that the season of the bitch is fast approaching. Contemporary feminist writers and theorists are making substantial reevaluations of the archetypal bitch. Focusing on the traits and the types of guises usually associated with this vital character, Aguiar discusses such characters as Zenia in Margaret Atwood's The Robber Bride , Ruth Patchett in Fay Weldon's The Life and Loves of a She-Devil , Sula in Toni Morrison's Sula, and Ginny in Jane Smiley's A Thousand Acres., Although the bitch has always commanded a prominent spot in popular culturetelevision, movies, artshe virtually disappeared from the work of the second wave of feminist writers in the late 1960s and early 1970s. Now, announces Sarah Appleton Aguiar, the bitch is back, returned once more to cultural center stage in the world of serious literature. Feminist writers such as Mary Gordon and Alice Walker, to name only two, felt obligated to subvert literary misrepresentations of females as dimensionless, to refute preconceptions of objectified characters, and, of paramount importance, to create memorable women full of complexity and character. They wanted to create a subjective reality for their protagonists. And they succeeded admirably. But along the road to subjectivity, that vital woman, empowered with anger, with ruthless survival instinctsthe bitchwas banished from the pages of feminist fiction. The village gossips, calculating gold-diggers, merciless backstabbers, sinful sirens, evil stepmothers, deadly daughters, twisted sisters, hags, bags, and cronesall had vanished from the fiction written by women. Ubiquitous in other forms of media, the bitch was noticeably absent from the feminist literary canon. Aguiar, however, points to indications in contemporary culture that the season of the bitch is fast approaching. Contemporary feminist writers and theorists are making substantial reevaluations of the archetypal bitch. Focusing on the traits and the types of guises usually associated with this vital character, Aguiar discusses such characters as Zenia in Margaret Atwood s "The Robber Bride," Ruth Patchett in Fay Weldon s "The Life and Loves of a She-Devil," Sula in Toni Morrison s "Sula, "and Ginny in Jane Smiley s "A Thousand Acres. "", Focusing on the traits and types of guises usually associated with the ""bitch"" character in literature (evil stepmothers, village gossips, sinful sirens and so on), this book argues that, after a notable absence from the feminist writing of the 1960s and '70s, the bitch is coming back.
LC Classification Number
PS374.W6A36 2001
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I Sell Dead People's Things
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Angemeldet als gewerblicher Verkäufer
Verkäuferbewertungen (4.419)
- l***9 (1)- Bewertung vom Käufer.Letzter MonatBestätigter KaufA perfect transaction. The seller answered my questions fully, and was very helpful. The packaging was particularly good - he made sure to protect the book so it was not damaged during shipping. The book is as described, and just what I was hoping it would be. Highly recommended.
- l***l (106)- Bewertung vom Käufer.Letzte 6 MonateBestätigter KaufThe item is exactly as described, the seller was great at communicating with extra questions, the item was packaged with care, I got this item at a good price and the shipping was great too. I would recommend this seller to anyone who is interested in vintage items or dead people's things.
- b***2 (68)- Bewertung vom Käufer.Letztes JahrBestätigter KaufI have been buying for a couple of years now, and I can honestly say I have never had a bad experience! BUT THIS GUY 'takes-the-buscuit' for FUN. He has the coolest stuff, will work with you, great communicator, earns his money offering value, will combine shipping, solid packaging, as described, and is willing to offer deals! BEST EXPERIENCE EVER!!! Shop here, if just for the experience alone!Vintage Dante Genuine Onyx Black Stone Silver Tone Cuff Link & Tie Pin 8 Pc Set (Nr. 396113376388)