Dear Ladies! We, Englishtips gentlemen, would like to thank you for being so sweet, for making our days bright and for walking this path with us.
You are what makes our hearts beat faster, you are what makes us wake up in the morning with smiles on our faces, you are the ones who let us have a couple extra beers on Friday nights...
Happy Women's Day!
ENGLISHTIPS_admin, on behalf of all the ENGLISHTIPS_men.
Review 'The ultra unscrutable feminist theorist' - "The New York Times" 'A literary critic, and a very intelligent one...a sort of French Susan Sontag.' - "The Financial Times" '"Stigmata's" sample of offerings brings the reader up to date with her current concerns [and] make[s] a worthwhile contribution to Cixous studies ... undoubtedly of value to those students, teachers and researchers who are interested in her rich body of writing.' - "Gill Rye, Women's Philosophy Review" 'HelA ne Cixous is in my eyes, today, the greatest writer in the French language. Stigmata is henceforth a classic. One of her most recent masterpieces.' - "Jacques Derrida"
Women's Poetry offers a thoroughgoing study of key texts, poets and issues, analysing commonalities and differences across a diverse range of writers, periods, and forms. The book is alert, throughout, to the diversity of women's poetry. Close readings of selected texts are combined with a discussion of key theories and critical practices, and students are encouraged to think about women's poetry in the light of debates about race, class, ethnicity, sexuality, and regional and national identity.
This anthology of Chinese women's poetry in translation brings together representative selections from the work of some 130 poets from the Han dynasty to the early twentieth century. To measure the development of Chinese women's poetry, one must take into account not only the poems but also the prose writings' prefaces, biographies, theoretical tracts that framed them and attempted to shape women's writing as a distinct category of literature. To this end, the anthology contains an extended section of criticism by and about women writers.
The primary purpose of this anthology is to put before the English-speaking reader evidence of the poetic talent that flourished, against all odds, among women in premodern China. It is also designed to spur reflection among specialists in Chinese poetry, inspiring new perspectives on both the Chinese poetic tradition and the canon of female poets within that tradition. This partial history both connects with and departs from the established patterns for women's writing in the West, thus complementing current discussions of feminine writing.
The book makes an original contribution to the scholarship of the history of British fiction by breaking away from the widely held critical position that women's narratives were outside and against the history of the genre. In her analysis of dual-voiced works from the eighteenth through the early twentieth centuries, Peters shows that women's metafictional discourse within the novel did not emerge as a late-twentieth-century reaction to the canon but has been present from the novel's beginnings.
