Read e-book online Women in Science Fiction and Fantasy: Volume 1: Overviews PDF

By Robin Anne Reid

ISBN-10: 0313335915

ISBN-13: 9780313335914

Works of technology fiction and fable more and more discover gender concerns, function girls as significant characters, and are written through ladies writers. This ebook examines women's contributions to technology fiction and delusion throughout a variety of media and genres, reminiscent of fiction, nonfiction, movie, tv, artwork, comics, image novels, and track. the 1st quantity deals survey essays on significant themes, reminiscent of sexual identities, fandom, women's writing teams, and feminist spirituality; the second one offers alphabetically prepared entries on extra particular matters, corresponding to Hindu mythology, Toni Morrison, magical realism, and Margaret Atwood. Entries are written through professional individuals and cite works for additional studying, and the set closes with a specific, basic bibliography.Students and normal readers love technology fiction and fable. And technological know-how fiction and delusion works more and more discover gender concerns, characteristic girls as principal characters, and are written by means of ladies writers. Older works display attitudes towards ladies in occasions previous, whereas newer works grapple with modern social concerns. This publication is helping scholars use technological know-how fiction and fable to appreciate the contributions of ladies writers, the illustration of ladies within the media, and the studies of ladies in society.

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Critics speculate that this genre, with its emphasis on the entrapment and abuse of women, provided writers with a formal structure for exploring the unhappy lot of women within patriarchal society. One of the earliest collections of gothic ballads by a woman is Anne Bannerman’s Tales of Superstition and Chivalry (1802). Bannerman presents the female perspective within the ballad genre, for her women characters keep coming back from the dead to avenge themselves on their oppressors. The collection is also interesting in that one of its ballads is a retelling of the King Arthur legend in which female goddesses play a central role.

Emily Dickinson, as Gilbert and Gubar note, brought the practice of a gothic splitting or doubling of identity to its highest form. “I felt a Funeral in my Brain” and “They Shut Me Up in Prose” suggest that to follow society’s dictates is the equivalent of an entombment or being enclosed in a coffin. “One Need not be a Chamber to be Haunted” explicitly links gothic conventions to psychological states. Dickinson writes that the hidden chambers of the mind contain visions far more terrifying than any gothic tale.

The issues of power and gender are eloquently addressed, albeit at a remove. ” In his version, titled simply “The Three Bears” (1837), the ursine protagonists are not a family unit, but simply a trio of male bears who live together, differentiated by their sizes in the text; the invader, too, is changed, represented not by a winsomely mischievous little girl, but rather by a little old woman with a marked propensity for rude exclamations when her ill-gotten rewards disappoint her. Southey was in good company when it came to the writing of fairy stories, original and otherwise: with the 1823 publication of Edgar Taylor’s translation of the Grimms’ Children’s and Household Tales, the fairy tale became a new battlefield for the proponents of fantasy to quarrel over.

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Women in Science Fiction and Fantasy: Volume 1: Overviews by Robin Anne Reid

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