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The absence of female writing forms a particularly striking gap in the historiography of German-language literature in the Czech Lands during the decades around 1900. Women participated significantly in the literary scene of the period but were largely forgotten. Our article will discuss the conditions and discourses that enabled women to be active in the public space but later led to their absence in literary history. Approaches are sought that make future inclusion possible again. The first step for (re-)establishing a female presence in this area is to reconstruct biographies with a focus on female-specific social realities at the time and on the interaction of cultural, social and historical factors. In the next step, attention is brought to the “minor” or “simple”, rather non-canonical literary genres that were often used by women authors at the fin de siècle.

The aim of this paper is to examine the concept of ‘in-betweenness’ as a potential frame of reference for Zoë Wicomb’s writing, particularly her latest novel . Hence, my primary intent is to focus on the novelist as equipped with a faculty for crossing over separate cultural traditions and embracing different formative experiences. Interestingly enough, in this case, the notion of indeterminate identity begins from, yet is not limited to, a South African version of racial profiling. Therefore, the author’s interest in adaptable identities might be discussed apropos of skin color, but also in terms of oscillating between different geographical, cultural locations. In light of the above, a perspective accommodated here examines Wicomb’s thematization and confirmation of transitional experiences elaborated on a story of two females as becoming autonomous coloureds as well as mutable/unfixed/migrating characters. And, on top of that, this singular focus coincides with a broader pattern, filtered through the author’s aggregate account. As a person of South African descent, yet currently living in Europe, Wicomb acknowledges a specific adaptive domain, which in turn serves as a fitting backdrop for construing contemporary South African-ness from a more nuanced, in-between/cosmopolitan position.

Loyal to the path spotted by the avant-garde and in contrast to the aesthetics of socialist realism, Chinese female literary production in the post-Mao era is iconoclast in its intentions. Having the ideological truth being stripped away from the text, the shaking reality writers draw up their ideas is staged on the individual's impressions and experiences. However, considering this literature as all-encompassing realism would be misjudging the reality of postmodern China. The object of the present study is to define the literary experience of Chinese postmodernism from the perspective of four ontologically different female writers.

Plus Ultra magazine was published in Buenos Aires between March 1916 and December 1930. It was the illustrated supplement of the popular Caras y Caretas weekly publication. However, because of its price, the magazine was intended for a higher income public. Plus Ultra included a section called Páginas Femeninas, which addressed female readers and appeared regularly until 1920. Women from the Argentinean upper class collaborated with the magazine and published poems, letters, profiles, and opinion articles. They also echoed the controversies that took place at the time about the place of women in the public sphere. The “feminine question” (so were called those debates) were contemporary with the emergence of feminism in Argentina. This article aims to trace the dialogues in Plus Ultra's Páginas Femeninas with the debates that took place in the public sphere on the issue of women and feminism. La revista Plus Ultra se publicó en Buenos Aires entre marzo de 1916 y diciembre de 1930. Se trató del suplemento mensual del popular magazín Caras y Caretas, aunque, debido a su costo y a la calidad de su confección, apuntó a un público de mayor poder adquisitivo y más selecto. La publicación incluyó una sección destinada especialmente al público femenino –las Páginas Femeninas–, que apareció de manera regular hasta 1920. Sus colaboradoras fueron mujeres de la clase alta argentina, con intereses culturales y literarios, quienes publicaron diversos textos (poemas, cartas, semblanzas, artículos de opinión) y se hicieron eco de las discusiones que se daban en su época sobre el lugar que debía ocupar la mujer en la esfera pública. Esos debates, que se englobaron bajo la denominación “cuestión femenina”, fueron contemporáneos al surgimiento del feminismo inicial en la Argentina. Este artículo se propone rastrear los diálogos que se entablaron en las Páginas Femeninas de Plus Ultra con esos debates más amplios que se daban en la esfera pública a propósito de la cuestión femenina y el feminismo.

El presente trabajo analiza El Mañana (2010), de la escritora argentina Luisa Valenzuela, desde los parámetros de la novela de artista. Se comentan los rasgos que justifican su pertenencia al género y que demuestran la vigencia de este, entre los que sobresalen el reflejo del contexto histórico de la autora, la actualización del mito del artista, el análisis de la marginalidad sufrida por la mujer escritora y el carácter metacrítico del volumen.

This article does not discuss the intertextual allusions to Ovidian epistolography in Pliny's letters, but puts forward the claim that women in both Ovid's and Pliny's letters are part of a female literary culture that implicitly clashes with the conventional gender patterns of what constitutes a female exemplum and a female anti-exemplum. This article presents Pliny's letters as both prescriptive and descriptive, and argues that the texts extol as well as advocate specific patterns of behavior, including that of the ideal wife. The examination of the Plinian text is enriched with a parallel reading of Ovid's letters in the Heroïdes, in which fictional women appear as “enabled” to rewrite their pseudo-biographies, even though these are composed and “edited” by a male poet. In reexamining Ovid's unconventional female mythological constructions vis-à-vis the Plinian perception of distinguished women of Roman history, the reader is eventually encouraged to reconsider some well-established views on Pliny's social, cultural, and political “conservatism.”

La littérature féminine algérienne occupe une place importante dans le monde de l'écriture en Algérie et à l'étranger. Nous avons choisi de travailler sur le texte Au Commencement était la mer de Maí'ssa Bey. Cette écrivaine s'est distinguée par une écriture audacieuse et poétique. Dans son premier roman écrit en 1996, elle rapporte les paroles d'une héroí'ne sans défense, luttant pour sa liberté et le droit d'existence. Ce texte traite essentiellement de la condition féminine, mais aussi des problemes sociopolitiques de l'Algérie dans les années quatre-vingt-dix, rapportant des faits historiques de la décennie noire qui se caractérise par la violence et la barbarie.

“Incorporar a las mujeres en la historia” es una frase comúnmente utilizada en el discurso feminista reciente. Cada vez son máslos académicos y académicas que trabajan para aumentar la visibilidad de las mujeres que lideraron de proyectos de diseño en el pasado reciente y no tan reciente. Estos esfuerzos, aunque esenciales, también son en cierta medida contraproducentes, debido al paradójico funcionamiento del privilegio: presentar a estas mujeres (y a otras figuras marginadas en la historia) como excepciones a la regla –como pioneras excéntricas– implica que la mayoría de sus contemporáneas (y otros de la comunidad negra, indígena, queer, etc...) no tuvieron ninguna influencia en las prácticas arquitectónicas occidentales y masculinas. Este artículo invitado sostiene que también debemos buscar otras prácticas que permitieron conseguir capacidad de acción a un mayor número mujeres (y a otros). La escritura es una de esas prácticas: dejar constancia de la experiencia, las críticas y las instrucciones para apropiarse de lo diseñado, atribuyendo significado a las arquitecturas y a los paisajes. Situar la capacidad de acción arquitectónica en una práctica que, aunque se asume cierto privilegio, estaba mucho más abierta a los grupos marginados que la arquitectura, nos permite mirar al pasado de forma más inclusiva y escribir historias con perspectiva de género que abran espacios para otros que también estuvieron allí.

This article focuses on the public writings of Muslim women in Bosnia and Herzegovina in the Habsburg period. From the beginning of the twentieth century, several Muslim women, mainly schoolgirls and teachers at Sarajevo's Muslim Female School, started for the first time to write for Bosnian literary journals, using the Serbo-Croatian language written in Latin or Cyrillic scripts. Before the beginning of World War I, a dozen Muslim women explored different literary genres--the poem, novel, and social commentary essay. In the context of the expectations of a growing Muslim intelligentsia educated in Habsburg schools and of the anxieties of the vast majority of the Muslim population, Muslim women contested late Ottoman gender norms and explored, albeit timidly, new forms of sisterhood, thus making an original contribution to the construction of a Bosnian, post-Ottoman public sphere. Keywords: Bosnia and Herzegovina, female education, female writing, Habsburg Empire, Muslim woman question, Muslims, Ottoman Empire, segregation

Starting from the fact that corporality constantly nourishes Marta Sanz’s narrative, we analyze the imaginary of the body as a socio-cultural semiotic space in Clavícula. After an autobiographical process of bodily pain exploration, the author conquers the territory of the body’s textuality through a fragmentary structure impregnated with generic hybridism, from which she reflects on the political power of language and claims some of the narrative imaginaries that structure her own imaginary: the sovereignty of corporality, anatomy as a form of language, the legitimacy of criticism, social discomfort, the vulnerability of women, etc. Partiendo de que la corporalidad nutre de manera constante la narrativa de Marta Sanz, analizamos el imaginario del cuerpo como espacio semiótico sociocultural en Clavícula. Tras un proceso autobiográfico de exploración sobre el dolor corporal, la autora conquista el territorio de la textualidad del cuerpo mediante una estructura fragmentaria impregnada de hibridismo genérico, a partir de la cual reflexiona sobre el poder político del lenguaje y reivindica algunos de los imaginarios narrativos que vertebran su imaginario: la soberanía de la corporalidad, la anatomía como forma del lenguaje, la legitimidad de la queja, el malestar social, la vulnerabilidad de la mujer, etc.