Suchergebnisse

Abstract
A short story originally published in 1900 by writer and poet Henry Lawson captured the perceived incompatibility of women and life in remote Australia with its refrain that the bush 'was no place for a woman!'. The suggestion in Lawson's story is that the bush could easily prove fatal to women and for men it could undo them, mentally and spiritually. Now at the start of the new millennium, many barriers to women living and working in rural Australia have been challenged or removed altogether. Yet, recent sociological research, such as that undertaken by Margaret Alston, argues that gender inequality is an ongoing problem in rural communities. For example, one persistent stereotype is that men undertake the meaningful work in rural life while women watch from the sidelines, simply 'help', or see their contribution downplayed or downright ignored. This article explores how a new breed of bestselling novels, variously dubbed 'chook lit' or 'contemporary Australian rural romance', use a romantic structure to represent gender inequality in a rural setting. The article draws examples from Jillaroo (Rachael Treasure, 2002), The Bark Cutters (Nicole Alexander, 2010) and North Star (Karly Lane, 2011) to show the varying approaches to the romance plot that construct gutsy heroines, depict important rural issues and leave readers with endings that, as in other romances, offer 'a utopian projection which expresses a critical evaluation of the contemporary patriarchal order' (Cranny-Francis 1990: 191). This article argues that contemporary Australian rural romances raise questions about the romance plot while critiquing aspects of gender inequality specific to the context. In turn, such novels may encourage and inspire female readers (if they so choose) to do more in rural life than sit on the fence watching the men.

Sociologist Minjeong Kim analyzes portrayals of Asian American intimacy in television and film.

The Romance languages offer a particularly fertile ground for the exploration of the relationship between language and society in different social contexts and communities. Focusing on a wide range of Romance languages – from national languages to minoritised varieties – this volume explores questions concerning linguistic diversity and multilingualism, language contact, medium and genre, variation and change. It will interest researchers and policy-makers alike.

The thesis examines Milton's strategic use of romance in Paradise Lost, arguing that such a handling of romance is a provocative realignment of its values according to the poet's Christian focus. The thesis argues that Milton's use of romance is not simply the importation of a tradition into the poem; it entails a backward judgement on that tradition, defining its idealising tendencies as fundamentally misplaced. The thesis also examines the Caroline uses of romance and chivalry in the 1630s to provide a vision of British unification, and Milton's reaction to this political agenda.

The Romance languages offer a particularly fertile ground for the exploration of the relationship between language and society in different social contexts and communities. Focusing on a wide range of Romance languages - from national languages to minoritised varieties - this volume explores questions concerning linguistic diversity and multilingualism, language contact, medium and genre, variation and change. It will interest researchers and policy-makers alike

Reseña del libro Poemas de romances.

This essay examines the often overlooked role that the idea of gay rights played in producing the new imaginary of the postapartheid "rainbow nation"—and its neoliberal economic order. I suggest that the figure of the gay person became an embodiment of political change, symbolically mediating conflicts within multiracial modernity in South Africa's emergent public culture, and I analyze the work done by queer "minor characters" in novels by Nadine Gordimer and J. M. Coetzee. None to Accompany Me (1994), The House Gun (1998), and Disgrace (1999) all tell the story of white, middle-class Anglo-South Africans whose struggle to adjust to the new era includes dealing with the revelation that their children are not straight. These novels dramatize how the narrative of the nation as a raced, heterosexual family romance was in crisis after apartheid, and reconstitute their families in queer new configurations—raising questions about the flexibility and persistence of the trope of reproductivity. These texts ask how whites are to "come out" as national subjects and indicate that sexuality alone cannot be the grounds for reinventing race and nation without an attention to systemic economic injustice.