Eleanor Ty – författare

First published in the turbulent decade following the French Revolution, Memoirs of Emma Courtney is based on Mary Hays' own passionate struggle with romance and Enlightenment philosophy. A feminist and ardent disciple of Mary Wollstonecraft, Hays reveals the lamentable gap between `what women are' and `what woment ought to be'. The novel is one of the most articulate and detailed expressions of the yearnings and frustrations of a woman living in late eighteenth-century English society. It questions marital arrangements and courtship rituals by depicting a woman who actively pursues the man she loves. The novel explores the links between sexuality, desire, and economic and social freedom, suggesting the need for improvement in the laws of society which `have enslaved, enervated, and degraded woman'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Eleanor Ty's bold exploration of literature, plays, and film reveals how young Asian Americans and Asian Canadians have struggled with the ethos of self-sacrifice preached by their parents. This new generation's narratives focus on protagonists disenchanted with their daily lives. Many are depressed. Some are haunted by childhood memories of war, trauma, and refugee camps. Rejecting an obsession with professional status and money, they seek fulfillment by prioritizing relationships, personal growth, and cultural success. As Ty shows, these storytellers have done more than reject a narrowly defined road to happiness. They have rejected neoliberal capitalism itself. In so doing, they demand that the rest of us reconsider our outmoded ideas about the so-called model minority.

Eleanor Ty's bold exploration of literature, plays, and film reveals how young Asian Americans and Asian Canadians have struggled with the ethos of self-sacrifice preached by their parents. This new generation's narratives focus on protagonists disenchanted with their daily lives. Many are depressed. Some are haunted by childhood memories of war, trauma, and refugee camps. Rejecting an obsession with professional status and money, they seek fulfillment by prioritizing relationships, personal growth, and cultural success. As Ty shows, these storytellers have done more than reject a narrowly defined road to happiness. They have rejected neoliberal capitalism itself. In so doing, they demand that the rest of us reconsider our outmoded ideas about the so-called model minority.

Eleanor Ty''s bold exploration of literature, plays, and film reveals how young Asian Americans and Asian Canadians have struggled with the ethos of self-sacrifice preached by their parents. This new generation''s narratives focus on protagonists disenchanted with their daily lives. Many are depressed. Some are haunted by childhood memories of war, trauma, and refugee camps. Rejecting an obsession with professional status and money, they seek fulfillment by prioritizing relationships, personal growth, and cultural success. As Ty shows, these storytellers have done more than reject a narrowly defined road to happiness. They have rejected neoliberal capitalism itself. In so doing, they demand that the rest of us reconsider our outmoded ideas about the so-called model minority.

Examining nine Asian Canadian and Asian American narratives, Eleanor Ty explores how authors empower themselves, represent differences, and re-script their identities as 'visible minorities' within the ideological, imaginative, and discursive space given to them by dominant culture. In various ways, Asian North Americans negotiate daily with 'birthmarks,' their shared physical features marking them legally, socially, and culturally as visible outsiders, and paradoxically, as invisible to mainstream history and culture.Ty argues that writers such as Denise Chong, Shirley Geok-lin Lim, and Wayson Choy recast the marks of their bodies and challenge common perceptions of difference based on the sights, smells, dress, and other characteristics of their hyphenated lives. Others, like filmmaker Mina Shum and writers Bienvenido Santos and Hiromi Goto, challenge the means by which Asian North American subjects are represented and constructed in the media and in everyday language. Through close readings grounded in the socio-historical context of each work, Ty studies the techniques of various authors and filmmakers in their meeting of the gaze of dominant culture and their response to the assumptions and meanings commonly associated with Orientalized, visible bodies.

Examining nine Asian Canadian and Asian American narratives, Eleanor Ty explores how authors empower themselves, represent differences, and re-script their identities as 'visible minorities' within the ideological, imaginative, and discursive space given to them by dominant culture. In various ways, Asian North Americans negotiate daily with 'birthmarks,' their shared physical features marking them legally, socially, and culturally as visible outsiders, and paradoxically, as invisible to mainstream history and culture.Ty argues that writers such as Denise Chong, Shirley Geok-lin Lim, and Wayson Choy recast the marks of their bodies and challenge common perceptions of difference based on the sights, smells, dress, and other characteristics of their hyphenated lives. Others, like filmmaker Mina Shum and writers Bienvenido Santos and Hiromi Goto, challenge the means by which Asian North American subjects are represented and constructed in the media and in everyday language. Through close readings grounded in the socio-historical context of each work, Ty studies the techniques of various authors and filmmakers in their meeting of the gaze of dominant culture and their response to the assumptions and meanings commonly associated with Orientalized, visible bodies.

Unfastened examines literary works and films by Asian Americans and Asian Canadians that respond critically to globality-the condition in which traditional national, cultural, geographical, and economic boundaries have been-supposedly-surmounted. In this wide-ranging exploration, Eleanor Ty reveals how novelists such as Brian Ascalon Roley, Han Ong, Lydia Kwa, and Nora Okja Keller interrogate the theoretical freedom that globalization promises in their depiction of the underworld of crime and prostitution. She looks at the social critiques created by playwrights Betty Quan and Sunil Kuruvilla, who use figures of disability to accentuate the effects of marginality. Investigating works based on fantasy, Ty highlights the ways feminist writers Larissa Lai, Chitra Divakaruni, Hiromi Goto, and Ruth Ozeki employ myth, science fiction, and magic realism to provide alternatives to global capitalism. She notes that others, such as filmmaker Deepa Mehta and performers/dramatists Nadine Villasin and Nina Aquino, play with the multiple identities afforded to them by transcultural connections. Ultimately, Ty sees in these diverse narratives unfastened mobile subjects, heroes, and travelers who use everyday tactics to challenge inequitable circumstances in their lives brought about by globalization.

Examining nine Asian Canadian and Asian American narratives, Eleanor Ty explores how authors empower themselves, represent differences, and re-script their identities as 'visible minorities' within the ideological, imaginative, and discursive space given to them by dominant culture. In various ways, Asian North Americans negotiate daily with 'birthmarks,' their shared physical features marking them legally, socially, and culturally as visible outsiders, and paradoxically, as invisible to mainstream history and culture.Ty argues that writers such as Denise Chong, Shirley Geok-lin Lim, and Wayson Choy recast the marks of their bodies and challenge common perceptions of difference based on the sights, smells, dress, and other characteristics of their hyphenated lives. Others, like filmmaker Mina Shum and writers Bienvenido Santos and Hiromi Goto, challenge the means by which Asian North American subjects are represented and constructed in the media and in everyday language. Through close readings grounded in the socio-historical context of each work, Ty studies the techniques of various authors and filmmakers in their meeting of the gaze of dominant culture and their response to the assumptions and meanings commonly associated with Orientalized, visible bodies.

Mary Robinson, a fantastic beauty and popular actress, and once lover of the Prince of Wales, received the epithet 'the English Sappho' for her lyric verse. Amelia Opie, a member of the fashionable literary society and later a Quaker, included amongst her friends Sydney Smith, Byron, and Scott, and reputedly refused Godwin's marriage proposal out of admiration for Mary Wollstonecraft. Jane West, who tended her household and dairy while writing prolifically to support her children, was in direct opposition to the radically feminist ideas preceding her. These authors, each from different ideological and social backgrounds, all grappled with a desire for empowerment. Writing in an atmosphere hardened towards reform in response to the French revolution's upheavals, these women focus their narratives on typically feminine attitudes - docility, maternal feeling, heightened sensibility (that key word of the period). Their focus invested these attitudes with new meaning, making supposed female weaknesses potentially active forces for social change.Eleanor Ty's convincing argument, arrived at through close readings of ten key texts, is an important addition to the recent spate of publications which bring to the fore neglected women authors whose fascinating lives and works greatly enrich our understanding of the late eighteenth century and British Romanticism.

Examining nine Asian Canadian and Asian American narratives, Eleanor Ty explores how authors empower themselves, represent differences, and re-script their identities as 'visible minorities' within the ideological, imaginative, and discursive space given to them by dominant culture. In various ways, Asian North Americans negotiate daily with 'birthmarks,' their shared physical features marking them legally, socially, and culturally as visible outsiders, and paradoxically, as invisible to mainstream history and culture.Ty argues that writers such as Denise Chong, Shirley Geok-lin Lim, and Wayson Choy recast the marks of their bodies and challenge common perceptions of difference based on the sights, smells, dress, and other characteristics of their hyphenated lives. Others, like filmmaker Mina Shum and writers Bienvenido Santos and Hiromi Goto, challenge the means by which Asian North American subjects are represented and constructed in the media and in everyday language. Through close readings grounded in the socio-historical context of each work, Ty studies the techniques of various authors and filmmakers in their meeting of the gaze of dominant culture and their response to the assumptions and meanings commonly associated with Orientalized, visible bodies.

Women had been writing long before the French Revolution, but the reactionary character of the 1790s infused their work with a public importance and an urgency. The decade was one of intense argument and reflection on the role of women in society. Eleanor Ty studies the ways in which five women writers of the 1790s politicized the domestic or sentimental novel in response to oppression and exclusion. Influenced by radical post-revolution thinkers, Mary Wollstonecraft, Mary Hays, Helen Maria Williams, Elizabeth Inchbald, and Charlotte Smith wrote fiction that questioned existing social, economic, legal and cultural practices as they related to women. In particular, they dealt with historically specific gender issues such as female education, the rights and ‘wrongs’ of woman, and the duties of a wife.Using historical and feminist psycho-linguistic studies as a base, Ty explores some of the complexities encountered in the writings of these five women. Through their challenge to Edmund Burke’s patriarchal ideas, they discovered strategies of writing based on the maternal or female aesthetic.For these ‘unsex’d revolutionaries,’ sentimental or domestic fiction was not just about courtship, love, and romance. Their writings interrogate the structures of society, and criticize and make relevant the connections between the personal and the political, the domestic and the public sphere.

Asian Canadian Writing Beyond Autoethnography explores some of the latest developments in the literary and cultural practices of Canadians of Asian heritage. While earlier work by ethnic, multicultural, or minority writers in Canada was often concerned with immigration, the moment of arrival, issues of assimilation, and conflicts between generations, literary and cultural production in the new millennium no longer focuses solely on the conflict between the Old World and the New or the clashes between culture of origin and adopted culture. No longer are minority authors identifying simply with their ethnic or racial cultural background in opposition to dominant culture. The essays in this collection explore ways in which Asian Canadian authors (such as Larissa Lai, Shani Mootoo, Fred Wah, Hiromi Goto, Suniti Namjoshi, and Ying Chen) and artists (such as Ken Lum, Paul Wong, and Laiwan) have gone beyond what Françoise Lionnet calls autoethnography, or ethnographic autobiography. They demonstrate the ways representations of race and ethnicity, particularly in works by Asian Canadians in the last decade, have changed have become more playful, untraditional, aesthetically and ideologically transgressive, and exciting.

The Memory Effect is a collection of essays on the status of memory - individual and collective, cultural and transcultural - in contemporary literature, film, and other visual media. Contributors look at memory's representation, adaptation, translation, and appropriation, as well as its mediation and remediation. Memory's irreducibly constructed nature is explored, even as its status is reaffirmed as the basis of both individual and collective identity.The book begins with an overview of the field, with an emphasis on the question of subjectivity. Under the section title Memory Studies: Theories, Changes, and Challenges, these chapters lay the theoretical groundwork for the volume. Section 2, Literature and the Power of Cultural Memory/Memorializing, focuses on the relation between literature and cultural memory. Section 3, Recuperating Lives: Memory and Life Writing, shifts the focus from literature to autobiography and life writing, especially those lives shaped by trauma and forgotten by history. Section 4, Cinematic Remediations: Memory and History, examines specific films in an effort to account for cinema's intimate and mutually constitutive relationship with memory and history. The final section, Multi-Media Interventions: Television, Video, and Collective Memory, considers individual and collective memory in the context of contemporary visual texts, at the crossroads of popular and avant-garde cultures.