Scholarship in Languages Other than English - Revision history

Laura V at 14:14, 17 September 2019

2019-09-17T14:14:45Z

Laura V at 13:56, 17 September 2019

2019-09-17T13:56:20Z

Laura V at 19:57, 14 September 2019

2019-09-14T19:57:52Z

Laura V at 16:54, 13 December 2018

2018-12-13T16:54:27Z

Laura V at 16:54, 13 December 2018

2018-12-13T16:54:02Z

Laura V at 09:18, 2 October 2018

2018-10-02T09:18:57Z

Laura V at 09:17, 2 October 2018

2018-10-02T09:17:59Z

Laura V at 09:17, 2 October 2018

2018-10-02T09:17:14Z

Laura V at 09:16, 2 October 2018

2018-10-02T09:16:44Z

Laura V at 15:08, 3 July 2018

2018-07-03T15:08:42Z

@@ Line 39: / Line 39: @@
 ;Avila, Myron Alberto, 2008. : "De aparente color rosa. Discurso y recurso sentimental en las novelas de Argentina Diaz Lozano". Ph.D. diss., University of California, Irvine ,2008. In ''Dissertations Abstracts International -A'' 69(11):
-;Bazenga, Aline, 2019. : 'Turismo e romance na literatura popular cor-de-rosa tendo por cenário a Ilha da Madeira', ''Memoria e Identidade Insular: Religiosidade, Festividades e Turismo nos Arquipélagos da Madeira e Açores'', Coordenação Duarte Nuno Chaves. Velas, S. Jorge: CHAM (Centro de Humanidades Santa Casa da Misericórdia das Velas), 323-335.[https://www.academia.edu/39938307/TURISMO_E_ROMANCE_NA_LITERATURA_POPULAR_COR-DE-ROSA_TENDO_POR_CEN%C3%81RIO_A_ILHA_DA_MADEIRA]
+;Bazenga, Aline, 2019. : 'Turismo e Romance na Literatura Popular Cor-de-rosa Tendo por Cenário a Ilha da Madeira', ''Memoria e Identidade Insular: Religiosidade, Festividades e Turismo nos Arquipélagos da Madeira e Açores'', Coordenação Duarte Nuno Chaves. Velas, S. Jorge: CHAM (Centro de Humanidades Santa Casa da Misericórdia das Velas), 323-335.[https://www.academia.edu/39938307/TURISMO_E_ROMANCE_NA_LITERATURA_POPULAR_COR-DE-ROSA_TENDO_POR_CEN%C3%81RIO_A_ILHA_DA_MADEIRA]
 ;Bédard-Cazabon, Hélène, Bettinotti, Julia, and Christiane Provost, 1983. : "Harlequin: Quand l'amour est une guerre." ''Etudes Littéraires'' 16.3: 399-427. **

← Older revision		Revision as of 13:56, 17 September 2019
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	;Avila, Myron Alberto, 2008. : "De aparente color rosa. Discurso y recurso sentimental en las novelas de Argentina Diaz Lozano". Ph.D. diss., University of California, Irvine ,2008. In ''Dissertations Abstracts International -A'' 69(11):		;Avila, Myron Alberto, 2008. : "De aparente color rosa. Discurso y recurso sentimental en las novelas de Argentina Diaz Lozano". Ph.D. diss., University of California, Irvine ,2008. In ''Dissertations Abstracts International -A'' 69(11):
		+
		+	;Bazenga, Aline, 2019. : 'Turismo e romance na literatura popular cor-de-rosa tendo por cenário a Ilha da Madeira', ''Memoria e Identidade Insular: Religiosidade, Festividades e Turismo nos Arquipélagos da Madeira e Açores'', Coordenação Duarte Nuno Chaves. Velas, S. Jorge: CHAM (Centro de Humanidades Santa Casa da Misericórdia das Velas), 323-335.[https://www.academia.edu/39938307/TURISMO_E_ROMANCE_NA_LITERATURA_POPULAR_COR-DE-ROSA_TENDO_POR_CEN%C3%81RIO_A_ILHA_DA_MADEIRA]

	;Bédard-Cazabon, Hélène, Bettinotti, Julia, and Christiane Provost, 1983. : "Harlequin: Quand l'amour est une guerre." ''Etudes Littéraires'' 16.3: 399-427. **		;Bédard-Cazabon, Hélène, Bettinotti, Julia, and Christiane Provost, 1983. : "Harlequin: Quand l'amour est une guerre." ''Etudes Littéraires'' 16.3: 399-427. **

← Older revision		Revision as of 19:57, 14 September 2019
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	;Lazzarato, Francesca and Valerie Moretti, 1981. : ''La fiaba rosa :itinerari di lettura attraverso i romanzi per signorine.'' Rome: Bulzoni. **		;Lazzarato, Francesca and Valerie Moretti, 1981. : ''La fiaba rosa :itinerari di lettura attraverso i romanzi per signorine.'' Rome: Bulzoni. **
		+
		+	;Legallois, Dominique, Thierry Charnois, and Thierry Poibeau, 2016. : “Repérer les clichés dans les romans sentimentaux grâce à la méthode des ‘motifs’.” ''Lidil. Revue de linguistique et de didactique des langues'' 53: 95–117.

	;林芳玫/Lin, Fang-mei. : "性別化東方主義：女性沙漠羅曼史的重層東方想像/Gendering Orientalism: Women's Desert Romance and the Multiplicity of Oriental Imagination." ''Journal of Modern Literature in Chinese,'' vol. 13, no. 1-2, 2016, pp. 174-200.		;林芳玫/Lin, Fang-mei. : "性別化東方主義：女性沙漠羅曼史的重層東方想像/Gendering Orientalism: Women's Desert Romance and the Multiplicity of Oriental Imagination." ''Journal of Modern Literature in Chinese,'' vol. 13, no. 1-2, 2016, pp. 174-200.

@@ Line 119: / Line 119: @@
 ;Estepa, Luis, 2002. : "Un aleluya de Barradas y la 'novela rosa'." ''Cuadernos Hispanoamericanos'' 625-626: 189-195.
-;Fernández Rodríguez, Carolina, 2018. : "Del cuento de hadas a la novela romántica: Una visión de la sub/literatura como gimnasio mental y laboratorio de sub/versión cultural", Repercusión de la lectura y otras formas de arte en nuestra vida y nuestra obra: Memorias del VII coloquio de LART, Centro Español de Manhattan, Nueva York, 26-28 de octubre de 2016. Ed. Paquita Suárez Coalla, Sonia Rivera Valdés, Ainoa Íñigo. West Hurley, NY: Editorial Campana, 2018. 69-95.https://www.academia.edu/37917560/Del_cuento_de_hadas_a_la_novela_romantica_Una_visi%C3%B3n_de_la_sub_literatura_como_gimnasio_mental_y_laboratorio_de_sub_versi%C3%B3n_cultural]
+;Fernández Rodríguez, Carolina, 2018. : "Del cuento de hadas a la novela romántica: Una visión de la sub/literatura como gimnasio mental y laboratorio de sub/versión cultural", Repercusión de la lectura y otras formas de arte en nuestra vida y nuestra obra: Memorias del VII coloquio de LART, Centro Español de Manhattan, Nueva York, 26-28 de octubre de 2016. Ed. Paquita Suárez Coalla, Sonia Rivera Valdés, Ainoa Íñigo. West Hurley, NY: Editorial Campana, 2018. 69-95.[https://www.academia.edu/37917560/Del_cuento_de_hadas_a_la_novela_romantica_Una_visi%C3%B3n_de_la_sub_literatura_como_gimnasio_mental_y_laboratorio_de_sub_versi%C3%B3n_cultural]
 ;Forte,Gioacchino, 1966. : ''I persuasori rosa'' (Naples: ESI).**

← Older revision		Revision as of 16:54, 13 December 2018
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	;Estepa, Luis, 2002. : "Un aleluya de Barradas y la 'novela rosa'." ''Cuadernos Hispanoamericanos'' 625-626: 189-195.		;Estepa, Luis, 2002. : "Un aleluya de Barradas y la 'novela rosa'." ''Cuadernos Hispanoamericanos'' 625-626: 189-195.
		+
		+	;Fernández Rodríguez, Carolina, 2018. : "Del cuento de hadas a la novela romántica: Una visión de la sub/literatura como gimnasio mental y laboratorio de sub/versión cultural", Repercusión de la lectura y otras formas de arte en nuestra vida y nuestra obra: Memorias del VII coloquio de LART, Centro Español de Manhattan, Nueva York, 26-28 de octubre de 2016. Ed. Paquita Suárez Coalla, Sonia Rivera Valdés, Ainoa Íñigo. West Hurley, NY: Editorial Campana, 2018. 69-95.https://www.academia.edu/37917560/Del_cuento_de_hadas_a_la_novela_romantica_Una_visi%C3%B3n_de_la_sub_literatura_como_gimnasio_mental_y_laboratorio_de_sub_versi%C3%B3n_cultural]

	;Forte,Gioacchino, 1966. : ''I persuasori rosa'' (Naples: ESI).**		;Forte,Gioacchino, 1966. : ''I persuasori rosa'' (Naples: ESI).**

@@ Line 109: / Line 109: @@
 ;de Andrade, Roberta Manuela Barros and Erotilde Honório Silva, 2010. : "A vida em cor de rosa: o romance sentimental e a ditadura militar no Brasil", ''Famecos'' 17.2: 41-48.[http://search.proquest.com/openview/0c7e02c052fdeb6b1e665970efd00086/1?pq-origsite=gscholar]
-;Drakulić-Ilić, Slavenka. 1984. : “Zašto žene vole bajke?” [“Why do women like fairy tales?”], ''Smrtni grijesi feminizma. Ogledi u mudologiji'' [''Mortal Sins of Feminism. Essays on Testicology'']. Zagreb: Znanje, 1984. 33-45. The article was first published on the pages of ''Start'', no. 299. 3 July 1980. [Details from Lóránd Zsófia's dissertation, [http://www.etd.ceu.hu/2015/lorand_zsofia.pdf "“Learning a Feminist Language”: The Intellectual History of Feminism in Yugoslavia in the 1970s and 1980s"], Central European University, Budapest, Hungary, 2014, in which it is stated that "In the essay “Why do women like fairy tales?” Drakulić argues that despite their simplicity, trivial romance novels mean an escape from the everyday reality of state socialism." (208-209) and "examines the popularity of trivial romances (in Serbo-Croatian: ''herz-roman'') available at the newsstands and also published in women’s magazines as a series. She sees “erotic” men’s magazines as a counterpart to the cheap romantic stories, as both started to flourish on the market as a result of the “sexual revolution” [...] and both use traditional and stereotypical images of women, which do not exclude, but complement each other (36). It shows both the double-faced nature of the sexual revolution and the consistency in the logic of patriarchy. Drakulić describes the basic plot of the romance novels and how they present clichés of femininity and masculinity, romantic love and happy marriage (35). Despite their triviality, Drakulić emphasises their social relevance: only one title, Život [Life] was sold in 3.600.000 copies in 1978 (34). There is a demand for the genre, what cannot be left out of consideration, even if there was not domestic, Yugoslav production of these, those available were mostly imported from Western, English-speaking countries. Besides the presentation of traditional gender roles, a regular objection against the trivial romances is their low literary quality: the media should inform and educate, and one’s free time should be used creatively [...]. Drakulić analyses an unpublished survey by the publisher Vjesnik on the readers’ habits and remarks of reading trivial romances. All in all, the conclusion is that the majority of the readers are overburdened women who do not have either time or strength to read anything more complexly written, whereas they do notice the poor literary quality of the novels. These readers, adds Drakulić, lack real relationships and love – exactly the dream, the “fairy tale” offered by these booklets. Drakulić claims that simply “by abolishing and stigmatising this kind of a press, we do not abolish the demand/need” of women in Yugoslavia (44)." (232-33)]
+;Drakulić-Ilić, Slavenka. 1984. : “Zašto žene vole bajke?” [“Why do women like fairy tales?”], ''Smrtni grijesi feminizma. Ogledi u mudologiji'' [''Mortal Sins of Feminism. Essays on Testicology'']. Zagreb: Znanje, 1984. 33-45. The article was first published on the pages of ''Start'', no. 299. 3 July 1980. [Details from Lóránd Zsófia's dissertation, [http://www.etd.ceu.hu/2015/lorand_zsofia.pdf "“Learning a Feminist Language”: The Intellectual History of Feminism in Yugoslavia in the 1970s and 1980s"], Central European University, Budapest, Hungary, 2014, in which it is stated that "In the essay “Why do women like fairy tales?” Drakulić argues that despite their simplicity, trivial romance novels mean an escape from the everyday reality of state socialism." (208-209) and "examines the popularity of trivial romances (in Serbo-Croatian: ''herz-roman'') available at the newsstands and also published in women’s magazines as a series. She sees “erotic” men’s magazines as a counterpart to the cheap romantic stories, as both started to flourish on the market as a result of the “sexual revolution” [...] and both use traditional and stereotypical images of women, which do not exclude, but complement each other (36). It shows both the double-faced nature of the sexual revolution and the consistency in the logic of patriarchy. Drakulić describes the basic plot of the romance novels and how they present clichés of femininity and masculinity, romantic love and happy marriage (35). Despite their triviality, Drakulić emphasises their social relevance: only one title, ''Život'' [''Life''] was sold in 3.600.000 copies in 1978 (34). There is a demand for the genre, what cannot be left out of consideration, even if there was not domestic, Yugoslav production of these, those available were mostly imported from Western, English-speaking countries. Besides the presentation of traditional gender roles, a regular objection against the trivial romances is their low literary quality: the media should inform and educate, and one’s free time should be used creatively [...]. Drakulić analyses an unpublished survey by the publisher Vjesnik on the readers’ habits and remarks of reading trivial romances. All in all, the conclusion is that the majority of the readers are overburdened women who do not have either time or strength to read anything more complexly written, whereas they do notice the poor literary quality of the novels. These readers, adds Drakulić, lack real relationships and love – exactly the dream, the “fairy tale” offered by these booklets. Drakulić claims that simply “by abolishing and stigmatising this kind of a press, we do not abolish the demand/need” of women in Yugoslavia (44)." (232-33)]
 ;Dubrule, Marie-Andree, 1986. : '' Le cas harlequin.'' Quebec: Groupe de recherche multidisciplinaire féministe, Université Laval. **

← Older revision		Revision as of 09:16, 2 October 2018
Line 108:		Line 108:

	;de Andrade, Roberta Manuela Barros and Erotilde Honório Silva, 2010. : "A vida em cor de rosa: o romance sentimental e a ditadura militar no Brasil", ''Famecos'' 17.2: 41-48.[http://search.proquest.com/openview/0c7e02c052fdeb6b1e665970efd00086/1?pq-origsite=gscholar]		;de Andrade, Roberta Manuela Barros and Erotilde Honório Silva, 2010. : "A vida em cor de rosa: o romance sentimental e a ditadura militar no Brasil", ''Famecos'' 17.2: 41-48.[http://search.proquest.com/openview/0c7e02c052fdeb6b1e665970efd00086/1?pq-origsite=gscholar]
		+
		+	;Drakulić-Ilić, Slavenka. 1984. : “Zašto žene vole bajke?” [“Why do women like fairy tales?”], ''Smrtni grijesi feminizma. Ogledi u mudologiji'' [''Mortal Sins of Feminism. Essays on
		+	Testicology'']. Zagreb: Znanje, 1984. 33-45. The article was first published on the pages of ''Start'', no. 299. 3 July 1980. [Details from Lóránd Zsófia's dissertation, [www.etd.ceu.hu/2015/lorand_zsofia.pdf "“Learning a Feminist Language”: The Intellectual History of Feminism in Yugoslavia in the 1970s and 1980s"], Central European University, Budapest, Hungary, 2014, in which it is stated that "In the essay “Why do women like fairy tales?” Drakulić argues that despite their simplicity, trivial romance novels mean an escape from the everyday reality of state socialism." (208-209) and "examines the popularity of trivial romances (in Serbo-Croatian: ''herz-roman'') available at the newsstands and also published in women’s magazines as a series. She sees “erotic” men’s magazines as a counterpart to the cheap romantic stories, as both started to flourish on the market as a result of the “sexual revolution” [...] and both use traditional and stereotypical images of women, which do not exclude, but complement each other (36). It shows both the double-faced nature of the sexual revolution and the consistency in the logic of patriarchy. Drakulić describes the basic plot of the romance novels and how they present clichés of femininity and masculinity, romantic love and happy marriage (35). Despite their triviality, Drakulić emphasises their social relevance: only one title, Život [Life] was sold in 3.600.000 copies in 1978 (34). There is a demand for the genre, what cannot be left out of consideration, even if there was not domestic, Yugoslav production of these, those available were mostly imported from Western, English-speaking countries. Besides the presentation of traditional gender roles, a regular objection against the trivial romances is their low literary quality: the media should inform and educate, and one’s free time should be used creatively [...]. Drakulić analyses an unpublished survey by the publisher Vjesnik on the readers’ habits and remarks of reading trivial romances. All in all, the conclusion is that the majority of the readers are overburdened women who do not have either time or strength to read anything more complexly written, whereas they do notice the poor literary quality of the novels. These readers, adds Drakulić, lack real relationships and love – exactly the dream, the “fairy tale” offered by these booklets. Drakulić claims that simply “by abolishing and stigmatising this kind of a press, we do not abolish the demand/need” of women in Yugoslavia (44)." (232-33)]

	;Dubrule, Marie-Andree, 1986. : '' Le cas harlequin.'' Quebec: Groupe de recherche multidisciplinaire féministe, Université Laval. **		;Dubrule, Marie-Andree, 1986. : '' Le cas harlequin.'' Quebec: Groupe de recherche multidisciplinaire féministe, Université Laval. **

@@ Line 133: / Line 133: @@
 ;González Cruz, María Isabel, 2017. : "Conciencia Sociolingüística e Hispanismos en un Corpus de Novela Rosa Inglesa." ''Pragmática Sociocultural/Sociocultural Pragmatics'' 5.2: 125-149. [https://www.degruyter.com/view/j/soprag.ahead-of-print/soprag-2017-0014/soprag-2017-0014.xml Abstract in Spanish and English, article in Spanish, pdf available.]
-;González Cruz, María-Isabel, 2018. : "Hispanismos en el discurso romántico de Harlequin y Mills & Boon. Ámbitos temáticos y funciones socio-pragmáticas". ''Moderna språk'' 112.1. [http://ojs.ub.gu.se/ojs/index.php/modernasprak/article/view/4341 Abstract and link to pdf]
+;González Cruz, María-Isabel, 2018. : "Hispanismos en el discurso romántico de Harlequin y Mills & Boon. Ámbitos temáticos y funciones socio-pragmáticas". ''Moderna språk'' 112.1: 163-184. [http://ojs.ub.gu.se/ojs/index.php/modernasprak/article/view/4341 Abstract and link to pdf]
 ;González García, María Teresa, 1998. : ''Corín Tellado: medio siglo de novela de amor, 1946-1996''. Oviedo: Pentalfa Ediciones.