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Rigney, Barbara Hill 1938-

Overview
Works: 27 works in 88 publications in 1 language and 3,948 library holdings
Genres: Criticism, interpretation, etc  History  Biography  Personal narratives 
Roles: Author, Thesis advisor
Classifications: PR830.W62, 823.03
Publication Timeline
Key
Publications about Barbara Hill Rigney
Publications by Barbara Hill Rigney
Most widely held works by Barbara Hill Rigney
Madness and sexual politics in the feminist novel : studies in Brontë, Woolf, Lessing, and Atwood by Barbara Hill Rigney( Book )
19 editions published between 1978 and 2004 in English and Undetermined and held by 1,226 libraries worldwide
The voices of Toni Morrison by Barbara Hill Rigney( Book )
10 editions published between 1991 and 1994 in English and held by 821 libraries worldwide
In her analysis of Morrison's five novels - Beloved, The Bluest Eye, Song of Solomon, Sula, and Tar Baby - Rigney defines a black feminine/feminist aesthetic. The many "voices" of Toni Morrison, Rigney argues, are manifested in her radical use of language, her reformulations of self and identity, her reinterpretations of history as both fact and mythology, and her images of female desire. As Rigney describes Morrison's texts, they are characterized by deliberate and meaningful silences, by the movement beyond language into music, and by representations of magic realism and the conjure world. While Morrison's fictions disrupt traditional chronologies and diffuse linearity, they also bear historical witness to the realities and brutalities of slavery, reconstruction, depression, and war - and thus, Rigney documents, they are always profoundly political. Rigney's study, like Morrison's novels, transcends traditional interpretations, maps new territory for postmodern fictions, and cultivates a common ground for a discourse on theory, race, and gender
Lilith's daughters : women and religion in contemporary fiction by Barbara Hill Rigney( Book )
8 editions published in 1982 in English and held by 794 libraries worldwide
Exile : a memoir of 1939 by Bronka Schneider( Book )
3 editions published in 1998 in English and held by 240 libraries worldwide
Bronka Schneider and her husband, Joseph, were two of the thirty thousand Austrian Jews admitted as refugees to Great Britain between March 1938 and 2 September 1939. It was not until 1960, however, that Schneider wrote her memoir about the year she spent as a housekeeper, with Joseph as butler, in a Scottish castle. The editors have divided this memoir into chapters, adding headlines from the London Times as epigraphs. These headlines, reporting the escalating events of World War II, are in stark contrast to daily activities of the residents of this isolated region of Scotland. A commentary by Erika Bourguignon provides historical, political and cultural background of this period
Madness and sexual politics in the feminist novel : studies of Charlotte Bronte, Virginia Woolf and Doris Lessing by Barbara Hill Rigney( Archival Material )
7 editions published in 1977 in English and held by 9 libraries worldwide
Virginia Woolf's Three Guineas : its content, sources, aesthetic, and influence by Glynis Elaine Carr( Archival Material )
2 editions published in 1984 in English and held by 2 libraries worldwide
Caribbean Excesses : color, culture, fashion and fire in Jean Rhys's Voyage in the Dark and Wide Sargasso Sea by Vivian Wagner( Archival Material )
2 editions published in 1991 in English and held by 2 libraries worldwide
Discourse and identity : a dialogical feminine voice on the margins by Rebecca S Bowman( file )
1 edition published in 1988 in English and held by 1 library worldwide
The insistence that language must be seen as dialogical and social rather than monological and biological phenomena, and the recognition that women find themselves on the margins of a hegemonous patriarchal social context, has also become the focus of several contemporary women theorists. There has been a reluctance to isolate a specifically feminine voice from among the many others that also occupy the margins. This dissertation asserts that literary discourse which reveals, challenges and attempts to reconstitute the socio-ideological context that defines femininity reflects a truly feminine specificity in its focus on a specific struggle; a feminine voice can be discerned, not through stylistic nuances that are somehow innately female, but through the dialogue it initiates in order to deconstruct and reconstruct the social code that constitutes feminine identity. And, through their focus on morality, naming and the subjective self, the women writers analyzed here are not simply challenging the specific manifestations of patriarchal ideology but are questioning the very nature of the logocentric and phallocentric thought that underlies that ideology. (Abstract shortened with permission of author.)
The path of love : Sufism in the novels of Doris Lessing by Müge Galin( file )
1 edition published in 1992 in English and held by 1 library worldwide
Yet, Sufism has enabled Lessing to mitigate the standard pessimism of twentieth-century apocalyptic literature. In so far as she is able to carry her characters beyond death to the safety of Canopus, to the Presence of the One, or onto an uncontaminated island where evolved beings can be born, Lessing is able to establish a rare twentieth-century facsimile of the medieval Sufi mystics' "city of extinction," that immaterial but most real city of nothingness where dwells the Beloved. Lessing's urgent prophecy is for her readers to shake themselves out of lethargy and into conscious Work in order to manifest their full potentials and thereby fulfill their destinies
Margaret Atwood's transformed and transforming Gothic by Colette Tennant( file )
1 edition published in 1991 in English and held by 1 library worldwide
Canadian author Margaret Atwood's distinctive use of the Gothic genre is examined. Whereas Gothic literature typically portrays women as victims, Atwood's use of the genre seeks to alert and inform women readers so that they can avoid victimization. Atwood also transforms traditional elements of the Gothic genre so that her novels seem more modern and "psychological." The four elements of the traditional Gothic that Atwood employs and yet transforms are: the use of settings, the role of men, the prevalence of violence, and the transformation of characters. Atwood uses the traditional settings of the Gothic: castles dungeons, ravines and graveyards, but does so in a psychological way; thus, castles and dungeons tend to be the deeper recesses of her characters' psyches. Likewise, instead of the villains of traditional Gothic literature and their unremittingly heroic adversaries, Atwood's male characters are shadowy and ambiguous. Fathers are not so much mad or malicious as they are absent; would-be heroes tend to be ludicrous; and mad scientists manipulate and seek to control women. The author's destructive artists are in some ways the most threatening of her male characters. The prevalence of violence, evident in the traditional Gothic, is echoed in Atwood's use of the genre but, again, her violence is more psychological than actual. Symbolic cannabilism and vampirism appear in all of her novels: characters "feed" on the suffering of others. Also, real and symbolic rapes occur. Gothic transformations take place in Atwood's novels. Characters are sometimes not who they appear to be, or identity lines become for the better. Atwood's Gothic is very didactic as she teaches her readers to refuse to be victims. In that way her writing transforms her readers, as well as transforming the Gothic genre itself
Presence, absence, and the interface in twentieth-century literature and painting by Claudette M Roberts( file )
1 edition published in 1989 in English and held by 1 library worldwide
Traditionally, Western culture has operated on an assumption that rigid binary oppositions describe our experience of life, that everything can be explained in terms of an either/or relationship, based ultimately on the terms presence and absence. This study focuses on that pair of mutually exclusive terms, examining their use in twentieth-century literature and painting. That is, are presence and absence used according to the classical system in which presence is the privileged first term and absence, the condemned, the undesirable second term? Furthermore, are they part of the work's background, a subtle, haunting kind of evocation which permeates the literary or pictorial text? Or are they foregrounded; are they part of the focus?
Communities of last resort : representations of the elderly in the contemporary British novel by Natalie Christine Hawthorne Tyler( file )
1 edition published in 1993 in English and held by 1 library worldwide
Desire does not die with old age and while possibilities for change become increasingly circumscribed with caducity, there is still plenty of room for growth and development in those characters who fight back against the "dying of the light."
"The Lottery's" hostage : the life and feminist fiction of Shirley Jackson by Sue Veregge Lape( file )
1 edition published in 1992 in English and held by 1 library worldwide
Shirley Jackson was a gifted and prolific writer who articulated a number of feminist concerns in her fiction, yet her work has received very little serious consideration by either traditional or feminist critics. This study examines Jackson's fictional treatment of incest and sexual abuse, of domestic enclosure, and her criticism of the patriarchal family in Hangsaman, The Haunting of Hill House, We Have Always Lived in the Castle, and Jackson's attempt to create an independent, unfragmented female protagonist in her final, unfinished novel, "Come Along With Me." Chapter 2, "Hangsaman: An American Girl's Bildungsroman," demonstrates that Natalie Waite is not a hopeless schizophrenic, but a victim of sexual abuse. Chapter 3, The Haunting of Hill House: Doubling and the Rhetoric of the Devouring House," focuses on Jackson's use of the female double to articulate "the angel in the house" and "whore," both of whom reside in Eleanor Vance. Chapter 3 also discusses Jackson's use of the gothic house as a rhetorical device for depicting female domestic enclosure. Chapter 4, "We Have Always Lived in the Castle: The Heroine's Dilemna: Madness, Suicide, or Murder?", focuses on Merricat, Jackson's boldest protagonist, who destroys the patriarchal family, burns but does not entirely destroy the patriarchal house, then revises both family and house to satisfy her own vision of feminist culture and space. The study concludes that Shirley Jackson is a feminist writer who has made a significant contribution to feminist literature
Crossing the gender line : female novelists and their male voices by Ilana Wolpert( file )
1 edition published in 1988 in English and held by 1 library worldwide
In Charlotte Bronte's first person narrative, The Professor, she speaks through the character of William Crimsworth, an insecure young schoolteacher who serves, in this first of Bronte's novels, as a prototype for her later heroines, Jane Eyre and Lucy Snowe. George Eliot creates in Adam Bede and Daniel Deronda, the title characters of two of her novels, male figures with whom she can closely identify, figures who share her values and morals. Through the depictions of a male tyrant and a male victim, Virginia Woolf conveys her sense that the world is made a dangerous place for everyone, male and female alike, through the brutality of patriarchy. Toni Morrison writes in Song of Solomon from the point of view of Milkman Dead, a young black man who has to piece himself together by retrieving the fragments of his past and learning lessons from men and women alike, while in Celestial Navigation Anne Tyler penetrates the consciousness of Jeremy Pauling, an extremely frightened artist who is out of touch with the real world, living instead inside a world of his own making. Both Milkman and Jeremy are groping for a way to be men at a time when sexual roles are shifting and becoming increasingly complicated
Connecting the French connection : Emily Dickinson and Virginia Woolf writing the (female) body by Roseanne L Hoefel( file )
1 edition published in 1990 in English and held by 1 library worldwide
I demonstrate how Dickinson and Woolf's theoretical and practical applications constitute the experiential grounding of a dialectic interaction between Anglo-American and French feminists. Through a stylistic and theoretical exploration of their variously expressed challenges to phallogocentrism, I illustrate Dickinson's forging of a new discourse (inclusive, for example, of retrieving women's laughter, engendering new metaphors of/for the Word, jouissance, semiotics), and Woolf's preserving of a difference of discourse (A Room of One's Own and Three Guineas) and a discourse of difference (for instance, writing the female body, ecriture feminine, mimesis) in several novels. This analysis both addresses and generates questions regarding a discourse of woman's own and the many ways that traditions across the Atlantic correspond to illuminate the writings of women across time, space, and genre
Biblical mythology in the major novels of Thomas Hardy by Barbara Hill Rigney( Archival Material )
1 edition published in 1965 in English and held by 1 library worldwide
Double agents : professional identities and rivalries in the work of Virginia Woolf and Rebecca West by Alisha Christine Rohde( file )
1 edition published in 2001 in English and held by 1 library worldwide
Focusing on two prolific women writers who had established careers during the 1920s and 1930s, this study explores the intersection between the evolving definition of the “professional woman writer” in the early part of the century and the relationships that developed among individuals who embraced that definition. Virginia Woolf and Rebecca West relished their fame, taking active steps to promote their work and ensure their literary status. However, there are major differences in their publishing decisions and their eventual roles in literary history. Woolf and West were keenly aware of similarities in their work, but frequently expressed competitive sentiments—both privately and publicly. This “sibling rivalry” often seemed to serve as a productive catalyst as they developed their professional identities in their essays and literary criticism
(Re)inscribing the feminine : gender and socio-political marginalization in the fiction of Margaret Atwood and Toni Morrison by Diana Marlene Morris( file )
1 edition published in 1996 in English and held by 1 library worldwide
The two writers selected for this study, Margaret Atwood and Toni Morrison, exemplify not only the complexity of contemporary feminism and postcoloniality but the paradoxical nature of literary studies in the late twentieth-century
"I never talk of hunger" : self-starvation as women's language of protest in novels by Barbara Pym, Margaret Atwood, and Anne Tyler by Patricia M Naulty( file )
1 edition published in 1988 in English and held by 1 library worldwide
Although Marcia Ivory, Marian MacAlpin, and Jenny Tull come from different generations and socio-economic backgrounds, they all face the inability of words to express accurately what they perceive and go through and rely on self-starvation as a language to communicate their defiance of the dominant ideology and perceptions of women's prescribed roles. Their language of self-starvation articulates their perceptions of an increasingly indifferent patriarchy that places limits on women's lives and expects them to subsist within those limits. Rather than accept their roles and adapt their perceptions to fit the dominant ideology, all three characters protest and reject these roles, expressing in their language of self-starvation their refusal to acquiesce or be silent
 
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Alternative Names
Hill Rigney, Barbara 1938-
Rigney, Barbara
Rigney, Barbara H.
Rigney, Barbara H. 1938-
Languages
English (62)
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