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Vroulike muses en die kombuis as ondermynende ruimte in Louoond (1987) deur Jeanne Goosen

dc.contributor.authorBurger, Bibien_ZA
dc.date.accessioned2018-06-11T08:21:07Z
dc.date.available2018-06-11T08:21:07Z
dc.date.issued2015-03-01
dc.identifier.citationBurger, B. 2015. Vroulike muses en die kombuis as ondermynende ruimte in Louoond (1987) deur Jeanne Goosen. Stilet 27(1): 46-60.en_ZA
dc.identifier.urihttp://hdl.handle.net/10019.1/104074
dc.description.abstractABSTRACT: Traditionally the kitchen is seen as the space of the housewife. Her task is to instil ideology in the next generation, but not to play an active role in the shaping of it. The American Second Wave feminists reacted to these traditional views by negating the body and the irrational. They distanced themselves from the figure of the housewife, especially after the publication of Betty Friedan’s The Feminine Mystique (1963). The protagonist of Louoond, the 1987 novella by Jeanne Goosen, reclaims the kitchen from the patriarchy and uses it as a subversive space in which feminist art and perspectives can be developed. In my paper I argue that the novella provides several models for the creation of provocative, specifically female art. The novella itself is such a model, as is the work of the muses that inspire the protagonist: George Sand, Maria Callas and a female spider.en_ZA
dc.description.urihttp://hdl.handle.net/10520/EJC182323en_ZA
dc.format.extent9 pagesen_ZA
dc.publisherAfrikaanse Letterkundevereniging (ALV)en_ZA
dc.subjectGoosen, Jeanne -- Louoonden_ZA
dc.subjectJeanne Goosen -- Louoond -- Criticism and interpretationen_ZA
dc.subjectAfrikaans literature -- History and criticismen_ZA
dc.subjectFeminism in literatureen_ZA
dc.subjectFemale writingen_ZA
dc.titleVroulike muses en die kombuis as ondermynende ruimte in Louoond (1987) deur Jeanne Goosenaf_ZA
dc.typeArticleen_ZA
dc.description.versionPost-printen_ZA


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