391:, wrote: "Feminism, the relationship of literature to society and the importance of revolution weave their way through the intellectual discussions within the book ... The nun is an image of the Portuguese woman who is not only the victim of an oppressive, authoritarian and male-dominated society but one who even in the act of breaking free (a nun with a lover) cannot transcend her general female identity as eternal victim. Even in the exuberance of her passion the 17th century nun, as the three Marias conceive her, is near to whining and total self-centredness. .... A lot of ideas, a lot of issues, are raised by the book. But ultimately I find it irritating ... The different strands counteract rather than complete each other, so that just as one is wanting to agree or disagree with some point of analysis (I personally disagree quite a lot) one is called to a halt by a bit of poetry. And the poetry is not good enough to stand on its own merits."
240:
social, da injustiça e da discriminação" (victims of patriarchal oppression, social violence, injustice and discrimination). In some of the letters they write as men, husbands, lovers, fathers, etc.: "the letters they invent come from men fighting in colonial wars in Europe, Angola, or Africa, addressing the women they leave behind ... husbands absent for twelve years write letters home, blithely describing new mistresses, new families they have engendered, while their
Portuguese wives remain faithful, dressed in widow's weeds."
334:
sense, a rearrangement of clichés which lead nowhere." Another reviewer wrote, "Hectic, confined, plangent, these letters convey an intolerable tension ... The real meat of the book is in the documentation, in the glimpses of Lisbon rooms, Lisbon streets, in the reported lives of housemaids, schoolgirls, soldiers, grannies, in the flat and appalling statements quoted from the
Portuguese Penal Code. In these areas the writing triumphs, conveying the flavour of a way of life we need to understand."
212:, were already established writers. They began to meet twice weekly in Lisbon, publicly for lunch and privately for dinner, in order to "examine the problems they shared as women and as liberal writers." A volume of poetry by Horta had recently been banned, and they intended their new work as a direct challenge to the censors, and also, one critic has written, as "an incitement to insurrection, based on the conviction that "when woman rebels against man, nothing remains unchanged" ( 158)."
381:
morbid and inescapable pathology. In their portraits of imagined sisters through the centuries, the convent of Soror
Mariana becomes a metaphor for the bedroom, and the bedroom for the world to which women are confinedâwhich is appropriate, since their women rarely seem to leave their bedrooms except to go mad or kill themselves. But the impression one gets from this is that the women of Portugal are all in a state of torpid but advanced sexual hysteria, or a state of sexual repression".
251:... suggest the dynamic relationship between three shifting entities, three bodies that want to remain open to experimentation, to suggestion, to analysis, to each other. ... Each Maria, moreover, is a critic as well as a reader of the theories of the other two. They disagree about the uses and value of the women's movement; about the causes, consequences, and remedies for patriarchy; about the solutions to women's misery in the modern world."
284:, in June 1973. Protests were held on the date the trial of the three Marias was scheduled to begin, July 3, 1973, in the US, France, Italy, England, Belgium, Finland and Japan, as well as in Portugal and Brazil. The proceedings were suspended several times, and further protests were held at the time of hearings in October 1973 and in January and February 1974. Following
356:, commented on the fact that it has three authors: "each of the three writes to each of the others and all three together write collectively to others. One of the main interests of the book, as literature, resides precisely in this ever-shifting identity of the subject, ... constantly changing while the predicate remains essentially unchanged."
260:
individually authored literary works. Others respected their decision and rationale: "They call their process of writing, their final product, and their relationship a trialectic in order to disrupt all dichotomies, all binary oppositions that .. are so often exploited to define and circumscribe woman, desire, discourse."
380:
wrote, "As a feminist book, though, âThe Three Mariasâ is in trouble ... while it is true that the exercise of passion was their agreedâon exercise, their collective lamentations on passion never really penetrate love's tyrannies or its embittering social and familiar uses as much as they detail some
268:
The book was immediately successful in
Portugal after its publication in 1972, and acclaimed as a masterpiece, but was quickly banned by censors, described as "pornographic and an offense to public morals", and the three authors were arrested and imprisoned, charged with "abuse of the freedom of the
312:
is not easily classifiable. If it is not a novel or essay, it is not just a feminist manifesto. As the scholar
Darlene Sadlier points out, the three Marias themselves refer to their book as "something unclassifiable", which suggests not so much the difficulty as rather the reluctance of the authors
337:
Reviewers were also divided in their estimation of the descriptions of love and sex. One reviewer said, "It is a tour-de-force of erotic expression and lyric outpourings"; another wrote, introducing two pieces republished from the book, that she found them "startling ... The selections demonstrate
1284:
Broadcast on: KPFA, 6 March 1975. 56 min. Reading of the book "The Three Marias: New
Portuguese Letters." ... The part of Maria Isabel Barreno is read by Rena Down, Maria Theresa Horta read by Kena Hunt, and Maria Fatima Velho da Costa read by Mimi Seton. Selection and direction by Rena Down. No
364:
The book has been considered a crucial landmark in the evolution of feminist thinking in
Portuguese literature. Women began to talk about their bodies, about the pleasures and sufferings of their sexual relationship with men, and they shocked Portuguese society on account of that. Through all its
368:
A Portuguese feminist scholar, Ana
Margarida Dias Martins, contends that "one of the grim consequences of this bookâs astounding international success was that, although it remained important in the political context of international feminist solidarity, it failed to enter the feminist canon of
342:
reviewer found the book "tedious", saying "part of the trouble is that these three modern Marias are as obsessed with love as poor Soror
Mariana. ... Whether they are taking the voice of Mariana of the convent, or any of the other Marianas, Marias and Maria Anas they have invented, or their own
333:
While the trial of the three Marias was widely reported in
English-language media, the first English translation, by Helen R Lane, was not published until 1975. Evaluations of its literary merits were mixed. Some reviewers found that it "labours under cliché", and was "experimental in the worst
239:
combines letters, essays, poems, fragments, puzzles and excerpts from legal documents in unpredictable order. The three Marias write to and as the Marianas, Marias and Anas whom they have invented as the original Sister Mariana's female descendants, "vĂtimas da opressĂŁo patriarcal, da violĂȘncia
259:
The three writers signed the work together and never revealed which one composed each fragment, as "a symbol of their sisterhood and the common sufferings of women". Some academic studies attempted to determine the authorship of the various texts that compose the book by comparison with their
313:
to categorize the book, thus rejecting the logic of traditional literary forms. Critics have attempted to describe it, one saying it was "a huge and complicated garlandâor perhaps wreathâof poetry and prose", another seeing roots in Portuguese literary tradition, particularly the work of
160:
The book's publication and banning, its subsequent stage adaptations, and the international outcry over the arrest of the authors, revealed to the world the existence of extremely discriminatory dictatorial repression and the power of the Catholic
411:(or excerpts from it) had public readings on stage and radio, during the trial of its authors and after it was published in translation, in several countries including the US, UK and France. Several plays were based on it, including:
295:
Soon after their acquittal, Maria Velho da Costa publicly dissociated herself from feminism and women's liberation groups. She joined the Portuguese Communist Party. Both Maria Isabel Barreno and Maria Teresa Horta were members of the
243:
They also write to and about each other: "Each Maria thus serves as analyst as well as reader-critic for the other two ... They purposely shift roles from analyst to analysand repeatedly ... their own image for the process is an
325:
also contain a series of concentric "sentimental" stories of love and sorrow." A 2006 Portuguese study describes it as "um palimpsesto, na medida em que a sua superfĂcie esconde nĂveis de significação mais profundos" (a
399:
the nun rather than about her and by transforming her from victim into victor, famous in all the courts of Europe for her celebrated letters .... the nun, after all, does not destroy herself; instead, she writes."
394:
Linda S. Kauffman, a feminist literary theory scholar, challenges these perceptions, saying "The writing is a process of searching for the law of their own desires. They inscribe those desires in part by speaking
338:
the arc throughout the volume, that of eroticism insisting upon its role in politics. The graphic description of a nun masturbating recalls Mariana's isolation, fervor, and fury at her trap". The
373:
as writing, âWhen the book was published in the United States, the English translation seemed to me somewhat less inspiring than the selections .. done by Gilda Grillo and Louise Bernikow ."
369:
theory texts in Europe and the US." She points out that "uring the wave of international solidarity, only fragments of the book circulated in translation", and quotes radical feminist
269:
press" and "outrage to public decency". The authors smuggled their book to France, sending it to the editors of three French feminists whose work they admired, and thus it reached the
1268:"The Three Marias: New Portuguese Letters / by Maria Isabel Barreno, Maria Theresa Horta, and Maria Fatima Velho Da Costa ; directed by Rena Down. (Part 2 only)"
1518:
330:, in which its surface hides deeper levels of signification); others have called it "a post-modern collage of fiction, personal letters, poetry, and erotica".
145:) is a literary work composed of letters, essays, poems, fragments, puzzles and excerpts from legal documents, published jointly by the Portuguese writers
276:
A campaign of protests against the detention of the three Marias was discussed at the first International Feminist Planning Conference, sponsored by the
1458:
1405:
1352:
1325:
297:
270:
24:
157:
in 1972. The authors became known internationally as "The Three Marias", which became the title of the book in its first translation to English.
1378:
474:
New Portuguese letters to the world : international reception. (Reconfiguring identities in the Portuguese-speaking world, vol. 5.)
917:
596:
481:
580:
418:("Childbirth"), by Brazilian playwright Gilda Grillo and Maria Isabel Barreno (performed in New York and Paris in 1974 and 1975)
343:
voices, they always manage to evoke the sense of some terrible wasting disease afflicting and at the same time thrilling them.
300:, although by mid 1975 Horta had resigned due to frustration with low numbers and lack of engagement with working-class women.
277:
1533:
435:
292:, the trial was terminated and the authors pardoned, with the judge declaring the book "of outstanding literary merit".
217:
1173:
1143:
1116:
1086:
1048:
1010:
980:
1298:
953:
230:
1431:
887:
1528:
352:
281:
1538:
1523:
170:
758:
105:
1485:
454:
student Tamar Aznarashvili, performed in a psychiatric hospital, Centro Hospitalar Conde Ferreira, in
23:
285:
209:
201:
193:
154:
146:
42:
34:
800:
697:
666:(8). Wiley, on behalf of the National Federation of Modern Language Teachers Associations: 451â452.
1543:
521:
476:
Edited by Ana LuĂsa Amaral, Ana Paula Ferreira and Marinela Freitas. Oxford; New York: Peter Lang.
136:
100:
376:
Some reviewers of the first English translation did consider its contribution to feminist theory.
851:
675:
222:
205:
169:
also denounced the injustices of Portuguese colonialism and played a part in the downfall of the
150:
38:
215:
The three authors exchanged writings, drawing inspiration from the seventeenth century classic
925:
592:
484:
477:
451:
314:
197:
229:, after she was seduced and abandoned by her lover, a French knight, who was fighting in the
841:
667:
365:
elements, the book conveys a single message: women also have a voice and know how to speak.
347:
770:
384:
289:
1267:
830:"The "Three Marias," Maria Isabel Barreno, Maria Teresa Horta & Maria Velho Da Costa"
226:
654:
by Maria Isabel Barreno, Maria Teresa Horta, Maria FĂĄtima Velho da Costa, Helen Lane;
221:. That work comprises five letters allegedly written by a Portuguese nun named Sister
1512:
174:
370:
377:
739:
424:, by American poet Faith Gillespie, performed in London, England, and shown on
1256:. Vol. 257, no. 6894. London, England. 11 October 1975. p. 120.
425:
327:
162:
929:
846:
829:
658:
by Maria Isabel Barreno, Maria Teresa Horta, Maria FĂĄtima Velho da Costa".
1487:
Adapting, Directing and Performing New Portuguese Letters (Masters thesis)
738:
Patrick, Oona; Ellis, Dean; Fernandes, Jose (translator) (15 April 2014).
488:
459:
247:
78:
855:
679:
671:
1438:. Sydney, New South Wales, Australia. 24 November 1975. p. 12
1237:
Macedo, H. M. (12 December 1975). "Teresa and Fatima and Isabel".
455:
1222:
The Question of How: Women Writers and New Portuguese Literature.
1459:"Women's real concerns reduced to overripe artiness in 'Maria'"
522:
As Novas Cartas Portuguesas e a Contestação do Poder Patriarcal
1493:. Porto, Portugal: Faculdade de Letras, Universidade do Porto
589:
Discourses of Desire: Gender, Genre, and Epistolary Fictions
1210:. No. 7926. London, England. 11 May 1975. p. 43.
628:
Cooke, Judy (2 October 1975). "The Three Marias revived".
547:
Mitchell, Juliet (5 October 1975). "Passion's prisoners".
273:. The book and the arrests became internationally famous.
924:. Vol. 102, no. 4. 23 July 1973. p. 52.
650:
Hamilton-Faria, Hope (December 1975). "Reviewed Works:
888:"Novas Cartas Portuguesas: The Making of a Reputation"
444:
by Susan Galbraith (performed in Minneapolis in 1981)
1224:
Westport, Connecticut: Greenwood Press, 1989, p. 7.
120:
112:
94:
84:
74:
66:
58:
48:
30:
1299:"Jan Murray on the Capoeiras dance group of Bahia"
960:. Rochester, New York. 26 October 1973. p. C1
981:"Feminists of 27 nations vow 'to change society'"
1093:. Los Angeles, California, US. pp. 1, 6, S4
1017:. Sydney, New South Wales, Australia. p. 13
192:) was conceived in 1971, three years before the
1241:. No. 3848. London, England. p. 1484.
645:
643:
641:
639:
1144:"Portugal blunders over the three Marias case"
1087:"L.A. Feminists March for Sisters in Portugal"
881:
879:
877:
875:
873:
871:
869:
867:
865:
632:. No. 37435. London, England. p. 12.
591:. Cornell University Press. pp. 279â311.
225:who lived in the Convent of the Conception in
1406:"Faith Gillespie. Craft with care (Obituary)"
1385:. London, England. 25 October 1975. p. 4
551:. No. 7947. London, England. p. 39.
177:regimes which had ruled Portugal since 1926.
8:
948:
946:
528:, n.Âș 26, April 2006: 16-20. (In Portuguese)
434:, a dance-drama by Australian choreographer
16:
886:Dias Martins, Ana Margarida (Spring 2012).
691:
689:
1142:Cemlyn-Jones, William (10 February 1974).
1080:
1078:
1076:
1074:
1072:
1070:
1049:"Women protest Portuguese authors' arrest"
574:
572:
570:
568:
566:
564:
562:
560:
558:
542:
540:
538:
536:
534:
22:
15:
1232:
1230:
1167:
1165:
1004:
1002:
845:
733:
731:
729:
727:
725:
723:
438:, performed in Sydney, Australia, in 1975
1042:
1040:
1038:
1036:
1034:
1032:
794:
792:
790:
788:
786:
784:
782:
780:
652:The Three Marias: New Portuguese Letters
583:The Three Marias: New Portuguese Letters
987:. Boston, Massachusetts, US. p. 30
623:
621:
619:
617:
615:
516:
514:
512:
510:
508:
506:
504:
500:
196:and the consequent independence of the
1484:Aznarashvili, Tamar (September 2017).
1201:
1199:
1197:
1195:
1110:
1108:
954:"Three Women Charged With Pornography"
766:
756:
298:Portuguese women's liberation movement
1519:Obscenity controversies in literature
823:
821:
740:"Maria Teresa Horta: The Third Maria"
581:"8. Poetics, Passion and Politics in
7:
1465:. Minneapolis, Minnesota. p. 9B
1009:McLean, Frances (15 December 1973).
1379:"Weekend Television/Radio. Granada"
828:Vaz, Katherine (Winter 2001â2002).
1359:. Paterson, New Jersey. p. 35
1351:McKenna, Timothy (30 April 1975).
1055:. Boston, Massachusetts. p. 7
271:French women's liberation movement
14:
1404:Allen, Priscilla (24 July 1997).
1353:"Feminist Work Yields Poor Drama"
979:Karagianis, Maria (5 June 1973).
696:Ascherson, Neal (20 March 1975).
1457:Steele, Mike (4 November 1981).
1332:. New York, New York. p. 28
1324:Iachetta, Mike (30 April 1975).
1172:Calder, Liz (20 February 1974).
799:Kramer, Jane (2 February 1975).
288:which ended the dictatorship of
1432:"Book inspires new dance drama"
892:Journal of Feminist Scholarship
432:New Sonnets from the Portuguese
278:National Organization for Women
1115:Dix, Carol (30 January 1974).
1085:Liddick, Betty (5 July 1973).
1047:Smith, Lucinda (4 July 1973).
918:"The Case of The Three Marias"
1:
1412:. London, England. p. 15
1305:. London, England. p. 10
1239:The Times Literary Supplement
1123:. London, England. p. 11
840:(3). University of Iowa: 81.
1297:Murray, Jan (31 July 1974).
1180:. London, England. p. 9
1150:. London, England. p. 8
1117:"Faith and the three Marias"
702:The New York Review of Books
458:, Portugal, in 2016, and in
350:, reviewing the book in the
1473:– via Newspapers.com.
1446:– via Newspapers.com.
1420:– via Newspapers.com.
1393:– via Newspapers.com.
1340:– via Newspapers.com.
1206:"Portuguese woman o' war".
660:The Modern Language Journal
579:Kauffman, Linda S. (1988).
389:Psychoanalysis and Feminism
218:Letters of a Portuguese Nun
1560:
286:the coup of April 25, 1974
231:Portuguese Restoration War
1436:The Sydney Morning Herald
1015:The Sydney Morning Herald
353:Times Literary Supplement
346:Exiled Portuguese writer
21:
656:Novas Cartas Portuguesas
520:BESSE, Maria Graciete. «
282:Cambridge, Massachusetts
200:in Africa. Its authors,
142:Novas Cartas Portuguesas
53:Novas Cartas Portuguesas
1011:"Three Marias on trial"
847:10.17077/0021-065X.5448
98:EstĂșdios Cor (Portugal)
17:New Portuguese Letters
1274:. Berkeley, California
1272:Pacific Radio Archives
958:Democrat and Chronicle
698:"Liberation in Lisbon"
409:New Portuguese Letters
310:New Portuguese Letters
237:New Portuguese Letters
186:New Portuguese Letters
167:New Portuguese Letters
132:New Portuguese Letters
1534:Portuguese literature
1091:The Los Angeles Times
308:As a literary work,
210:Maria Velho da Costa
202:Maria Isabel Barreno
194:Carnation Revolution
155:Maria Velho da Costa
147:Maria Isabel Barreno
43:Maria Velho da Costa
35:Maria Isabel Barreno
1326:"Love's labor lost"
630:The Daily Telegraph
264:Political reception
198:Portuguese colonies
49:Original title
18:
1220:Sadlier, Darlene.
805:The New York Times
801:"The Three Marias"
769:has generic name (
360:Impact on feminism
304:Literary reception
223:Mariana Alcoforado
206:Maria Teresa Horta
151:Maria Teresa Horta
39:Maria Teresa Horta
462:, Porto, in 2017.
450:by Rui Braga and
315:Bernardim Ribeiro
128:
127:
113:Publication place
1551:
1529:Portuguese books
1503:
1502:
1500:
1498:
1492:
1481:
1475:
1474:
1472:
1470:
1454:
1448:
1447:
1445:
1443:
1428:
1422:
1421:
1419:
1417:
1401:
1395:
1394:
1392:
1390:
1375:
1369:
1368:
1366:
1364:
1348:
1342:
1341:
1339:
1337:
1321:
1315:
1314:
1312:
1310:
1294:
1288:
1287:
1285:sensitive words.
1281:
1279:
1264:
1258:
1257:
1249:
1243:
1242:
1234:
1225:
1218:
1212:
1211:
1208:The Sunday Times
1203:
1190:
1189:
1187:
1185:
1169:
1160:
1159:
1157:
1155:
1139:
1133:
1132:
1130:
1128:
1112:
1103:
1102:
1100:
1098:
1082:
1065:
1064:
1062:
1060:
1053:The Boston Globe
1044:
1027:
1026:
1024:
1022:
1006:
997:
996:
994:
992:
985:The Boston Globe
976:
970:
969:
967:
965:
950:
941:
940:
938:
936:
914:
908:
907:
905:
903:
883:
860:
859:
849:
825:
816:
815:
813:
811:
796:
775:
774:
768:
764:
762:
754:
752:
750:
735:
718:
717:
715:
713:
693:
684:
683:
647:
634:
633:
625:
610:
609:
607:
605:
576:
553:
552:
549:The Sunday Times
544:
529:
518:
448:The Three Marias
422:The Three Marias
26:
19:
1559:
1558:
1554:
1553:
1552:
1550:
1549:
1548:
1509:
1508:
1507:
1506:
1496:
1494:
1490:
1483:
1482:
1478:
1468:
1466:
1456:
1455:
1451:
1441:
1439:
1430:
1429:
1425:
1415:
1413:
1403:
1402:
1398:
1388:
1386:
1377:
1376:
1372:
1362:
1360:
1350:
1349:
1345:
1335:
1333:
1323:
1322:
1318:
1308:
1306:
1296:
1295:
1291:
1277:
1275:
1266:
1265:
1261:
1251:
1250:
1246:
1236:
1235:
1228:
1219:
1215:
1205:
1204:
1193:
1183:
1181:
1171:
1170:
1163:
1153:
1151:
1141:
1140:
1136:
1126:
1124:
1114:
1113:
1106:
1096:
1094:
1084:
1083:
1068:
1058:
1056:
1046:
1045:
1030:
1020:
1018:
1008:
1007:
1000:
990:
988:
978:
977:
973:
963:
961:
952:
951:
944:
934:
932:
916:
915:
911:
901:
899:
885:
884:
863:
834:The Iowa Review
827:
826:
819:
809:
807:
798:
797:
778:
765:
755:
748:
746:
737:
736:
721:
711:
709:
695:
694:
687:
649:
648:
637:
627:
626:
613:
603:
601:
599:
578:
577:
556:
546:
545:
532:
519:
502:
497:
469:
467:Further reading
406:
385:Juliet Mitchell
362:
306:
290:Marcelo Caetano
266:
257:
233:against Spain.
183:
171:Second Republic
121:Media type
104:
101:Victor Gollancz
99:
89:
88:1972 (Portugal)
41:
37:
12:
11:
5:
1557:
1555:
1547:
1546:
1541:
1539:Feminist books
1536:
1531:
1526:
1524:Censored books
1521:
1511:
1510:
1505:
1504:
1476:
1449:
1423:
1396:
1370:
1343:
1316:
1289:
1259:
1244:
1226:
1213:
1191:
1174:"Letters prey"
1161:
1134:
1104:
1066:
1028:
998:
971:
942:
909:
861:
817:
776:
719:
685:
672:10.2307/325498
635:
611:
597:
554:
530:
499:
498:
496:
493:
492:
491:
468:
465:
464:
463:
445:
439:
429:
419:
405:
402:
361:
358:
340:New York Times
305:
302:
265:
262:
256:
253:
227:Beja, Portugal
182:
179:
126:
125:
122:
118:
117:
114:
110:
109:
96:
92:
91:
86:
82:
81:
76:
72:
71:
68:
64:
63:
60:
56:
55:
50:
46:
45:
32:
28:
27:
13:
10:
9:
6:
4:
3:
2:
1556:
1545:
1542:
1540:
1537:
1535:
1532:
1530:
1527:
1525:
1522:
1520:
1517:
1516:
1514:
1489:
1488:
1480:
1477:
1464:
1460:
1453:
1450:
1437:
1433:
1427:
1424:
1411:
1407:
1400:
1397:
1384:
1380:
1374:
1371:
1358:
1354:
1347:
1344:
1331:
1327:
1320:
1317:
1304:
1300:
1293:
1290:
1286:
1273:
1269:
1263:
1260:
1255:
1254:The Economist
1248:
1245:
1240:
1233:
1231:
1227:
1223:
1217:
1214:
1209:
1202:
1200:
1198:
1196:
1192:
1179:
1175:
1168:
1166:
1162:
1149:
1145:
1138:
1135:
1122:
1118:
1111:
1109:
1105:
1092:
1088:
1081:
1079:
1077:
1075:
1073:
1071:
1067:
1054:
1050:
1043:
1041:
1039:
1037:
1035:
1033:
1029:
1016:
1012:
1005:
1003:
999:
986:
982:
975:
972:
959:
955:
949:
947:
943:
931:
927:
923:
922:TIME Magazine
919:
913:
910:
897:
893:
889:
882:
880:
878:
876:
874:
872:
870:
868:
866:
862:
857:
853:
848:
843:
839:
835:
831:
824:
822:
818:
806:
802:
795:
793:
791:
789:
787:
785:
783:
781:
777:
772:
767:|first3=
760:
745:
741:
734:
732:
730:
728:
726:
724:
720:
707:
703:
699:
692:
690:
686:
681:
677:
673:
669:
665:
661:
657:
653:
646:
644:
642:
640:
636:
631:
624:
622:
620:
618:
616:
612:
600:
598:9780801495106
594:
590:
586:
584:
575:
573:
571:
569:
567:
565:
563:
561:
559:
555:
550:
543:
541:
539:
537:
535:
531:
527:
523:
517:
515:
513:
511:
509:
507:
505:
501:
494:
490:
486:
483:
482:9783034318938
479:
475:
471:
470:
466:
461:
457:
453:
449:
446:
443:
440:
437:
436:Margaret Barr
433:
430:
427:
423:
420:
417:
414:
413:
412:
410:
403:
401:
398:
392:
390:
386:
382:
379:
374:
372:
366:
359:
357:
355:
354:
349:
348:HĂ©lder Macedo
344:
341:
335:
331:
329:
324:
320:
319:Menina e moça
316:
311:
303:
301:
299:
293:
291:
287:
283:
279:
274:
272:
263:
261:
254:
252:
250:
249:
241:
238:
234:
232:
228:
224:
220:
219:
213:
211:
207:
203:
199:
195:
191:
187:
180:
178:
176:
175:authoritarian
172:
168:
165:in Portugal.
164:
158:
156:
152:
148:
144:
143:
138:
134:
133:
123:
119:
115:
111:
107:
102:
97:
93:
90:1975 (UK, US)
87:
83:
80:
77:
73:
69:
65:
61:
57:
54:
51:
47:
44:
40:
36:
33:
29:
25:
20:
1495:. Retrieved
1486:
1479:
1467:. Retrieved
1463:Star Tribune
1462:
1452:
1440:. Retrieved
1435:
1426:
1414:. Retrieved
1410:The Guardian
1409:
1399:
1387:. Retrieved
1383:The Guardian
1382:
1373:
1361:. Retrieved
1356:
1346:
1334:. Retrieved
1329:
1319:
1307:. Retrieved
1303:The Guardian
1302:
1292:
1283:
1276:. Retrieved
1271:
1262:
1253:
1247:
1238:
1221:
1216:
1207:
1182:. Retrieved
1178:The Guardian
1177:
1152:. Retrieved
1148:The Observer
1147:
1137:
1125:. Retrieved
1121:The Guardian
1120:
1095:. Retrieved
1090:
1057:. Retrieved
1052:
1019:. Retrieved
1014:
989:. Retrieved
984:
974:
962:. Retrieved
957:
933:. Retrieved
921:
912:
900:. Retrieved
895:
891:
837:
833:
808:. Retrieved
804:
759:cite journal
747:. Retrieved
743:
710:. Retrieved
705:
701:
663:
659:
655:
651:
629:
602:. Retrieved
588:
582:
548:
525:
473:
447:
441:
431:
421:
415:
408:
407:
396:
393:
388:
387:, author of
383:
375:
371:Robin Morgan
367:
363:
351:
345:
339:
336:
332:
322:
318:
309:
307:
294:
275:
267:
258:
245:
242:
236:
235:
216:
214:
189:
185:
184:
166:
159:
141:
140:
131:
130:
129:
62:Helen R Lane
52:
442:Maria, Anon
404:Adaptations
378:Jane Kramer
323:New Letters
1544:1972 books
1513:Categories
1330:Daily News
898:(2): 24â49
495:References
426:Granada TV
328:palimpsest
280:, held in
255:Authorship
163:patriarchy
137:Portuguese
70:Portuguese
59:Translator
930:0040-781X
526:Latitudes
489:913573050
317:: "Like
106:Doubleday
95:Publisher
85:Published
1357:The News
856:20155016
744:Guernica
460:Miragaia
452:Georgian
248:parabola
173:and the
116:Portugal
79:Feminism
67:Language
1497:18 July
1469:18 July
1442:17 June
1416:18 July
1389:18 July
1363:18 July
1336:18 July
1309:18 July
1278:18 July
1252:"NĂŁo".
1184:29 June
1154:29 June
1127:29 June
1097:29 June
1059:29 June
1021:29 June
991:29 June
964:18 July
935:30 June
902:18 July
810:18 July
749:18 July
712:18 July
604:18 July
428:in 1975
181:Summary
75:Subject
31:Authors
928:
854:
680:325498
678:
595:
487:
480:
321:, the
1491:(PDF)
852:JSTOR
676:JSTOR
524:» in
472:2015
456:Porto
416:Parto
246:open
124:Print
1499:2019
1471:2019
1444:2019
1418:2019
1391:2019
1365:2019
1338:2019
1311:2019
1280:2019
1186:2019
1156:2019
1129:2019
1099:2019
1061:2019
1023:2019
993:2019
966:2019
937:2019
926:ISSN
904:2019
812:2019
771:help
751:2019
714:2019
606:2019
593:ISBN
485:OCLC
478:ISBN
208:and
153:and
108:(US)
103:(UK)
842:doi
708:(4)
668:doi
190:NPL
1515::
1461:.
1434:.
1408:.
1381:.
1355:.
1328:.
1301:.
1282:.
1270:.
1229:^
1194:^
1176:.
1164:^
1146:.
1119:.
1107:^
1089:.
1069:^
1051:.
1031:^
1013:.
1001:^
983:.
956:.
945:^
920:.
894:.
890:.
864:^
850:.
838:31
836:.
832:.
820:^
803:.
779:^
763::
761:}}
757:{{
742:.
722:^
706:22
704:.
700:.
688:^
674:.
664:59
662:.
638:^
614:^
587:.
557:^
533:^
503:^
397:to
204:,
149:,
139::
1501:.
1367:.
1313:.
1188:.
1158:.
1131:.
1101:.
1063:.
1025:.
995:.
968:.
939:.
906:.
896:2
858:.
844::
814:.
773:)
753:.
716:.
682:.
670::
608:.
585:"
188:(
135:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
