Academic literature on the topic 'American Feminist poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'American Feminist poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "American Feminist poetry"
1
MICHAILIDOU, ARTEMIS. "Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss." Journal of American Studies 38, no. 1 (April 2004): 67–88. http://dx.doi.org/10.1017/s0021875804007911.
Full textAbstract:
Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.
2
Yakovenko, I. "Resistance and liberation discourse in Audre Lorde’s “Sister Outsider”." Studia Philologica 1, no. 14 (2020): 107–13. http://dx.doi.org/10.28925/2311-2425.2020.1416.
Full textAbstract:
The article focuses on the essays of Audre Lorde — African American writer, Black feminist and activist. Through the lens of African American and Feminist Studies the essay collection “Sister Outsider” by Audre Lorde is analysed as a political manifesto which critiques the Second Wave feminism, and suggests a unique perspective on issues of racism, sexism, heterosexism, homophobia, women’s erotic and creativity. Although Lorde’s early poetry collections are characterised by the wide usage of authentic imagery and Afro-centric mythology, the later poetry, the 1982 biomythography “Zami: A New Spelling of My Name”, and the 1984 essay collection “Sister Outsider”, are politicised writings in sync with the Black / feminist consciousness. In the essays, Audre Lorde argues that institutionalised rejection of race / gender / class / sexual differences stems from the Western European patriarchal frame thus aggravating discriminating practices. The writer emphasises the role of the oppressed groups — ethnic minorities, women, the working class, in the destruction of the societal patriarchal ‘norms’. Audre Lorde’s essay collection has become instrumental in initiating the feminist discussion on intersectionality, which will later be theorized by Kimberle Crenshaw, and in articulation of the Black feminist ideology. Lorde’s critique of White feminists is triggered by their dismissal of the non-European women’s heritage, and by their unwillingness to acknowledge differences inside the gender group, which for the Black feminist Audre Lorde was an adoption of the patriarchal frame of reference. The poet’s timely theory of differences urges to break up silences concerning societal discriminating practices towards the oppressed groups, thus challenging the hierarchies of powers in the society.
3
Djuric, Dubravka. "The feminist avant-garde and feminaissance in american poetry and the visual arts." Bulletin de l'Institut etnographique 69, no. 2 (2021): 275–87. http://dx.doi.org/10.2298/gei2102275d.
Full textAbstract:
In this article, I will discuss the appearance and meaning of the terms feminist avant/garde and feminaissance. I will point to the differences in the mediums of these two fields of cultural production (verbal art and visual art). I am interested in the way these terms help us to construe histories but also impact the contemporary production of radical feminist practices. The notion of the feminist avant-garde was introduced by the American critic Elizabeth A. Frost in 2003 in order to point to the feminist avant-garde poetry tradition. In 2016, the curator Gabrielle Schor introduced the same term, using it for the international exhibition of performance artists from the 1970s. In both fields, the term avant-garde had been used to refer to male artistic and poetry practices. By applying it to radical women?s poetry and performance practices, these practices became visible, valued and recognizable. Feminaissance was introduced in the US in 2007 and referred to the several exhibitions dedicated to female art. The term expressed the optimistic re-actualization of female art, but at the same time, it provoked polemics regarding the contemporary construction of feminist art history. In the field of experimental poetry, feminaissance was used with the same meaning in 2007, at a conference dedicated to feminist experimentation. Within the visual arts, the term feminaissance foregrounded the problematics of the historization of female art, while in experimental poetry this discussion took place around the feminist positions of essentialism and anti-essentialism.
4
Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.
Full textAbstract:
The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.
5
Yunusoğlu, Andrada. "The Bodies We Inhabit: Reclaiming Power in the Poetry of Melissa Lozada-Oliva and Olivia Gatwood." Word and Text - A Journal of Literary Studies and Linguistics 12 (2022) (December 30, 2022): 124–41. http://dx.doi.org/10.51865/jlsl.2022.09.
Full textAbstract:
In this study I shall analyse peluda (2017) by Melissa Lozada-Oliva, and New American Best Friend (2017) and Life of the Party (2019) by Olivia Gatwood, focusing on how feminism and confessional poetry are used as means of empowerment and awareness for non-conforming identities. I shall analyse the most recurrent motifs and themes used by both poets in conjunction with feminist theory, highlighting the relationship between female identity and text. Furthermore, I shall describe how Melissa Lozada-Oliva and Olivia Gatwood reclaim their identity, language and discourse throughout the aforementioned books. Moreover, I shall also clarify why confessional poetry and the use of ‘I’ is a political act/choice for feminist poets. Without further ado, in this study I aim to showcase how the political and social issues influence the literary world, contributing to a more inclusive idea of a literary canon.
6
Lee, Abigail Jinju. "What Comes after #StopAsianHate? Asian American Feminist Speculation." Frontiers: A Journal of Women Studies 44, no. 3 (2023): 92–116. http://dx.doi.org/10.1353/fro.2023.a922879.
Full textAbstract:
Abstract: Growing Asian American abolition feminisms is a practice not only of politics, organizing, and struggle, but of imagination, and speculative fiction and poetry can work to inspire and sustain such imaginations. Speculative and experimental works also challenge conventions of literary realism in Asian American literature, opening generic and imaginative possibilities for Asian American feminist politics. Responding to the threats of police violence and of racialized violence against Asian North American women, Franny Choi’s queer feminist cyborg poetics open space beyond the violences of the human, and Kai Cheng Thom’s Fierce Femmes and Notorious Liars: A Trans Girl’s Confabulous Memoir bends space and time to join trans women’s community together in ease and safety. Vandana Singh’s utopias of the third kind locate utopic thinking in the struggles of oppressed and racialized people to build and sustain community through slowness and connection. Together, these speculations consider Asian American feminist futurities and what ways of being-otherwise we can share in the present and future, shaped by connection, community, and care, rather than urgency, scarcity, and fear. Analyzing how these works respond to violence and crisis, this article describes abolitionist possibilities for Asian American feminisms that respond to anti-Asian and state violence by seeking other genres of human life and rejecting linear notions of progress. Instead, these texts cultivate connection and community in the present as a project of shaping Asian American utopic visions, rethinking utopia not as a vision of future perfection, but an ethic of embracing and negotiating change, difference, and multiplicity.
7
Kubińska, Olga. "Fasetowany język: bilingwalna poezja Ireny Klepfisz w poetyckim dyskursie o Zagładzie." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 327–47. http://dx.doi.org/10.14746/pspsl.2018.33.19.
Full textAbstract:
The bilingual poetry of Irena Klepfisz, a Polish-born Jewish-American poet, seems to constitute a unique case of Holocaust poetry. The poet, an intellectual and activist engaged in lesbian, queer, feminist and gender movements, advocates the reading of Holocaust poetry within the ramifications of gender oriented cultural theories. Her bilingual poetry undermines the hypothesis of the postvernacularity of contemporary Yiddish. The paper substantiates the thesis that the choice of the target language in the translaton of bilingual Holocaust poetry has clear axiological underpinnings.
8
Khan, Kalsoom, Mumtaz Ahmad, and Malik Mujeeb ur Rahman. "Poetic Negotiations: Salad Bowl Feminism in Selected Poetry of Fehmida Riaz, Pat Mora and Joan Loveridge-Sanbonmatsu." Global Social Sciences Review V, no. II (June 30, 2020): 541–50. http://dx.doi.org/10.31703/gssr.2020(v-ii).51.
Full textAbstract:
The research attempts to evaluate the depiction of women's oppression in specific postcolonial contexts at the hands of the interlocked power pattern formed by manifold factors like patriarchy, class conflict, religion, ethnicity and imperialism in the selected poetry of the renowned Pakistani poetess Fehmida Riaz, the Latino American Poetess Pat Mora, and the Japanese poetess Sanbonmatsu. It applies the theory of Postcolonial Feminism to bring to the fore the oppression of postcolonial women at the intersection of gender, class, race, religion and culture, hence, offering a critique of Western Feminist discourse and its slogan of sisterhood, which tends to erase heterogeneity in women's situations across the globe. The theory of Third World Feminism as well as the portrayals in these poetic compositions from a variety of postcolonial social formations, highlight the fact that postcolonial women are not a monolithic and archetypal suffering category as presented in Western discourses; instead, their resistant agency and subversive subjectivity also stands at the center of their creative writings.
9
Jaber, Wathiq Majid, and Asaad Abderada Ali. "Challenging Patriarchy: Feminist Reading in Select Poems of Adrienne Rich." Journal of Asian Multicultural Research for Educational Study 4, no. 2 (September 25, 2023): 32–41. http://dx.doi.org/10.47616/jamres.v4i2.428.
Full textAbstract:
This paper examines the feminism of Adrienne Rich, focusing on how she subverts patriarchal ideas and themes in a few of her poems. Rich's criticism of gender roles, power relationships, and the repressive aspects of patriarchy can be found by looking at her poetry through feminist lens. Rich effectively promotes gender equality by challenging patriarchal norms through the use of language, imagery, and poetic methods.Rich's poems under study are: ‘‘Tear Gas’’, ‘‘Paula Becker to Clara Westhoff’’, ‘‘Snapshot of a Daughter in – Law’’, ‘‘Diving into the Wreck’’ ‘‘Power’’, and ‘‘Rape’’.The shape as well as themes of Rich's poetry prove a new style of American writing poetry. Rich refuses the rule that is put by male on female writing because she wants to express her voice and dream. Rich fights the patriarchy that is imposed on women and represses them for ages. Women are oppressed and their rights are violated by males society.Rich has used her poetry to defend women and has released them from the oppression of patriarchal society . She dares to write as a woman. Rich Introduces herself as a female who suffers in a patriarchal society. Rich is aware limited of language to transferring woman's voices, so she searched for an efficient device to transfer the experience and suffering of women.
10
Gargallo Celentani, Francesca. "Así de líquida: Aralia López González, escriba, maestra, amiga." Interpretatio. Revista de Hermenéutica 5, no. 1 (March 10, 2020): 75–87. http://dx.doi.org/10.19130/iifl.it.2020.5.1.0007.
Full textAbstract:
The way in which Aralia López relates to women and men involved a constant weaving of interpretations and proposing utopias in order to understand that a new personal and collective subjectivity is created by narrative and poetry. Aralia, a poet and an indispensable voice of Latin American feminist literary criticism, cultivated the friendship between women and the expression of feminine difference. Her work and way of life questioned the masculine patriarchal hegemony and casted serious doubts on traditional ideas and practices harmful to freedom.
Dissertations / Theses on the topic "American Feminist poetry"
1
Clake, Jenna. "'A noisy situation' : the feminine and feminist 'New Absurd' in twenty-first-century British and American poetry, and, 'Send Shells'." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8653/.
Full textAbstract:
This thesis consists of a critical study, ‘“A Noisy Situation”: The Feminine and Feminist New Absurd in Twenty-first Century British and American Poetry’, followed by a poetry collection, 'Send Shells'. The critical study is a guidebook to the New Absurd, and thereby informs the reading of 'Send Shells'. Chapter One introduces the New Absurd as a descendant of male-dominated Absurdism; feminine and feminist humour is explored through Sam Riviere, Heather Phillipson, Selima Hill and Luke Kennard. Chapters Two, Three and Four focus on individual poets: Jennifer L. Knox’s 'A Gingo Like Me', Emily Berry’s 'Dear Boy' and Caroline Bird’s 'The Hat-Stand' 'Union' and 'In These Days of Prohibition'. The following themes are investigated: culture, class, and elitism; reality and imagination; feminine humour and sadness. Chapter Five explores apocalypse and technology through Maxine Chernoff, Jane Yeh, and Anne Carson. Chapter Six analyses failures to communicate through Rebecca Perry, Crispin Best, Rachael Allen, and Sara Woods. In conclusion Kayo Chingonyi, Rishi Dastidar, Mona Arshi and Anne Boyer are read to explore poets utilising the New Absurd, a prominent and influential movement in modern poetry, which does not have a specific membership, and might be seen as an aesthetic rather than a school.
2
Hurteau, Alicia. "Pedagogies of Solidarity: Feminist Poetry Written by Arab American Women Post September 11, 2001." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/910.
Full textAbstract:
This thesis materialized out of an urgency to legitimize more creative, plural, and curious ways of thinking critically about the implications of 9/11 specifically, and global terrorism generally. This thesis actively grapples with the question: how has feminist poetry written by Arab American women post 9/11 complicated, resisted, and re-imagined the creation of one homogenizing national narrative of the event? The data used in order to answer this research question comes from an analysis of the poetic work of five Arab American women, each of whom write explicitly within an anti-imperialist feminist framework. My thesis analyzes these poems in conversation with one another in order to synthesize and establish a pattern. In doing so, I extract three of the most prominent commonalities between the poems: (1) An insistence on dehomogenizing the Arab and the Arab American in direct contrast to the Western stereotypes that polarize and essentialize the Arab “other” (2) a desire to re-negotiate the politics of identity and visibility and (3) an ability to teach a way of suturing solidarity that is anti-imperialist, necessarily plural, and embodied as art. This thesis serves as a reminder that the groundwork for building more imaginative, creative, and generative coalitions has already been laid. It concludes that in learning from places of artistic re-visioning, it becomes more possible to chart connections and provoke loyalties that are resonant, resilient, and revolutionary.
3
Hassan, Saman Salah. "Women and literature : a feminist reading of Kurdish women's poetry." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/13903.
Full textAbstract:
This research work is a detailed feminist reading of the poetry of a selected group of Kurdish women poets which has been written in Sorani Kurdish. The poets come from two different locations, but are originally from Iraqi Kurdistan. A group of them live in the diaspora and the rest are home-based. Thus, it is the study of the Sorani-written poetry produced by Kurdish women poets locally and externally. The study chooses the time extending from 1990 to 2009 as its scope. There are clear reasons for the selection of this time as it stands for the most hectic period when Kurdish women’s poetry flourishes at a fast pace in southern Kurdistan. The study argues that the liberation of southern Kurdistan in 1991 from the overthrown Iraqi Ba’th regime plays a vital role in the productive reemergence of Kurdish women’s poetry after decades of silence and suppression being inflicted by the male-dominated Kurdish literature. Reliance on Anglo-American feminist criticism, Showalter’s gynocritics and some limited theories about the relation between gender and nationalism for the thematic analysis of the poetry of Kurdish women poets is another influential aspect of this study. The study justifies the importance of these theories for giving Kurdish women’s poetry the literary and social value it deserves and placing it within the larger repertoire of Kurdish literature. It is these theories that reveal the misjudgment and misapprehension of Kurdish women’s poetry by Kurdish male critics. Meanwhile, an extensive thematic analysis of the poetry of diasporic and home Kurdish women poets forms the core content of this work. The work studies the poetic texts of seventeen Kurdish women poets, seven from the diaspora, and ten from home. The themes to be focused on significantly represent the life realities of Kurdish women and the attitudes of Kurdish society towards their rights and existence. Through the exposition of the themes, this study aims to present a realistic picture of Kurdish women and urge for actions required to guarantee gender justice in southern Kurdistan. The themes symbolise a long-term war waged jointly by Kurdish women poets at home and in exile against the classic Kurdish patriarchy and its misogynistic laws. They reflect the injustice committed against women in a century when the respect of women’s rights have taken big steps forward elsewhere and should theoretically be ensured. The conclusion the study reaches is an emphasis on the overall condition of Kurdish women’s poetry and the challenges lying ahead of it. It indicates the level of progress Kurdish women’s poetry has made in southern Kurdistan and the role feminist criticism in unison with certain gender theories that criticise the link between women and nation can play in further developing this type of poetry. Moreover, a rather detailed comparison between the thematic structure and form of the poetry of diasporic and home Kurdish women poets is what enriches the conclusion. The influence of exile on diasporic Kurdish women poets and its relation to freedom of expression is also underlined and measured against opposite conditions back at home. Finally, the point where the poets of the two different localities converge is not omitted.
4
Spriggs, Bianca L. "Women of the Apocalypse: Afrospeculative Feminist Novelists." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/56.
Full textAbstract:
“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’
My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.
5
Sit, Wai-yee Agnes, and 薛慧宜. "The poetic quests of Emily Dickinson and Sylvia Plath." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38429640.
Full text
6
Kicak, Elizabeth. "Goddesses and Doormats." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1680.
Full textAbstract:
The following is a collection of original poetry written over a span of two years while attending the University of South Florida. The poetry is divided into three numbered sections, marking the major thematic divisions. Preceding the poetry is a critical introduction to the work which outlines the author's developing thematic ideology.
7
Sit, Wai-yee Agnes. "The poetic quests of Emily Dickinson and Sylvia Plath." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38429640.
Full text
8
Reuter, Victoria. "Penelope differently : feminist re-visions of myth." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4f1ffe10-d690-441d-8726-7fe1df896cb4.
Full textAbstract:
This thesis examines feminist rewritings of the Penelope myth and the intersections between poetry, myth, and feminist theory. The theoretical framework develops from Rosi Braidotti’s theory of memory and subjectivity which has its roots in the work of Michel Foucault. In Braidotti’s understanding, subjectivity is constructed through narratives of the past including myth. In order to support new, minority, and dissident subjectivities, a re-remembering of mythical narratives needs to happen. This process is linked to Judith Butler’s recent work on narrating the self and to Adrienne Rich’s idea of “Re-vision”. What Butler’s theory adds to Braidotti’s is the notion of dispossession: that as subjects we do not own our identities. We are, instead, dependent on others for recognition. This co-dependence based notion of subjectivity has ethical implications for how we interact with one another and what kind of narratives we iterate and reiterate. The writers discussed in this thesis, namely, Francisca Aguirre, Katerina Anghelaki-Rooke, Gail Holst-Warhaft, and Margaret Atwood, not only rewrite Penelope, but perform Re-visions of the myth. They look back at it with a critical eye and remake it. This thesis further contends that Re-vision provides contemporary feminist writers with a reading and writing strategy that allows them to engage with myth in a way that parallels feminist theory’s efforts to construct new forms of subjectivity. Chapter 1 frames feminist appropriations of myth in a contemporary context and discusses Adrienne Rich’s theory of Re- vision. The next four chapters focus on specific writers who carry out a sustained dialogue with Penelope; they each take an element of the myth and tease it out towards a modern relevance. In looking at how Penelope is revised, this thesis demonstrates that women writers are engaged in a process of remaking canonical, mythic texts in such a way that speaks to contemporary issues of ethical subjectivity and self-making.
9
Burk, Chelsea D. "Poetics of the document and documentary poetics : documentary poetry by women, 1938-2015." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6711.
Full textAbstract:
This project reconceives the methods critics use to define and analyze the critical field of documentary poetry. Although scholarship on documentary in the visual arts abounds, literary criticism that explores poetry through a documentary lens is sparse. Documentary poetics criticism focuses almost exclusively on socioeconomic class within the poems and on defining the genre. Critics have not attended to the ways that the category “document” inflects this poetic arena. I argue that documentary poetics includes engagement with specific documents and with the power they hold within a given historical moment. This requires attending to what I call document culture: a document’s visual and stylistic norms, in addition to the customs of its subject matter and material/medium. In addition to contributing to critical theory, this project traces documents’ shift from the twentieth century into the twenty-first from wood pulp to strings of code. I focus on representative collections of poetry that foreground the effects particular documents, like congressional hearings, dictionaries, and social media posts, have on people based on their position within the society in which they live. These documentary poems function differently than other poems that engage documents. A second category, poem-documents, interrogate the historical genre of English-language poetry in the nominally postcolonial US, with special focus on the African and Jewish diasporas, and experiences of indigenous people in the colonizing nation. These poems confront the genre’s social position and critically-imposed limitations to demonstrate poetry’s potential to act as a document that names and remembers injustices. My project emphasizes poetry by women, particularly women of color, in order to revise documentary poetics criticism’s interest in class and style to include textual resonances of race, gender, sexuality and nation. Just as the collections documentary poets offer are interdisciplinary in ethos, so is this project, with roots in documentary studies, media studies, feminist criticism, queer studies, and critical race studies in addition to literary criticism.
Each chapter of this project follows the slippage between poem-documents and documentary poems. Chapter one grounds documentary culture in Muriel Rukeyser’s The Book of the Dead (1938), widely considered to be the first American documentary poem. I juxtapose Rukeyser’s interest in document cultures and theory of poetry’s ethical possibilities in The Life of Poetry (1949) with, in Chapter two, Irena Klepfisz’s A Few Words in the Mother Tongue: Poems Selected and New 1971-1990, a collection that reframes lyric poetry as mode of documentation. Chapter three places Harryette Mullen’s critique of English-language reference texts and the accumulations of connotative meaning, Sleeping with the Dictionary (2002), in conversation with M. NourbeSe Philip’s Zong! (2008), which re-documents African women’s experiences of the trans-Atlantic slave trade. The final chapter addresses Citizen (2014), in which Claudia Rankine re-envisions the archive of anti-black racism to include speech and Conflict Resolution for Holy Beings (2015), Joy Harjo’s polyvocal and iconoclastic collection that uses poetry to redefine the archive’s temporality in a way that might counter the erasure of indigenous peoples in the Americas. The nuanced ruminations these poets offer illustrate that, as an area of study with its own investments, interests, and modes of inquiry, critical documentary poetics has just begun.
10
Wiechmann, Natalia Helena [UNESP]. "Tell all the truth but tell it slant: subtexto e subversão na poesia de Emily Dickinson." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/145002.
Full textAbstract:
Submitted by NATALIA HELENA Wiechmann (nataliahw@hotmail.com) on 2016-11-29T12:53:35Z
No. of bitstreams: 1
merged_document tese final.pdf: 1278323 bytes, checksum: bd3a385e94c7d4d3def8e7a2f3dbf147 (MD5)Rejected by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo a orientação abaixo: O arquivo submetido está sem a ficha catalográfica. A versão submetida por você é considerada a versão final da dissertação/tese, portanto não poderá ocorrer qualquer alteração em seu conteúdo após a aprovação. Corrija esta informação e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2016-12-02T13:40:12Z (GMT)
Submitted by NATALIA HELENA Wiechmann (nataliahw@hotmail.com) on 2016-12-03T18:39:34Z No. of bitstreams: 1 tese natalia h wiechman.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5)
Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-05T16:16:27Z (GMT) No. of bitstreams: 1 wiechmann_nh_dr_arafcl.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5)
Made available in DSpace on 2016-12-05T16:16:27Z (GMT). No. of bitstreams: 1 wiechmann_nh_dr_arafcl.pdf: 1389999 bytes, checksum: e49f465ba62565f942cdeef5d313bc04 (MD5) Previous issue date: 2016-10-31
O objetivo desta tese de doutorado consiste em analisar a poesia de Emily Dickinson (1830-1886) sob a perspectiva da crítica literária feminista estadunidense utilizando o conceito de subtexto literário enquanto recurso poético que revele na obra dickinsoniana diversas formas de subversão de normas sociais e literárias do patriarcado. Para isso, nosso corpus de análise se compõe de dezoito poemas e nosso trabalho está estruturado em quatro seções. A primeira discute algumas questões caras à crítica literária feminista estadunidense, como o conceito de autoria feminina e a tradição literária para, então, teorizar sobre o conceito de subtexto literário relacionando-o à ideia de subversão. Também nessa primeira seção analisamos do poema “Tell all the Truth but tell it slant – ”. Já na segunda parte de nossa tese apresentamos o contexto da produção literária estadunidense no século XIX e discutimos o fato de Emily Dickinson ter se recusado veementemente a publicar seus poemas. Os poemas analisados nessa seção são “Publication – is the Auction”, “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” e “Fame is a fickle food”. Na sequência, examinamos o ideal de feminilidade do século XIX e as formas como Dickinson subverte esse ideal nos poemas “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” e “I started Early – Took my Dog – ”. Por fim, analisamos poemas em que Dickinson empreende a subversão da imagem de Deus ao apontar as vulnerabilidades da fé e da condição humana e questionar preceitos religiosos: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” e “God gave a Loaf to every Bird – ”. Como suporte teórico, recorremos a diversos autores que compõem a fortuna crítica de Emily Dickinson bem como a importantes nomes da crítica literária feminista estadunidense, além de outros autores cujos estudos também dialogam com nossa pesquisa. Alguns dos autores utilizados neste trabalho são Virginia Woolf, Sandra Gilbert e Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe e Carlos Daghlian.
The aim of this dissertation is to analyze the poetry of Emily Dickinson (1830-1886) from the perspective of American feminist literary criticism drawing on the concept of literary subtext as a poetic resource that reveals in Dickinson’s work several ways of subverting the social and literary norms of patriarchy. To these ends, I analyze a corpus of eighteen poems, and the text is organized into four sections. The first section discusses some issues that are important to American feminist literary criticism, such as the concept of female authorship and literary tradition; it is then theorized about the concept of literary subtext and I relate it to the idea of subversion. Also, in this first section, I analyze the poem “Tell all the Truth but tell it slant – .” In the second part of this work, the context of American literary production in the nineteenth-century is presented and the fact that Emily Dickinson emphatically refused to have her poems published is considered. The poems analyzed in this section are “Publication – is the Auction”. “Fame of Myself, to justify”, “Fame is the tint that Scholars leave”, “Fame is the one that does not stay” and “Fame is a fickle food”. After the discussion of the poems, in the third section I examine the ideal of womanhood in the nineteenth century and the ways Dickinson subverts this ideal in the poems “To own a Susan of my own”, “Her breast is fit for pearls”, “I gave myself to Him – ”, “She rose to His Requirement – dropt”, “Title divine – is mine!” and “I started Early – Took my Dog – ”. Finally, in the closing section I study some poems in which Dickinson undertakes the subversion of God’s image, points out the vulnerabilities of faith and human condition, and questions religious precepts: “I never lost as much but twice”, “It’s easy to invent a Life – ”, “A Shade upon the mind there passes”, “God is indeed a jealous God – ” and “God gave a Loaf to every Bird – ”. To provide theoretical underpinning, several critics who have written on Dickinson’s work were consulted and significant names in American literary feminist criticism are also discussed, as well as other authors whose studies intersect with our research as well. Included among the writers, critics and researchers mentioned in our work are Virginia Woolf, Sandra Gilbert and Susan Gubar, Elaine Showalter, Betsy Erkkila, Helen Vendler, Maria Rita Kehl, Susan Howe, and Carlos Daghlian.
Books on the topic "American Feminist poetry"
1
Whitehead, Kim. The feminist poetry movement. Jackson: University Press of Mississippi, 1996.
Find full text
2
Levine, Ida. Spare ribs and other food for thought: A collection of early feminist poems and other writings. Washington, D.C. (2601 Woodley Pl., N.W., Washington 20008): I. Levine, 1994.
Find full text
3
Frost, Elisabeth A. The feminist avant-garde in American poetry. Iowa City, IO: University of Iowa Press, 2002.
Find full text
4
Montefiore, Jan. Feminism and poetry: Language, experience, identity in women's writing. 2nd ed. London: Pandora, 1994.
Find full text
5
Montefiore, Jan. Feminism and poetry: Language, experience, identity in women's writing. London: Pandora, 1987.
Find full text
6
Lonidier, Lynn. Clitoris lost: A woman's version of the creation myth. Boyes Hot Springs, Calif: ManRoot Press, 1989.
Find full text
7
Green, Jaki Shelton. Singing a tree into dance. Durham, N.C: Carolina Wren Press, 2003.
Find full text
8
Markey, Janice. A new tradition?: The poetry of Sylvia Plath, Anne Sexton, and Adrienne Rich : a study of feminism and poetry. Frankfurt am Main: P. Lang, 1988.
Find full text
9
Suzanne, Wise. The Kingdom of the Subjunctive: Poems. Farmington, USA: Alice James Books, 2000.
Find full textBook chapters on the topic "American Feminist poetry"
1
Huntsperger, David W. "Objectivist Form and Feminist Materialism in Lyn Hejinian’s My Life." In Procedural Form in Postmodern American Poetry, 131–63. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106109_6.
Full text
2
Keller, Lynn, and Cristanne Miller. "Feminism and the Female Poet." In A Concise Companion to Twentieth-Century American Poetry, 75–93. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757680.ch4.
Full text
3
Heredia, Juanita. "My Poetic Feminism Between Peru and the U.S.: Carmen Giménez Smith." In Mapping South American Latina/o Literature in the United States, 99–115. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72392-1_7.
Full text
4
Sewell, Lisa. "Feminist Poetries." In The Cambridge Companion to American Poetry since 1945, 109–26. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cco9781139032674.009.
Full text
5
Hicok, Bethany. "The Feminist Poetry Movement in America." In The Bloomsbury Handbook of Contemporary American Poetry. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350062535.ch-002.
Full text
6
Walker, Cheryl. "Dickinson in Context: Nineteenth-Century American Women Poets." In A Historical Guide to Emily Dickinson, 133–74. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195151343.003.0005.
Full textAbstract:
Abstract By now the feminist argument that Emily Dickinson should be read in the context of other nineteenth-century American women poets has a long history. To be sure, it is still a minor strain in Dickinson criticism, but what is minor, as the poet herself was fond of suggesting, can over time find a permanent place at the table. The first hint that this might happen came in 1977, when Emily Stipes Watts published her ambitious survey of American women poets and situated Dickinson among her peers, arguing that “In a variety of ways, . . . Dickinson’s poetry stands firmly within the developing tendencies of [nineteenth-century] American female verse.”
7
Haines, Christian P. "Nobody’s Wife: Affective Economies of Marriage in Emily Dickinson." In A Desire Called America, 114–56. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286942.003.0004.
Full textAbstract:
This chapter examines Emily Dickinson’s poetry, especially her poems focusing on marriage, domestic life, and coupling. It argues that this poetry develops a feminist critique of the social reproduction of American capitalism, that is, it examines how housework, domestic labor, and other kinds of activities are integral to the reproduction of capitalism and the nation-state. The chapter focuses on how Dickinson’s critique of domesticity deals with affect, intimacy, and emotion, especially heteronormative love and bourgeois romance. Finally, it analyzes how Dickinson creates a utopian alternative to bourgeois, heteronormative romance in the form of queer marriage: a non-normative form of coupling based on equality, preference, tactility, pleasure, and contingent relationality. The chapter puts Dickinson into conversation with Marxism, feminism (especially socialist feminism), and queer theory.
8
Hollenbach, Lisa. "In the Air." In The Oxford Handbook of Radio and Podcasting, 238–62. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197551127.013.13.
Full textAbstract:
Abstract This chapter examines Pacifica Radio’s archive of feminist poetry from the 1970s and 1980s to show how interdisciplinary approaches from literary radio studies can open neglected histories of post-1945 American radio and culture. Taking Pacifica station WBAI-FM as a primary case study and drawing on archival recordings, program guides, and published histories, this chapter gives an overview of how the listener-supported Pacifica Radio network became a site for feminist media activism in the 1970s. It then turns to a close analysis of two archival WBAI broadcasts of poetry readings by Black lesbian feminist poets Audre Lorde and Pat Parker. By representing lyric forms of selfhood and collectivity that resist instantaneous and clear transmission, the poetics of Lorde and Parker point toward alternative ways of listening to the radio archive as a residual source for future auditory imaginaries.
9
Davies, Catherine. "Cross-Cultural Homebodies 1n Cuba The Poetry of Excilia Saldaña." In Latin American Women’s Writing, 179–200. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198715122.003.0011.
Full textAbstract:
Abstract Studies of Caribbean writing consistently draw attention to the polyphony, incompleteness, and ambivalence of its discourse. Similarly, they point to the precarious stance of Caribbean authors who are positioned at the crossroads of multiply interacting and hierarchically structured cultures and ethnicities. The resulting ‘creative schizophrenia’ is said to give rise to the split writer who bears the ‘wounds of fragmentation’ of the dissociated, alienated self (Gilkes 1986: 1). The situation is inevitably compounded when the author is a woman, when the problematic involves not only class lived through race but race and economics lived through gender. In this essay I suggest that W. E. B. Du Bois’s concept of double consciousness, or the double-voiced, ‘two-toned’ text referred to in African-American criticism (Gates 1984: 3), is inadequate to account for the fine shades of gendered ontological presence and hermeneutical practice in the work of Caribbean women writers, specifically black women writers in post-revolutionary Cuba. To engage with a feminist aesthetics of pluralism in a Caribbean context, a more subtle critical approach than that proposed by black essentialism and a more politically grounded approach than black deconstruction is needed.
10
Trousdale, Rachel. "Introduction." In Humor, Empathy, and Community in Twentieth-Century American Poetry, 1–39. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895714.003.0001.
Full textAbstract:
The introduction examines three major theories of humor: superiority theory, incongruity theory, and release theory. Considering these models with the work of feminist and anti-racist scholars in mind, we see that each is also a theory of what it means to be human, carrying ethical and political implications far beyond any immediate analysis of joking. While incongruity theory is probably the best model from which to approach the poets discussed in this book, no one theory satisfactorily describes their work, and certainly not the human experience of laughter as a whole. A better approach may be to draw on theories of empathy, which many philosophers see as opposed to laughter, to define a new category: “constructive humor.” This form of laughter promotes mutual understanding among joker, listener, and the target of the joke.
Conference papers on the topic "American Feminist poetry"
1
Apenko, Elena. "qAnotherq Literature of American Revolution: poetry of M. O. Warren and Ph. Wheatley and its Interpretation by American Feminist Critics." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.40.
Full text