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Journal articles on the topic 'American Feminist poetry'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Swafford, Shelby. "To Be a (M)other: A Feminist Performative Autoethnography of Abortion." Cultural Studies ↔ Critical Methodologies 20, no. 2 (September 26, 2019): 95–103. http://dx.doi.org/10.1177/1532708619878743.
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This is an abortion story. A feminist story. A body story. An autoethnographic story. This is a story of learning how to story abortion in a culture unforgiving to abortion stories. A story of embodying a body deemed unworthy of embodiment. A story of enfleshment enmeshed amid silence and violence. Influenced by feminist embodied auto-epistemologies, this essay seeks to disrupt the functionality of the U.S. American abortion debate through a performative, somatic reclamation of my experience from the semantic constrictions of highly medicalized, politicized, and individualized hegemonic discourses. Engaging a feminist performative autoethnographic praxis informed by écriture feminine, I center my corporeal body as a site of epistemological value to speak back against the limiting narratives of/about abortion while illustrating the critical creative potentials of performative autoethnographic storytelling. This essay weaves theory, lyric prose, epistolary, and poetry to performatively reconstruct, reframe, and reclaim my abortion experience through an embodied autoethnographic framework, in hopes of illuminating possibilities for others to “[experiment] with how we might tell stories differently rather than simply telling different stories” (p. 16).
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Adhitya, Galant Nanta, and Nadia Lasari. "DESIRING DOMINATION: A POSTFEMINIST STUDY ON THE LYRICS OF LANA DEL REY’S ULTRAVIOLENCE ALBUM." Rubikon : Journal of Transnational American Studies 6, no. 1 (November 21, 2020): 34. http://dx.doi.org/10.22146/rubikon.v6i1.61488.
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Feminist movements are said to have served their purposes and achieved equality, empowerment, and emancipation for women. America thus enters the era of postfeminism. A redefined image of independent and free-spirited yet feminine women is brought through popular cultural products, creating a shift in the view of 21st century American women, one of which can be seen from their response toward male domination. It is expressed in the lyrics of songs compiled in Lana Del Rey’s Ultraviolence album. This study employs descriptive qualitative method by treating the lyrics with the same approach as poetry. The data are in the form of language features, such as words, phrases, clauses, lines, and verses related to women’s response to male domination. McRobbie’s notion of double entanglement allows this study to borrow the feminist concept of male domination. There are five male dominating conducts found in the lyrics: 1) marginalization in “Sad Girl”; 2) subordination in “Shades of Cool”, 3) stereotype in “The Other Woman”; 4) physical and psychological violence in “Ultraviolence”, sexual violence in “Fucked My Way Up to the Top”; 5) domestic workload in “Old Money”. Meanwhile, the women’s response toward male domination is expressed in “Brooklyn Baby”. The progressive postfeminists approach male domination differently from the conservative feminists. The female speaker of the lyrics comprehend that her men’s conducts are dominating her, yet she receives them with a manner full of desire. For her, every relationship has the luxury to define their own rules as long as there is a consensual agreement from both parties involved.Keywords: domination; lyrics; postfeminism; postnational; women
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Zurawski, Magdalena. "Marxism for Single Mothers: Anne Boyer’s Garments Against Women." Polish Journal for American Studies, no. 11 (Autumn 2017) (2023): 359–63. http://dx.doi.org/10.7311/pjas.11/2/2017.08.
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In this reading of Anne Boyer’s Garments Against Women I argue that the poet’s 2015 collection of prose poetry positions literary and intellectual labor as both historically and currently oppressive to women through its figurative engagement with early capitalist textile production. I further demonstrate that despite Boyer’s overt engagement with a narrative of modern labor rooted in eighteenth-century industrialization, her writing is indebted to the work of a contemporary American Avant-garde. I show that the poets Alice Notley and Bernadette Mayer, whose works have culled material from spheres of life traditionally understood as both feminine and anti-poetic, have served as precursors for Boyer’s overtly Marxist and feminist works.
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Koplowitz-Breier, Anat. "Déjà Vu: Shirley Kaufman’s Poetry on Biblical Women." Religions 10, no. 9 (August 21, 2019): 493. http://dx.doi.org/10.3390/rel10090493.
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This article explores Shirley Kaufman’s reading of the Bible as an elaboration on/of its feminine characters via three devices: (a) Dramatic monologues, in which the woman speaks for herself (“Rebecca” and “Leah”); (b) description of specific scenes that gives us a glimpse into the character’s point of view (“His Wife”, “Michal”, “Abishag”, “The Wife of Moses”, “Yael”, and “Job’s Wife”); and (c) interweaving of the biblical context into contemporary reality (“Déjà Vu” and “The Death of Rachel”). Fleshing these figures out, Kaufman portrays the biblical women through contemporary lenses as a way of “coming to terms with the past” and the historical exclusion of “women’s bodies” from Jewish tradition, thereby giving them a voice and “afterlife”. Her treatment of the biblical texts can thus be viewed as belonging to the new midrashic-poetry tradition by Jewish-American women that has emerged as part of the Jewish feminist wave. Herein, Kaufman follows Adrienne Rich and Alicia Ostriker’s “re-visioning” of the Bible and in particularly its women, empowering them by making use of her/their own words.
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Khalid, Najwa A. "Cultural Ecofeminism in Pat Mora's Poetry." Al-Adab Journal 1, no. 136 (March 15, 2021): 107–20. http://dx.doi.org/10.31973/aj.v1i136.1027.
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Eco-feminist writers, in general, investigate the relationship between the oppression of women and the degradation of nature. Cultural ecofeminism, as a branch of ecofeminism, reclaims the twinning of nature with women in terms of productivity and bounty. Cultural eco-feminists emphasize a kind of affinity between elements of nature such as land, woods, desert….etc. and women, in an attempt to reach out to a better cultural community. They try to integrate their views of nature with culture. With such perspective, the current study approaches the poetry of the Mexican American poet, Pat Mora (1942-). Mora's attachment to the Mexican environment and culture greatly influences her literary output which is imbued with images of the desert stressing the cultural concept of the desert as a mother who is endowed with a healing power. She believes that one's culture and environment knit one's heritage and the process of recovering heritage conditions reviving cultural traditions, concepts, practices, values, beliefs and character of place. Thus, her writings focus on the cultural value of land, of communal identities and the Latino mythologies. She depicts Latino people who dwell in a harsh desert from which she unearths the stories of the past to heal the present with special emphasis on the role of land/ desert as a healer by exploiting the image of the curandera, the woman healer in the Mexican culture.
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Koplowitz-Breier, Anat. "‘Turn it Over and Over’ (Avot 5:22): American Jewish Women’s Poetry on Lot’s Wife." Literature and Theology 34, no. 2 (March 14, 2020): 206–27. http://dx.doi.org/10.1093/litthe/fraa004.
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Abstract Although mentioned only twice in Genesis (19:17, 26), Lot’s wife has been a topic of much discussion amongst both traditional and modern commentators and exegetes. However, as opposed to the androcentric traditional midrash, the Jewish American women poets, who write midrashic-poetry, re-read the biblical story with a feminine/feminist lens, making what Alicia Ostriker calls ‘revisionist mythmaking.’ In this article, I shall focus on seven poems written from the 1980s through to 2014. I shall endeavor to evince the way(s) in which they make use of the biblical text, dealing with themes raised in the traditional midrash or re-reading the latter. I will show how by adducing to her emotions, longings and memories and even fear of the future, the poets portray Lot’s wife first and foremost as a woman.
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Omar Esmaeel, Aram, and Zanyar Faiq Saeed. "An Intersectional Feminist Analysis of Women's Oppression in Evie Shockley’s Selected Poems." Academic Journal of Nawroz University 13, no. 1 (March 31, 2024): 465–75. http://dx.doi.org/10.25007/ajnu.v13n1a1808.
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Contemporary African American poetry passionately portrays the historical oppression of African American women. Through powerful verses, it explores their resilience and strength amid challenges, inspiring identity, empowerment, and unity within the community. One such writer is Evie Shockley, who attempts to showcase the oppression exercised upon black American women in her body of verses. Oppression includes but is not limited to gender, racial, and class oppression. The intersectional feminist approach is employed in analyzing and interpreting the oppression theme expressed in Shockley’s selected poems. The paper’s significance emanates from an investigation into the diverse oppression that African American women have encountered throughout history and continue to face in the present. Through this exploration, a heightened awareness of the plight endured by these women is achieved, fostering more significant concern regarding the inhumane treatment they have been subjected to multiple oppressions.
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Taylor, Ellen Maureen. "Personal Geographies: Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.
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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the prevailing Western patriarchy, duties of domestication and docility, also inform their writing. This paper draws from Coatsworth’s poems, essays, and memoir, and Barnes’ poems, interviews, and epistolary archives, which shed light on her relationship with her renowned mother.
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Bonasera, Carmen. "Bodies and self-disclosure in American female confessional poetry." European Journal of Life Writing 10 (July 9, 2021): SV33—SV56. http://dx.doi.org/10.21827/ejlw.10.37638.
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Far from being a mere thematic device, the body plays a crucial role in poetry, especially for modern women poets. The inward turn to an intimate autobiographical dimension, which is commonly seen as characteristic of female writing, usually complies with the requests of feminist theorists, urging writers to reconquer their identity through the assertion of their bodies. However, inscribing the body in verse is often problematic, since it frequently emerges from a complicated interaction between positive self-redefinition, life writing, and the confession of trauma. This is especially true for authors writing under the influence of the American confessional trend, whose biographies were often scarred by mental illness and self-destructive inclinations. This paper assesses the role of the body in the representation of the self in a selection of texts by American women poets—namely Sylvia Plath, Anne Sexton, Elizabeth Bishop, Adrienne Rich, and Louise Glück—where the body and its disclosure act as vehicles for a heterogeneous redefinition of the female identity.
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Sadaf and Dr. Sahar Rahman. "Representing Dissent through Poetry: A Study of Select Poems of Maya Angelou." Creative Launcher 8, no. 3 (June 30, 2023): 84–90. http://dx.doi.org/10.53032/tcl.2023.8.3.10.
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Literature in general and protest poetry in particular have been vocal about human condition and problems. This article examines Maya Angelou’s representation of dissent in selected poems, using the historical and socio-political context of her life as a lens. It analyses how Angelou’s work, including “Still I Rise,” “Caged Bird,” “Phenomenal Woman,” and some others, articulates resistance against racial, gender, and social inequalities. Through her powerful metaphors, repetitive phrases, and vivid imagery, Angelou defied societal norms and called for change. The study concludes by emphasizing Angelou’s enduring impact and legacy, not just in literature, but also in shaping civil rights discourse and inspiring social change. Her poetry exemplifies how art can be a potent instrument of protest. The article employs language for ‘writing back’, questioning norms, resisting atrocities and creating scope for change. Protest poetry, which is deeply embedded in American history, remains a prominent part of English literary corpus, contributing greatly to African American literature. The category of African American protest poetry is large owing to the huge expanse of time during which it has been written and also because of the great number of poets who have contributed to this form of writing. As a result, African American protest poetry is divided into three sub-categories– the first deals with protest during slavery, the second during segregation and Jim Crow Laws and the third after political obstacles to equality were presumably removed. This paper aims to deliberate on the following questions— what are the prominent themes of African American protest poetry? How have the African American poets used this genre of literature variously during different historical epochs? How are the concerns of female poets different from their male counterparts? What role has protest poetry played in political movements against inequality, social injustice, oppression, segregation etc.? The present paper aims to engage with this seemingly broad area of literature from the feminist and racial perspectives. The paper intends to deal with few important African American protest poets from foundational poets to the contemporary ones.
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CAPLAN, LUCY. "“Strange What Cosmopolites Music Makes of Us”: Classical Music, the Black Press, and Nora Douglas Holt's Black Feminist Audiotopia." Journal of the Society for American Music 14, no. 3 (August 2020): 308–36. http://dx.doi.org/10.1017/s1752196320000218.
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AbstractThis article examines the music criticism of Nora Douglas Holt, an African American woman who wrote a classical music column for the Chicago Defender (1917–1923) and published a monthly magazine, Music and Poetry (1921–1922). I make two claims regarding the force and impact of Holt's ideas. First, by writing about classical music in the black press, Holt advanced a model of embodied listening that rejected racist attempts to keep African Americans out of the concert hall and embraced a communal approach to knowledge production. Second, Holt was a black feminist intellectual who refuted dominant notions of classical music's putative race- and gender-transcending universalism; instead, she acknowledged the generative possibilities of racial difference in general and blackness in particular. I analyze Holt's intellectual commitments by situating her ideas within the context of early twentieth-century black feminist thought; analyzing the principal themes of her writing in the Chicago Defender and Music and Poetry; and assessing her engagement with a single musical work, Tchaikovsky's Symphony No. 4 in F Minor, op. 36. Ultimately, Holt's criticism offers new insight into how race, gender, and musical activity intersected in the Jim Crow era and invites a more nuanced and capacious understanding of black women's manifold contributions to US musical culture.
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Raine, A. "The Feminist Avant-Garde in American Poetry; Lyric Interventions: Feminism, Experimental Poetry, and Contemporary Discourse; Gertrude Stein: The Language That Rises, 1923-1934." American Literature 79, no. 3 (September 1, 2007): 627–30. http://dx.doi.org/10.1215/00029831-2007-031.
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Choe, Jung-sun. "The Poetry of Adrienne Rich: Poetics as Re-Vision and Exploration." Convergence English Language & Literature Association 9, no. 1 (April 30, 2024): 235–56. http://dx.doi.org/10.55986/cell.2024.9.1.235.
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Adrienne Rich, an American feminist poet and essayist of the late twentieth century, has influenced contemporary women’s movement. Her early poems started with traditional and restrained voices as male poets. But through marriage, she has experienced patriarchy in person and afterwards her poem has gone through continual changes. She offers women the knowledge they need to overcome the unreasonableness of their lives, thus allowing them to change the future of their own lives as well as the world. Rich as a feminist delineates the ideal community for women as a means for survival in a patriarchal world. In this paper, we will consider the development of re-reading and re-writing, namely “re-vision”, which Rich worked on as a feminist. She writes that “re-vision is the act of looking back, of seeing with fresh eyes, of entering an old text from a new critical direction. For women, re-vision is more than a chapter in cultural history; it is ‘an act of survival’.” The re-visioning woman works to reconstruct conventional symbolic representations in a new and meaningful way. The transformative and flexible power of re-vision can change every reality, every myth, and every structure. Through this attempt, we also consider the various effects that Rich has given to all women and her readers will participating in building the communal society.
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JONES-KATZ, GREGORY. "“THE BRIDES OF DECONSTRUCTION AND CRITICISM” AND THE TRANSFORMATION OF FEMINISM IN THE NORTH AMERICAN ACADEMY." Modern Intellectual History 17, no. 2 (June 28, 2018): 413–42. http://dx.doi.org/10.1017/s1479244318000318.
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“The Brides of Deconstruction and Criticism,” an informal group of feminist literary critics active at Yale University during the 1970s, were inspired by second-wave feminist curriculum, activities, and thought, as well as by the politics of the women's and gay liberation movements, in their effort to intervene into patterns of female effacement and marginalization. By the early 1980s, while helping direct deconstructive reading away from the self-subversiveness of French and English prose and poetry, the Brides made groundbreaking contributions to—and in several cases founded—fields of scholarly inquiry. During the late 1980s, these feminist deconstructionists, having overcome resistance from within Yale's English Department and elsewhere, used their works as social and political acts to help pave the way for the successes of cultural studies in the North American academy. Far from a supplément to what Barbara Johnson boldly called the “Male School,” the Brides of Deconstruction and Criticism arguably were the Yale school. Examining the distinct but interrelated projects of Yale's feminist deconstructive moment and how local and contingent events as well as the national climate, rather than the importation of so-called French theory, informed this moment gives us a clearer rendering of the story of deconstruction.
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Pizza, Joseph. "Breathing Between the Lines: Diane di Prima and the New American Poetry." Tulsa Studies in Women's Literature 42, no. 2 (September 2023): 235–55. http://dx.doi.org/10.1353/tsw.2023.a913021.
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ABSTRACT: This essay situates the poetry and poetics of Beat writer Diane di Prima in the context of mid-century approaches to voice and breath, locating her writing within then-contemporary debates concerning the application of projective verse and other emerging poetics of the period. It explores the significance of gender in her adoption of these approaches amidst a predominantly male subculture, employing Adriana Cavarero’s feminist perspectives on the materiality of voice and the centrality of the body. In addition, di Prima’s writing is read alongside insights from Hannah Arendt, Judith Butler, Lauren Berlant, Charles Olson, and Allen Ginsberg. This article provides a significant reconsideration of di Prima’s overlooked contribution to the movement known subsequently as the New American Poetry. Indeed, her application of the New American poetics of breath and voice effectively revises masculinist notions of poetic composition while also critiquing the chauvinism evident within this otherwise progressive subculture. Ultimately, the essay attempts to augment our understanding of contemporary literature by restoring di Prima’s place at the vanguard of New American poetic innovation.
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Yetunde, Pamela Ayo. "Audre Lorde’s Hopelessness and Hopefulness: Cultivating a Womanist Nondualism for Psycho-Spiritual Wholeness." Feminist Theology 27, no. 2 (January 2019): 176–94. http://dx.doi.org/10.1177/0966735018814692.
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The late black American feminist lesbian poet Audre Lorde (1934–1992) was known in feminist communities in the United States, Europe, Africa, the Caribbean, and elsewhere for her poetry and prose about how to survive various forms of oppression. Though Lorde authored many political and spiritual poems and essays (including psychological topics) in her adulthood, little has been written about Lorde’s early psycho-spiritual spiritual journey from Catholicism to I Ching, which informed her adult integrated African spirituality, which in turn informed her political and social consciousness. Lorde’s poems to God, written during puberty and post-puberty, and her embrace of I Ching nondualism, provides insight into how Lorde understood the psycho-spiritual challenges of surviving through hopelessness and despair, and into confidence and hopefulness.
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Kurnia, Nandy Intan. "Motherhood in the American Woman Poet’s Perspective: A Short Glance at Allen’s Rock Me to Sleep." Lingua Cultura 9, no. 2 (November 30, 2015): 113. http://dx.doi.org/10.21512/lc.v9i2.829.
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Article scrutinized one of the works of an American woman poet named Elizabeth Akers Allen. The poem under study entitled “Rock Me to Sleep”. It was a portrayal of motherhood. The speaker of this poem is a woman who is longing for the love of her mother. She is seeking for a way to ease her pain since she feels that she has lost her own battle of womanhood. Although the mother remains absent, the readers of the poem can sense the powerful love of the speaker of the poem toward her mother. Method of this study was library research that carried out by applying descriptive analytical methods. Data were collected from the primary and secondary sources. Results of this paper are the writer of poetry wants to warn people that womanhood in the patriarchal society can create many problems, and the only remedy for those problems is motherhood. Article also proves that a writer does not have to be a feminist to produce a literary text which discusses the issue of women, which has became the focus of feminism.
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Ranaware, Ravindra. "Feministic Analysis of Shauna Singh Baldwin’s selected stories in English Lessons and Other Stories." Feminist Research 4, no. 1 (May 11, 2020): 1–5. http://dx.doi.org/10.21523/gcj2.19010102.
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The present paper aims at exploration of Shauna Singh Baldwin’s specific technique implemented to present women predicament in selected stories from feministic point of view. The feministic point of view has developed out of a movement for equal rights and chances for women society. The present search is based on analytical and interpretative methods. Shauna Singh Baldwin is a writer of short fiction, poetry, novels and essays. Her ‘English Lessons and Other Stories’ explores the predicament of earlier neglected women of Sikh community by putting them in the context of globalization, immigration to West and consumerism at Indian modern society. “Montreal 1962” presents a Sikh wife’s attachment, love, determination, struggles and readiness to do anything for survival in Canada where her husband is threatened to remove his turban and cut his hair short to get the job. “Simran” presents the story of sacrifice of individual desire by a young Sikh girl because of her mother’s fundamentalist attitude. The title of story “English Lessons” presents injustice to an Indian woman who has married to an American, who compels her to become a prostitute and a source of his earnings in the States. The fourth selected story “Jassie” tells us about the timely need of religious tolerance in the file of an Indian immigrant old woman. Being a feminist writer, though Baldwin has never claimed directly to be, she has very skillfully presented the issues of feminism through her own technique of presentation. She has used technique of presenting absence or opposite to highlight it indirectly. Thus, true to her technique, though not explicitly declared, Baldwin is one of the feminist writers who skillfully deals with feminine concerns.
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Isabel Castelao-Gómez. "The Art of Life, the Dance of Poetry: Gender, Experiment and Experience in Mina Loy and Diane di Prima." Miscelánea: A Journal of English and American Studies 56 (December 20, 2017): 33–56. http://dx.doi.org/10.26754/ojs_misc/mj.20176786.
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Mina Loy and Diane di Prima’s experimental poetic contributions to their early “situational avant-gardes” (the 1910s Modernists and late 1950s Beats in New York) vindicated the relation of gender and experiment within their countercultural movements, redefining these groups’ poetic and ideological tenets. Firstly, I will connect and contextualize these two poets as part of American feminist avant-garde tradition. Then, I will study their early poetry’s specificities and their common particularity: a gendered approach to the interconnectivity between experiment and experience. The article develops the idea that Loy and di Prima’s “motional” poetics of alternate forces of expression and linguistic experimentation is a dynamic materialization of the ambivalence involved in their bodily and spatial experiences of inclusion and exclusion as bohemian women poets in their urban environment and their artistic communities. The last section theorizes the way these embodied positionalities, and the continuum formed by environment, space, body and language, interrelate with Loy and di Prima’s feminist motional avant-garde poetics based on material feminist philosophies and postmodern and experimental literary critics’ views.
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Abed, Alaa Kareem, and Maria Luisa Carrio-Pastor. "Image of Love and its Different Implications in Sylvia Plath's Selected Poems." Journal of Asian Multicultural Research for Social Sciences Study 3, no. 4 (December 20, 2022): 65–72. http://dx.doi.org/10.47616/jamrsss.v3i4.347.
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Sylvia Plath as a confessional poet is considered a representation of American femininity. She was a substantial poet who used diverse images, terms, and symbols in order to express her feelings and concerns. This study seeks to analyze the role of love in her poetry and how it helped her deliver her feminist desires and attain freedom. What makes this research new is that Plath's life which looked like a mystery has been highly appealing to her readers and other researchers. Hence, the current study may be regarded as a positive step toward a better appreciation of her life and career. It is ultimately found that Plath's use of love in her poetry is rooted in her relationship with such men as her husband. Due to this relationship, Plath had a puzzling viewpoint regarding love which seemed to be simultaneously redeemable and destructive.
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Kang, Nancy. "“Rubbed Inflections of Litany and Myth”." Meridians 21, no. 2 (October 1, 2022): 371–96. http://dx.doi.org/10.1215/15366936-9882097.
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Abstract Ciguapas are mythical creatures, typically represented as naked, comely females with uniquely backward feet. Such anatomy renders their path virtually untraceable. Legends suggest they inhabit remote mountains and forests in the Dominican Republic, preying on men. This essay steps away from the predatory archetype, formulating a theory of women’s loss and mourning through the motif of “forward backwardness” epitomized by the ciguapa’s feet. Using selections from the work of Dominican American poet Rhina P. Espaillat (b. 1932), the author outlines the feminist paradigm of ciguapismo, a fundamentally paradoxical mode for understanding how women endure in times of personal grief, awareness of aging, and under the shadow of sexual violence. It is also a form of environmental reckoning centered on collective care. Whether set in the Caribbean or the U.S. Dominican diaspora, ciguapismo in Espaillat’s poetry offers a critical resource, an imaginative faculty, and a liminal ontology for mapping transformative feminist intimacies against a backdrop of ever-encroaching human and environmental losses.
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Neimneh, Shadi, and Amneh Abussamen. "A Sociopolitical Ecofeminist Reading of Selected Animal Poems by Elizabeth Bishop." Advances in Language and Literary Studies 9, no. 1 (February 1, 2018): 141. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.141.
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This article examines the sociopolitical vision of some of Elizabeth Bishop’s poems from an ecofeminist critical perspective. Bishop, a twentieth-century American poet, uses animals and natural elements to manifest her attachment to nature (and women by implication), thus reflecting an oppressed feminist voice through the theme of abused, weak nature. By relating Bishop’s poems to W. B. Yeats’s poem Leda and the Swan, we foreground an ecofeminist relation between the Greek myth Yeats employed and Bishop’s poems. Our contribution lies in the multilayered pattern of ecofeminist defense this article traces in poems like Giant Snail, Giant Toad, Strayed Crab, The Armadillo, Sandpiper, The Moose and Trouvée. The conclusion emphasizes the attempts Bishop shoulders through her animal poetry to renew the old man-nature relation of balance and justice and simultaneously to elevate woman/nature. Bishop's poetry, it is argued, exceeds the personal or subjective and thus contains socio-political, anti-patriarchal thrusts explored in this article through an ecofeminist lens.
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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.
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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.
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Tellini, Silvia Mara. "Experimental Language Deconstructing Patriarchal Discourse in Ntozake Shange’s for colored girls who have considered suicide/ when the rainbow is enuf." American, British and Canadian Studies Journal 25, no. 1 (December 1, 2015): 155–70. http://dx.doi.org/10.1515/abcsj-2015-0012.
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Abstract By sharing the experiences of women and the black community of her time, represented as a journey towards womanhood on stage, Afro- American playwright Ntozake Shange deconstructs the patriarchal structure of language, by pushing the boundaries of genres as she assembles prose, poetry and stage performance in a “choreopoem” capable of empowering and liberating the trajectories of the represented black women. The present study explores the semiotic and linguistic deconstructions of the patriarchal ideology in for colored girls who have considered suicide/ when the rainbow is enuf, aiming at a discussion of the author’s experimentalism with language outside instituted discursive paradigms regarding women. Considering that the concept of the liberation of the individual is strongly historicized in the play, the characters of the seven ladies are focalized as being tightly related to the feminist movement in North America in the seventies. Furthermore, the implications of ideological impositions and limited roles for women in society are analyzed.
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Ryzhkova, Anna V. "TRANSFORMATION OF CHAN-BUDDHIST MOTIFS IN MONASTERY POETRY OF THE SONG DYNASTY (GENDER ASPECT)." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 107–17. http://dx.doi.org/10.32342/2523-4463-2022-1-23-10.
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There are phenomena of Chan Buddhism as philosophical and religious dogma and embodiment of its rules in the center of the article. Study object is poetry of monks and nuns written during Song dynasty (lyrics of Dumu Jingang, Zhenru, Daoqian and Daoqiang). The study is based on the works of the Chinese (Hu Shih), Ukrainian (N. S. Isaieva), Russian (M.I. Vorobyova-Desyatovskaya, M.S. Ulanov), French (H.Ciхоus, C. Clement), Germany (S. Weigel) and American (N. Miller) researchers. However, in the same time we have noticed lack of the works addressed to analysis of the Chan poetry, its’ themes, images and symbols, so this space is ready and open for follow-up study. The main purpose of the article is to highlight the common and distinctive features of poetic works written by women and men as well as to designate level of themes transformation specific for Chan Buddhist poetry written by nuns and monks of Song Dynasty after analyzing meanings and poetics of their poetry. To achieve this goal, several methods were used – hermeneutic, historical and cultural, historical and literary, comparative methods as well as semantic and poetical analysis. This methodological base allow considering the lyrics of monks and nuns through the prism of the right explanation. Moreover, it help us to analyze gender and religious components, so we have highlighted the characteristics that are common and different for the Buddhist poetry of women and men. The article claims that particulary interesting point for researchers in feminist literary studies is the question of whether the text of a female author is different from the text of a male author. The French theorist of feminist literary studies E. Cixоus and the American psychologist N. Miller argue that the «female style» exists, but it is quite difficult to describe. According to the German literary critic S. Weigel and Doctor of Philology N.S. Isaeva, there are certain specific features that are inherent in works of art written by women (discontinuity, indentation, inconsistency, subjectivity, the desire for pleasure, the description of their own feelings), and for works written by men (logic, regularity, objectivity). If take a look at the issue of «female» and «male» style from the standpoint of Chan Buddhism, the closest position will be a completely different one. In some theoretical works concerning «feminine» it has been repeatedly emphasized that it does not oppose «masculine», because «feminine» by its nature denies the binary, dichotomy and hierarchy of created structures (including textual). Similarly, the chan denies any opposition and contrast. The results of our research show that Chan Buddhist poetry has a lot of themes created by using Chan Buddhist images and symbols. We have established that due to approach of Chan women and men are collateral because there is no dualism in the world, but after conducting a gender study we found that despite the principles of Chan Buddhism, it is still possible to identify similar and different features in the poetry of monks and nuns. We have found some transformation in the poetry written by men and women: at the level of themes, at the level of stylistic devices, as well as in the emotional component of poetry. Firstly, there are some themes which are found only in the poetry of monks: the theme of equality of everyone in front of Buddhist teachings, the theme of solitude (loneliness) or the theme of excommunication from the vain world, the theme of liberation from suffering (worries and attachments), the theme of meditative practices, the theme of accessibility of Chan teachings for everyone, the theme of suffering, the theme of harmony. Accordingly, in the lyrics of the nuns we found out the theme of joy, the theme of death, the theme of illusory contradictions. Secondly, there are small amount of stylistic devices in the Chan lyrics, but, despite this, we have concluded that only epithets are common to both the poems of monks and the poems of nuns. Antithesis and rhetorical questions are a sign of «male» style, and hyperbole is inherent in «female» style. Thirdly, the poetry of monks are objective and rational, what is a characteristic of «male» literature, while the poems of nuns are characterized by subjectivity and sensuality, what is a characteristic of «female» literature. On the contrary, we have detected that some themes are common for the monks’ and nuns’ poetry: theme of life’s worldliness, theme of meditation, theme of ease and lightness, theme of contradictions’ illusory, theme of isolation and solitude, theme of separation people to Chan Buddhists and laymen. To embody these themes authors used different images and symbols and such variety of stylistic devices shows that individual styles of writing in Chan Buddhism exist even though it may seem impossible in religious poetry, which conveys ideas of the certain religious doctrine. In summary, there is a plenty of Chan lyrics that have not been researches by Chinese scientists. Moreover, this poetry haven’t even been translated into other languages, hence, haven’t been analyzed and expounded by not Chinese researchers, so it is long-rage field to be researched.
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Honsalies-Munis, Svitlana. "THE THEME OF MOTHERHOOD IN THE POETRY BY ANNE SEXTON, SYLVIA PLATH AND ADRIENNE RICH." English and American Studies, no. 20 (June 23, 2023): 145–54. http://dx.doi.org/10.15421/382318.
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The article deals with the theme of motherhood in the poetry of the twentieth-century American writers Anne Sexton, Sylvia Plath, and Adrienne Rich. Particular attention is paid to the analysis of images that reveal various aspects of motherhood: a pregnant woman, an infertile woman, a mother and her child, a woman after a miscarriage or abortion, a creative woman, a woman poet, etc. The theme of motherhood in the poetry of A. Sexton, S. Plath, A. Rich is considered in close connection with the theme of creativity and marriage.The theoretical basis of the study is the works of Y. Kristeva, Diane Wood Middlebrook, Marilyn Yalom, Wendy Martin, Sandra M. Gilbert, Susan Gubar, which made it possible to define the concepts of women's writing and text, female subject, and female creativity. The analysis focuses on the reflection of the theme of motherhood by a creative personality, as well as on the unveiling of some gender stereotypes regarding the motif of maternal love, a happy family and marriage. The paper considers contemporary works of feminist studies and developments in the field of gender studies.
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Jawad, Areej Muhammad, and Rana Jabir Obed. "The New Penelopean Poetics: A Feminist Reassessment of the Victimization of Women in Edna St. Vincent Millay’s ‘‘The Ballad of the Harp-Weaver’’ and ‘‘An Ancient Gesture’’." Kufa Journal of Arts 1, no. 25 (January 18, 2016): 47–60. http://dx.doi.org/10.36317/kaj/2015/v1.i25.6293.
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The Greeks have a certain authority, for they are the source of the Western traditions of poetry, philosophy, and science. The figure of Penelope in the Homeric epic can be seen as a symbol not only for woman’s trials in general but also for the trials of the woman artist in a man’s world. This study explores the penelopean myth as ideological tool of patriarchal system and it argues that gender stereotypes set in Greek myths have been recreated later by the modern American poet, Edna St. Vincent Millay. Encouraged by the feminist movement, Millay revised and rewrote the penelopean myth highlighting the gender stereotyping as an important feature in her poems, ‘‘The Ballad of the Harp-Weaver,’’ and ‘‘An Ancient Gesture.’’
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Honsalies-Munis, Svitlana. "MEANS OF EXPRESSING LANGUAGE AND GENDER IDENTITY IN THE POETRY BY ANNE SEXTON, SYLVIA PLATH, ADRIENNE RICH." English and American Studies, no. 19 (May 2, 2022): 116–26. http://dx.doi.org/10.15421/382213.
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The article deals with the issues of construction of language and gender identity in the poetry by Anne Sexton, Sylvia Plath and Adrienne Rich. It studies poets' attitude to the language and gender, it describes what motifs and images were employed by contemporary American female poets to express their vision of the language and silence. Special attention is paid to the concept of women’s writing, modern theories of corporeality, sexuality and the problems of the body and the language, which have been considered as major features of women’s poetry in the second half of the 20th century.
The theoretical background of the article is based on the works of Hélène Cixous, Luce Irigaray, Julia Kristeva, Jane Gallop, Alicia Ostriker, in which they defined the concepts of women's writing and language, women's subject, bodiness and corporality. The article analyzes a number of related issues: firstly, it determines how well-known theories of women's writing are consistent with the peculiarities of the female experience and its realization in a poetic text, especially on the level of the themes and motifs; secondly, it studies how the motifs of language and silence are expressed in the poetry by Anne Sexton, Sylvia Plath and Adrienne Rich, what are the similarities between their imagery and what are the differences. The article analyses modern feminist works as well as gender studies.
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Hume, Angela. "Poetry Matters: Neoliberalism, Affect, and the Posthuman in Twenty-First Century North American Feminist Poetics by Heather Milne." Tulsa Studies in Women's Literature 38, no. 2 (2019): 471–73. http://dx.doi.org/10.1353/tsw.2019.0044.
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Pinto, Samantha, and Jewel Pereyra. "The Wake and the Work of Culture: Memorialization Practices in Post-Katrina Black Feminist Poetics." MELUS 44, no. 3 (2019): 1–20. http://dx.doi.org/10.1093/melus/mlz033.
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Abstract Hurricane Katrina has come to represent a nexus of natural, infrastructural, and ethical failures that forced a moment and perhaps an era of public reckoning with the ongoing processes of black disenfranchisement from US state protections and rights. Poetry about Katrina both promises and is asked bear witness to this spectacular, violent show of force and to manage public and political appetites for recognition and remembrance through its ability to merge the material and the abstract in linguistic form. This cultural imperative stands as both opportunity and limit for black artists and poets, as they are expected to weigh in exclusively on the fates of black life, historical and present, and are frequently only given accolades and earn readership when they accede to this demand to represent the spectacle of Blackness in pain. In this article, we consider the Katrina-focused work of two prominent African American women poets, Claudia Rankine and Natasha Trethewey, arguing that they engage in innovative practices of poetic memorialization, performing black feminist “wake work” in their insistence on the long-standing, porous boundaries between black life and death, black expressive creation and precarity, and black material history and the present. Their work in Citizen: An American Lyric (2014) and in Beyond Katrina: A Meditation on the Mississippi Gulf Coast (2010) refashions the perverse poetic “opportunity” of Katrina as a moment to reframe black life and black cultural production both through and beyond the immediate temporality of disaster.
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Dudley, Rachel. "The Role of Feminist Health Humanities Scholarship and Black Women’s Artistry in Re-Shaping the Origin Narrative of Modern, U.S. Gynecology." Humanities 10, no. 1 (March 23, 2021): 58. http://dx.doi.org/10.3390/h10010058.
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Between 1845–1849, twelve enslaved women in Montgomery, Alabama lived through prolonged, gynecologic experimentation at the hands of Dr. James Marion Sims. What happened, in his 16-bed backyard hospital, often begins the origin narrative of modern U.S. gynecology and how it developed into a discrete and international, Western, scientific field of medicine. Sims autobiography references three of these women, by their first names only: Anarcha, Lucy and Betsey. The research questions here are: what more can be known about these women’s lives, their possible social networks and their cultural legacies? Further, what changes if the origin narrative of modern, U.S. gynecology begins with feminist health humanities scholarship and in the pages of black women’s artistry? I discuss original research findings, involving the following primary source: an 1841 property deed, mentioning the first names of 7 other enslaved people owned by Sims. I, then, examine cotemporary U.S. feminist scholarly writing and artistic cultural representations, centering the lives of the women as important historical figures. Last, I conceptualize the notion of poetic ancestral witnessing within the work of the following three, twenty-first century, African American, poets: Bettina Judd, Dominique Christina and Kwoya Fagin Maples. These women published poetry collections on this history, between 2014 and 2018.
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Nirwinastu, Diksita Galuh. "Oppression towards Women as Depicted in Marge Piercy’s Selected Poems." Journal of Language and Literature 21, no. 2 (October 17, 2021): 453–63. http://dx.doi.org/10.24071/joll.v21i2.3772.
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This present study would like to examine how women are oppressed by the patriarchal society in the selected poems written by one of the contemporary American female writers, Marge Piercy. Marge Piercy is particularly known as a female writer as well as a feminist activist. She has written numerous works, including novels and poetry books, which explore issues about women. Piercy’s poems are mostly known to be simple and vivid. Observing the use of figurative language and the diction in Piercy’s selected poems, entitled “A Work of Artifice” and “Barbie Doll”, in the light of feminist criticism, this article would like to show how oppression is done towards women and how it results in the silencing, shaping, and subordinating of women. In the poems, the oppression is mostly operated subtly and systematically through various cultural institutions, such as education, family, and media. Women, as a result, are trained to believe in the voice of the patriarchal society and to behave following what the patriarchal society demands. The long-practiced oppression has hindered women to develop to their fullest as human beings. The poems can be read as a medium to voice women’s experiences and to criticize the established patriarchal system and its oppression towards women.
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Piechucka, Alicja. "Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy." Text Matters, no. 10 (November 24, 2020): 336–63. http://dx.doi.org/10.18778/2083-2931.10.19.
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The article is a comparative study of the ways in which two American modernist poets bound by a literary and human connection, Hart Crane and Yvor Winters, dealt with Emily Dickinson’s legacy in their own works. My study is an attempt to place Crane within the legacy of the American Renaissance as represented not by Walt Whitman, with whom he is customarily associated, but by Dickinson, and to examine the special place she holds in Crane’s poetry and in his thinking about poetry and the world at large. Crane’s poetic take on the Amherst poet is set against and complemented by his friend Yvor Winters’s ambiguous relationship with Dickinson’s heritage: troubled by an anxiety of influence, Winters, the poet-critic, vacillates between his reverence for the female poet and his skepticism about certain aspects of her œuvre. In the close readings of the poems in question undertaken in my study, the focus is on their metapoetic dimension. Particular emphasis is laid on the dialectics of silence, which plays a key role in both Crane’s and Winters’s works under discussion, as well as on the related themes of blankness and absence, poetic plenitude and perfection. Attention is also given to the problematics of death, time and timelessness. While Winters concentrates mostly on metapoetics in his exploration of the Dickinsonian tradition, Crane goes further, considering the fate of female artists and gender issues, thereby transcending poetic self-reflexiveness and addressing farther-reaching community concerns, with particular emphasis on anti-patriarchal and feminist ones.
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Jasim, Jinan Hameed. "Confession and the Feminine Self: A Comparative Study in Selected Poems of Wafa'a Abdul Razzaq and Sharon Olds." Journal of Tikrit University for Humanities 28, no. 6 (June 2, 2021): 20–49. http://dx.doi.org/10.25130/jtuh.28.6.2021.25.
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There is no doubt that any creative writing whatever its form or genre carries aspects of self-revelation and repeats confessions of the self. It also reflects its views about the world and the other. Yet, with feminine literature, confession takes further dimensions because the world of the woman is a world that reveals without declares. It is a world that diagnosis without shows. Confession is a new type of writing. It is the product of many social and cultural transformations, especially what the feminist movement has produced. Therefore; the literary woman becomes capable of defending other women and enhancing their attitudes and perspectives. Female poets become the voice that reveals the inner world of a female because literature in general and poetry, in particular, is the outcome of culture.
This paper which is entitled Confession and the Feminine Self searches in the relations of communication and absent between the culture of an Iraqi poet; Wafa'a Abdul Razzaq (1952-) and that of an American poet; Sharon Olds (1942-). It clarifies the aspects of differences and similarities in revealing the feminine self. The research consists of an introduction that sets as a background to the feminine self. First section deals with the theme of fear and pain. The second section studies the theme of motherhood while the last section tackles the theme of the body. The researcher depends on an analytical approach in dealing with the subject. The researcher also depends on Arabic references not because English references are not available but in an attempt to reveal the Arab way of thinking. The research ends up with a conclusion that sums up the findings of the study.
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Hasan, Kamrul. "Mythology in Modern Literature: An Exploration of Myths and Legends in Sylvia Plath’s Poetry." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 294–301. http://dx.doi.org/10.22161/ijels.84.48.
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Mythology has become an intrinsic part of literature for the symbolic, structural and functional values it imparts to a text. Although the use of myths and legends in literature has been transformed contextually over the different literary periods, modern writers extensively reappropriated and used them to portray the complexity of the theme and narrative structure of a text. They illustrated the contemporary fragmented reality and individual experience through myths. By incorporating myths in a text, modern writers sometimes created fictionalized and artificial myths of their own. American poet Sylvia Plath made personalized use of myths and legends in her poetry. The paper shows how she, as a confessional poet, amalgamates her personal anxiety and distress with characters and symbols from diverse mythological sources such as the story of Medusa, Medea, Persephone, Electra etc. Apart from classical myths, she incorporated European folktales, Norse and Arthurian myths. Her extensive use of myths portrays the condition of women and the role of patriarchy from a feminist perspective. It also illustrates her attitude toward her father and mother, her distress, agony and suicidal attempts and sometimes expresses her views on life and the contemporary world. Like many modern poets, she turned away from the traditional and orthodox poetic practice and rechanneled her individual crises into poetry which is full of mythological symbols and images.
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Muhammad, Hassan Musa, and Auwalu Umar Isah. "Indicting Frost for Androcentric Speciesism: An Ecofeminist Reading of Robert Frost’s “The Most of It”." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 214–24. http://dx.doi.org/10.22161/ijels.84.35.
Full textAbstract:
Using the critical framework of ecofeminism, this paper examines Robert Frost’s attitudes towards both women and nature in his poem “The Most of It”. Whether ecocritical or feminist, the mainstream readings of Robert Frost fall into two main axes: 1) Frost for Nature and/or Women Views argue that Frost’s poetry is for nature and women (Srivastava, 2017; Shah, 2022); and 2) Frost for Ambiguity Views claim that Frost’s poetic work is ambiguous—it could be for or against nature and women (Benin, n.d). This paper belongs to neither of the two. This study makes it unequivocally clear that Frost's view of nature, in “The Most of It”, is androcentric as well as anthropomorphic. Ecofeminism is about making connections, on the one hand, between the earth and the entire forms of life on it, and on the other hand, between the patriarchal exploitation of nature and women’s domination. This paper, too, attempts establishing many connections: between the poet’s use of the male generic language and the oppression of nature and women; between the female’s invisibility in the poem and women’s domination in the Western patriarchal culture; and between Frost’s fame as a poet and his advocacy (through his poetry) for the androcentric worldviews of the patriarchal American society of his time. The findings of this research reveal that “The Most of It” contains strata of male-centric, speciesist worldviews and, consequently, stress the need for more research into Frost’s oeuvre using ecofeminist theory.
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Alaghbary, Gibreel Sadeq. "Construction of Identity in Suheir Hammad’s What I will." World Journal of English Language 9, no. 1 (November 6, 2018): 1. http://dx.doi.org/10.5430/wjel.v9n1p1.
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This paper offers insights into the conceptualization of identity in poetry. In particular, it seeks to examine the way the Palestinian-American female poet Suheir Hammad negotiates her textual identity in the poem What I Will. The study uses Mill’s (1995) feminist stylistic theoretical framework in order to identify the identity Hammad constructs for herself in the poem, and the way this textually constructed identity plays out against her cultural heritage and ethnic origin. This objective will be achieved by examining the way textual identity is carried by linguistic choices at the lexical, lexico-grammatical (phrase/sentence) and discourse levels. Analysis reveals a dichotomy constructed via personal pronouns between the speaker and her aggressor. This oppositional relationship is reinforced by the transitivity choices and triggers of presupposition. The speaker uses no gender-specific or sexist nouns and pronouns and no description of her appearance in the textual construction of her identity. Her identity is constructed in terms of her collective ethnic background and resistance to the oppression of her aggressor.
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Raslan, Usama. "Patriarchy Rejected: A Feminist Reading in Some Selected Poems by Adrienne Rich and Fatima Naoot." English Language and Literature Studies 9, no. 1 (January 24, 2019): 1. http://dx.doi.org/10.5539/ells.v9n1p1.
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The present paper offers a comparative feminist reading of the American poet Adrienne Rich and the Egyptian poet Fatima Naoot. It aims at analyzing both Rich’s and Naoot’s poetry in terms of feminist criticism demonstrated particularly in Beauvoir and Millett’s theory of patriarchy. The collections from which the poems under study are selected are Rich’s The Fact of a Doorframe: Poems Selected and New, 1950-1984 (2002), and Naoot’s A Bottle of Glue (2007). The selected poems are Rich’s “Aunt Jennifer’s Tigers”, “An Unsaid Word”, and “Power”, and Naoot’s “The Cock’s Crest”, “A Goose”, and “Isis”. The analysis of these poems motivates one to infer three essential points regarding the poetic achievement of both poets. First, patriarchy is a male programming engineered by the male to subdue and decentralize the female by treating the latter as if she were a sexed being, or rather the inessential other. Second, this inferior position of woman motivates Rich and Naoot to incorporate Beauvoir and Millett’s theory of patriarchy into their verse. In order to achieve this objective, both poets set up a poetic vision in terms of which they portray how patriarch marginalizes and subordinates woman. Lastly, the close reading to the selected pieces denotes that they rotate around the systematized oppression of women. Such is the common theme of Rich and Naoot’s verse.
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Frykman, Erik, Catherine Sandbach-Dahlström, Sybil Oldfield, Nicholas Shakespeare, Marianne Levander, Rolf Lundén, Lars-Olof Nyhlén, et al. "Reviews and notices." Moderna Språk 85, no. 2 (December 1, 1991): 196–223. http://dx.doi.org/10.58221/mosp.v85i2.10339.
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Includes the following reviews:
pp. 196-197. Erik Frykman. Eccles, C., The Rose Theatre.
pp. 197-198. Catherine Sandbach-Dahlström. Blain, V., Clements, P. & Grundy, I. (eds.), The Feminist Companion to Literature in English.
pp. 198-199. Sybil Oldfield. Pritchard, R.E., Poetry by English Women, Elizabethan to Victorian. + Zahava, I., My Father's Daughter - Stories by a Woman.
pp. 199-200. Sybil Oldfield. Åhmansson, G., A Life and Its Mirrors: A Feminist Reading of L.M. Montgomery's Fiction. Vol. 1.
pp. 200-201. Nicholas Shakespeare. Schirmer, G.A., William Trevor: A Study of His Fiction.
pp. 201-202. Marianne Levander. Imhof, R. (ed.), Contemporary Irish Novelists.
pp. 202-203. Rolf Lundén. Franklin V, B. (ed.), Geer, G. & Haig, J., Dictionary of American Literary Characters.
pp. 204-205. Lars-Olof Nyhlén. Homberger, D., Sachwörterbuch zur deutschen Sprache und Grammatik.
pp. 206-208. Magnus Nordén & Klaus Rossenbeck. Schottmann, H. & Petersson, R., Wörterbuch der schwedischen Phraseologie in Sachgruppen.
pp. 209-211. Gustav Korlén. Lehnert, M., Anglo-Americanisches im Sprachgebrauch der DDR. + Dieter Schlosser, H., Die deutsche Sprache in der DDR zwischen Stalinismus und Demokratie. Historische, politische und kommunikative Bedingungen.
pp. 212-213. Uta Schuch. Palm, C., "Wir graben den Schacht von Babel" oder Kafkas "Urteil". Versuch einer semasiologisch-textlinguistischen Analyse.
pp. 214-215. Johann Holzner. Sternberg, C., Ein treuer Ketzer. Studien zu Manès Sperbers Romantrilogie "Wir eine Träne im Ozean".
pp. 216-218. Göran Bornäs. Actes du colloque franco-danois de lexicographie.
pp. 218-220. Göran Fäldt. Cabanis, J., Mauriac, le roman et Dieu.
pp. 220-222. Mats Forsgren. Eriksson, O. & Tegelberg, E., Svensk-franska strukturövningar med facit.
p. 223. A Message from the Editors.
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Gargallo, Francesca. "Escritura de mujeres, escritura de las diferencias." La Manzana de la Discordia 1, no. 1 (March 8, 2016): 107. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v1i1.1441.
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Resumen: Se rastrea la historia contemporánea de la literaturalatinoamericana escrita por mujeres, mostrando temáticas queprofundizan en la diferencia sexual y sus consecuencias parala escritura. Se exploran las consecuencias para la narrativa yla poética de las autoras, de temas como la eroticidad femeninay la especificidad del cuerpo de la mujer, y el lugar que ésteocupa en las historias familiar, nacional y continental. Seindaga asimismo sobre las formas en las cuales sus narracionescontribuyeron al meta-relato del patriarcado latinoamericano.A la vez, en este trabajo se registran las huellas dejadas en lanarrativa y la poética de estas autoras por las resistenciasfemeninas frente al orden patriarcal.Palabras clave: Escritura de mujeres, Diferencia sexual, Feminismo,Literatura latinoamericana, Narrativa, PoéticaAbstract: The contemporary history of Latin American literaturewritten by women is traced, showing the themes that delve intosexual difference and its consequences for writing. Theconsequences of feminine eroticism and the specificity ofwomen’s bodies for the writers’ narratives and poetry areexplored, as well as the place the body occupies in the family,national and continental histories. The way in which theirnarratives contributed to the meta-story of Latin Americanpatriarchy is taken into account. At the same time, this paperrecords the imprints feminine resistance to the patriarchal orderleaves in these authors’ narrative and poetic work.Key words: Women’s writing, sexual difference, feminism,Latina American literatura, narrative, poetry