Academic literature on the topic 'American poetry, women authors'
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 poetry, women authors.'
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 poetry, women authors"
1
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.
Full textAbstract:
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.
2
Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (October 2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.
Full textAbstract:
James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.
3
Krivokapić, Marija. "Reclaiming Home in Indigenous Women Poetry of North America." American Studies in Scandinavia 53, no. 1 (April 30, 2021): 65–94. http://dx.doi.org/10.22439/asca.v53i1.6226.
Full textAbstract:
The tendency of reclaiming home in Indigenous women poetry of North America is seen as a part of a multilayered decolonizing project, which aims at disclosing, reconstructing, and removing the effects of the colonial policy for self-determination and betterment of the Indigenous peoples. A precondition of reclaiming home is resurrecting tribal knowledge of belonging which situates the Indigenous subject within family and tribe and close connection to natural surroundings. This paper extends the boundaries of the concept of home from a physical space, such as house and homeland, to a representational one, such as community or cultural articulation, in which one finds comfortable identification (cf. Lefebvre 1991). This assumption supports the expansion of Indigenous agency to the realization of home on the global level. The paper takes a multidisciplinary approach and gathers a vast corpus of poetry, coming from different nations Indigenous to North America, and, therefore, from different locations and writing styles. While using the concept of the Indigenous to refer to Native Americans, Alaskans, First Nations, and Chicana/o, I will also briefly introduce the authors’ tribal affiliations to underline the collective pattern of suffering among the diverse groups.
4
O’Leary, Derek Kane. "Borrowed Books and Scholarly Interventions in Sarah Josepha Hale’s Genius of Oblivion (1823)." Libraries: Culture, History, and Society 6, no. 2 (September 1, 2022): 304–32. http://dx.doi.org/10.5325/libraries.6.2.0304.
Full textAbstract:
ABSTRACT Historical society archives and libraries in the early United States often appear as strictly masculine spaces in which few, if any, women had access and influence. Although scholarship tends to depict these archives and the historical narratives that they promoted in this light, women found a range of ways to engage with these institutions between the American Revolution and the Civil War. Sarah Josepha Hale (1788–1879), prior to her emergence as the most influential magazine editor in the antebellum United States, demonstrates this in her mostly neglected early poem, “Genius of Oblivion” (1823). Through the analysis of her unexamined personal correspondence with New Hampshire librarian Jacob Bailey Moore and a closer reading of her poetry, this article illuminates Hale’s use of her social network to access library materials and engage through poetry with the scholarship of contemporary male authors.
5
Kehl, D. G. "The Distaff and the Staff: Stereotypes and Archetypes of the Older Woman in Representative Modern Literature." International Journal of Aging and Human Development 26, no. 1 (January 1988): 1–12. http://dx.doi.org/10.2190/f7ky-r6gk-ye7l-pbcd.
Full textAbstract:
Belles-lettres, dealing with what it means to be human, serve to expose stereotypes, strip them away, and reveal the truth behind the misconceptions, often in terms of archetypes. An all-too-common subject of stereotyping is the aging of women. Much modern fiction and poetry cogently exposes such demeaning stereotypes. References to twenty-five representative poems and nine works of fiction by thirty-five modern authors (American, British, Australian, French) demonstrate that the elderly woman often survives with dignity, even nobility, in a society often insensitive to her plight, that she often ages with grace, retaining her independence, fortitude, and passion for life.
6
Núñez-Puente, Carolina. "Women’s Poetry that Heals across Borders: A Trans-American Reading of the Body, Sexuality, and Love." Feminismo/s, no. 37 (January 21, 2021): 333. http://dx.doi.org/10.14198/fem.2021.37.14.
Full textAbstract:
Drawing on the idea of literature as healing (Wilentz), this article examines the anti-dualistic restoring defense of the body, sexuality, and love in Angelou (African American), Cisneros (Chicana), and Peri Rossi (Uruguayan Spanish). My trans-American comparative reading seeks to transcend frontiers and join the poets’ efforts to demolish racist, (hetero) sexist, and other prejudices. The authors insist on the body and emotions as providing reliable sources of knowledge; they propose that women can cure themselves by loving their bodies, poetry can close up the wounds of sexist violence, and respect for lesboeroticism can heal intolerant communities. While celebrating the female, the poetic personae embrace non-binary positions that defy sexual and gender stereotypes; moreover, their poems’ cross-cultural and multi-tonal dimension functions as a bridge among people. In sum, the poetry of Angelou, Cisneros, and Peri Rossi has the power to cross borders and heal the world.
7
Nicolau, Cătălin. "Cultural and Intercultural Issues in Gloria Anzaldúa's Poetry." Linguaculture 11, no. 2 (December 10, 2020): 155–62. http://dx.doi.org/10.47743/lincu-2020-2-0180.
Full textAbstract:
In this paper I aim at looking at some of the themes that Gloria Anzaldúa approaches in her poetry. As all the authors representing and writing on behalf of the American ethnic minorities, she is especially concerned with defining the cultural identity of her people; thus, she focuses on the cultural profile of the American Chicanos and, at the same time, on the relationship of her people with the whites. The poetess is not only interested in exploring her ethnic identity, she is also preoccupied with feminism; actually, she aims at articulating the figure of the New Mestiza, the Chicana woman that fights for liberation from both the whites’ oppression and that of men. One of the recurrent concepts in Gloria Anzaldúa’s poetry is that of the border, which is explored from a(n) (inter)cultural perspective and which is used for defining the identity of the American Chicanos.
8
Werbanowska, Marta. "Ecojustice Poetry in The BreakBeat Poets Anthologies." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 1 (April 28, 2022): 89–105. http://dx.doi.org/10.37536/ecozona.2022.13.1.4421.
Full textAbstract:
Ecological modes of thinking and an awareness of environmental (in)justice are becoming increasingly pronounced in the ethics and aesthetics of hip hop. One area in which the culture’s growing interest in ecology as practice and metaphor is particularly visible is hip hop poetry’s turn to ecojustice, or an intersectional concern with social and environmental justice, liberation, diversity, and sustainability. This article examines selected works from the first two volumes of anthologies published by Haymarket Books as part of their BreakBeat Poets series, focusing on three ecojustice-oriented poems that address animal rights, (un)natural disasters, and gentrification. Their authors–all Black women– draw from African American history and culture to illuminate the intertwined ideological, political, and economic dimensions of some of the most pressing humanitarian and environmental crises of today. Samantha Thornhill’s “Ode to a Killer Whale” takes the form of a poetic monologue by the fictional character of Kunta Kinte, revealing similarities between human and animal subjugation and inscribing animal liberation in the Black revolutionary tradition. Candace G. Wiley’s “Parcel Map for the County Assessor” re-members and re-creates a culture of place that permeated the speaker’s countryside childhood to present the larger-than-human cost of rural gentrification. Finally, Mariahadessa Ekere Tallie’s “Global Warming Blues” juxtaposes the personal and the elemental dimensions of climate change in a blues remix that advocates for ecojustice for the disenfranchised.
9
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.
Full textAbstract:
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
10
Aubakir, S. S., А. K. Kitibaeva, and Zh Т. Оspanova. "An analysis of figurative language in the interpretation of contemporary English poetry." Bulletin of the Karaganda university. Philology series 11329, no. 1 (March 16, 2024): 16–23. http://dx.doi.org/10.31489/2024ph1/16-23.
Full textAbstract:
This article examines the various facets of figurative language. This study considers figurative language from a traditional perspective as an embellishment of language and compares it with contemporary theory in literature especially in poetry. The main material for the analysis of figurative language in poetry is poetic texts of contemporary American poets like William Carlos Williams, Robert Frost, and Charles Bernstein. We selected 15 poems that contain a lot of figurative expressions and analyzed them namely “The Red Wheelbarrow”, “This Is Just to Say”, “To a Poor Old Woman”, “The Road Not Taken”, “Stopping by Woods on a Snowy Evening”, “Fire and Ice”, “Mending Wall”, etc. The authors conducted about evaluation of the use of metaphors, hyperboles, idioms, and similes. The most used figurative language in all the analyzed poems is metaphor. It occurred in all 15 poems. Figurative language adds an element of beauty and artistry to poetry. Metaphors, similes, and other figurative expressions infuse the language with color, imagery, and creative aesthetics that captivate the reader's senses.
Dissertations / Theses on the topic "American poetry, women authors"
1
Groom, Kelle. "Five Kingdoms." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2168.
Full textAbstract:
GROOM, KELLE . Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.M.F.A.
Department of English
Arts and Humanities
Creative Writing MFA
2
Veitch, Karen Elizabeth. "The poetry of female radicalism in Depression-Era America." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43051/.
Full textAbstract:
This thesis examines womens' poetry of the radical Left and organised labour movement of the Depression-Era United States and investigates the relationship between poetry and politics during this period. In so doing, it shows that women poets were concerned with precisely that problem: of poetry's political function. The work of individual poets and the acts of collective cultural production explored in this thesis articulate a radical, politically transformative poetics at a time when the continued existence of poetry was perceived to be under threat from scientific advance and wider cultural changes. Juxtaposing analysis of Left modernist poets with poets of the labour movement, the chapters focus on three individual poets including Muriel Rukeyser (1913-1980), Genevieve Taggard (1894-1948) and Miriam Tane (1916-2007). To provide an understanding of the role of poetry within a specific political movement and to establish the context in which Tane's poetry was produced, two chapters are included which analyse the educational culture and the collective cultural production of the International Ladies' Garment Workers' Union. One chapter focuses on the history of the ILGWU's educational and cultural activities and the other analyses collections of poetry which the union produced. This thesis challenges the existing paradigm in which the study of American radical Left and labour poetry has been isolated from any broader enquiry about its relationship to class, American political history and also to literary modernism. This thesis advances two main arguments: that the poets considered in this thesis conceived of poetry as a politically transformative force; that these politically transformative understandings of poetry were rooted in in an engagement with the ideological and material contexts of the social movements to which these writers belonged. Furthermore, this thesis considers poetry in terms of the material context of its publication, and the political uses to which it was put.
3
Armacanqui-Tipacti, Elia J. María Manuela de Santa Ana. "Sor María Manuela de Santa Ana una teresina peruana /." Cuzco, Perú : Centro de Estudios Regionales Andinas "Bartolomé de Las Casas", 1999. http://books.google.com/books?id=ZkxfAAAAMAAJ.
Full text
4
Manning, Kimberly. "Authentic feminine rhetoric: A study of Leslie Silko's Laguna Indian prose and poetry." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1100.
Full text
5
Hogue, Cynthia Anne. "Figuring woman (out): Feminine subjectivity in the poetry of Emily Dickinson, Marianne Moore, and H.D." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185054.
Full textAbstract:
Historically, women have not been "speaking subjects" but "spoken objects" in Western culture--the ground on which male-dominated constructions have been erected. In literature, women have been conventionally held as the silent and silenced other. Lyric poetry especially has idealized not only the entrenched figures of masculine subject/feminine object, but poetry itself as the site of prophecy, vision, Truth. Most dramatically in lyric poetry then, the issue of women as subjects has been collapsed into Woman as object, that figure who has been the sacrifice necessary for the production of lyric "song" and the consolidation of the unified masculine voice. It has thus been difficult for women poets to take up the position of speaking subject, most particularly because of women's problematic relationship to Woman. Recent feminist theorists have explored female subjectivity, how women put into hegemonic discourse "a possible operation of the feminine." This dissertation analyzes that possibility in poetry as exemplified in the works of Emily Dickinson, Marianne Moore, and H.D. I contend that these paradigmatic American poets constitute speaking subjects in their poetry that both figure Woman conventionally and reconfigure it, i.e. subvert the stability of those representations, thereby disturbing our view. I argue that this double identification produces, in effect, a divided or split subjectivity that is enabling for the female speaker. As an alternative to the traditionally specularized figure of Woman then, such a position opens up distinctly counter-hegemonic spaces in which to constitute the female subject, rendering problematic readerly consumption of the image of Woman as a totality. I explore the attempts to represent women's difference differently--the tenuous accession to, rejection of, or play with the lyric "I" in these poets' works. Dickinson, Moore, and H.D. reconfigure Woman and inscribe female speakers as grammatically and rhetorically, but not necessarily visually, present, thereby frustrating patriarchal economies of mastery and possession.
6
Sowinska, Suzanne. "American women writers and the radical agenda 1925-1940 /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/9328.
Full text
7
Homestead, Melissa J. "American women authors and literary property, 1822-1869 /." Cambridge : Cambridge university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb400550012.
Full text
8
Kaufman, Anne Lee. "Shaping infinity American and Canadian women write a North American west /." College Park, Md. : University of Maryland, 2003. http://hdl.handle.net/1903/173.
Full textAbstract:
Thesis (Ph. D.) -- University of Maryland, College Park, 2003.Thesis research directed by: English Language and Literature. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
9
Galliher, Debra L. (Debra Lee). "The Light Under." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500864/.
Full textAbstract:
A poet who is a woman and a theologian writes under three pressures, or a triple bind: individuality, spirituality, and society. The desires and drives of the ego and those of spirituality often conflict, and societal expectations which gender bestows add further stress to the poet's efforts. This constant struggle destroys some poets (Plath, Sexton) and renders silent many of the rest. The following collection of poems combats the silence in four progressive sections: The first is an introductory essay which further discusses the triple bind; the second, "Between Two," illustrates spiritual relationships from despair to disillusionment; the third section, "Life in the Mirror," describes deteriorating human relationships; the final section, "Salt," presents problems resolving to a kind of negative capability. This poetry collection continues one woman's poetic struggle toward validity and acceptance.
10
Silcox, Heidi Mae-Marie. "The precocious mind : the intellectual development of Charlotte Perkins Gilman /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/SilcoxHM2010.pdf.
Full textBooks on the topic "American poetry, women authors"
2
R, Sherman Joan, ed. Collected black women's poetry. New York: Oxford University Press, 1988.
Find full text
4
R, Sherman Joan, ed. Collected Black women's poetry. New York: Oxford University Press, 1988.
Find full text
6
Marge, Piercy, ed. Early ripening: American women's poetry now. New York: Pandora, 1987.
Find full text
7
Karen, McCarthy, ed. Bittersweet: Contemporary Black women's poetry. London: Women's Press, 1998.
Find full text
8
Rita, Sherman Joan, ed. Collected Black women's poetry. New York: Oxford University Press, 1988.
Find full text
9
L, Rattiner Susan, ed. Great poems by American women: An anthology. Mineola, N.Y: Dover Publications, 1998.
Find full text
10
Susan, Aizenberg, Belieu Erin 1965-, and Countryman Jeremy 1972-, eds. The extraordinary tide: New poetry by American women. New York: Columbia University Press, 2001.
Find full textBook chapters on the topic "American poetry, women authors"
1
Tarlo, Harriet. "‘The New Comes Forward’: Anglo-American Modernist Women Poets." In Teaching Modernist Poetry, 58–76. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_5.
Full text
2
Loving, Mary Catherine. "Humor as Clap Back in Lucille Clifton’s Poetry." In Transgressive Humor of American Women Writers, 97–113. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56729-7_6.
Full text
3
Montilla, Patricia M. "Parody and Intertextuality in the Poetry of Twentieth-Century Spanish American Women Writers." In Postmodern Parody in Latin American Literature, 29–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90430-6_2.
Full text
4
Easton-Flake, Amy. "Theologies of the Afterlife in Mormon Women’s Late-Nineteenth-Century Poetry." In Nineteenth-Century American Women Writers and Theologies of the Afterlife, 189–204. New York, NY: Routledge, 2021. | Series: Routledge research in American literature and culture: Routledge, 2021. http://dx.doi.org/10.4324/9781003058595-15.
Full text
5
Wieringa, Edwin. "Can Kartini Be Lesbian? Identity, Gender, and Sexual Orientation in a Post-Suharto Pop Novel." In Gender, Islam and Sexuality in Contemporary Indonesia, 169–87. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5659-3_9.
Full textAbstract:
AbstractThe British author Martin Amis once remarked that “the way a writer names his characters provides a good index to the way he sees the world—to his reality-level, his responsiveness to the accidental humour and freakish poetry of life” (Amis Amis, The moronic inferno and other visits to America, Penguin, London, 1987, p. 13). If this is so, what, then, does the choice of the name Kartini for the protagonist in the 2007 pop novel Kembang Kertas (Paper Flowers) by the Indonesian woman writer Eni Martini with the provocative subtitle Ijinkan aku menjadi lesbian (Allow me to be lesbian) tell us about the way she appropriates the iconic feministfigure of Kartini who lived from 1879 to 1904? This essay explores how the Kartini image as a model of the ideal Indonesian woman is creatively refigured in this 21st-century expression of Indonesian popular culture and how the new post-colonial avatar is deployed to address problematics of gender, shame, and sexual orientation. The question arises as to the analogy between the emblematic Kartini, revered in Indonesia as the epitome of perfect heterosexual femininity, and the new-fangled Kartini figure in fictional form.
6
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.
7
Yandell, Kay. "Introduction." In Telegraphies, 1–23. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190901042.003.0001.
Full textAbstract:
In nineteenth-century America, Native Americans communicated long distance with smoke signals and Indian sign language to combat U.S. invasions across the American plains. Recently immigrated Morse telegraphers began to organize “online” for safer working conditions. Women telegraphers entered electric speech forums. These interactions inspired the creation of what this book dubs “telegraph literature”—the fiction, poetry, social critique, and autobiography that experiences of telecommunication inspired authors from vastly different social locations to write throughout nineteenth-century America. The telegraphic virtual inspired such canonical authors as Walt Whitman and Emily Dickinson, alongside such lesser known authors as Lida Churchill and Crow medicine woman Pretty Shield, to explore how seemingly instantaneous, disembodied, nationwide speech practices challenged American conceptions of self, text, place, nation, and God.
8
Casal, Rodrigo Cacho. "Writing in the New World." In The Places of Early Modern Criticism, 125–42. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834687.003.0009.
Full textAbstract:
Over the turn of the sixteenth and seventeenth centuries, Spanish American poetry and poetic theory experience a crucial moment of affirmation. Literary networks strengthen their circle of influence, and several authors, both creole and settlers, are able to promote their careers, further facilitated by the printing press. Books such as Miscelánea austral (Lima, 1602/1603) by Diego Dávalos y Figueroa, Grandeza mexicana (Mexico City, 1604) by Bernardo de Balbuena, and Parnaso antártico (Seville, 1608) by Diego Mexía contain a number of texts which lay the foundations for a new American poetics. They constitute a canon of New World authors who fashion themselves at the centre of a transatlantic exchange, both as followers and innovators of the peninsular literary tradition of the Renaissance. Framed within the rhetorical genre of “defences of poetry” and “defences of women”, these poets put forward an engaging critical representation of their own poetic identity.
9
Flint, Kate. "Sentiment and Anger: British Women Writers and Native Americans." In The Transatlantic Indian, 1776-1930, 86–111. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691203188.003.0004.
Full textAbstract:
This chapter assesses the portrayal of Native Americans by British women writers. This treatment was often far more radical, and far more angry—whether focusing on racial issues or on imperial ambitions in general—than that found in the work of many male authors. Until the midcentury at least, the cultural work performed by those women writers who took Indians as their subject oscillated between mourning their imminent and inevitable demise and protesting against the specific political and racist attitudes that lay behind their treatment in America. After the middle of the century, although women's appropriation of the figure of the Indian occurred less frequently within serious imaginative writing, those poets who engaged with these native peoples showed an increasing tendency to extrapolate from the American context and turn their humanitarian gaze toward the workings of the British Empire itself. Women seem to have been particularly drawn to Indians as a poetic topic, both finding them a suitable object on which to expend the fashionable literary currency of sentimental compassion and, it has been argued, seeing them, in their apparent disempowerment and marginalization, as an analogue for their own condition as women.
10
Easley, Alexis. "Felicia Hemans and the Birth of the Mass-Market Woman Poet." In New Media and the Rise of the Popular Woman Writer, 1832-1860, 24–52. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475921.003.0002.
Full textAbstract:
This chapter focuses the career of Felicia Hemans, one of the first women writers to achieve widespread fame as a mass-market poet. I begin with an overview of the revolution in print that corresponded with the span of Hemans’s career, 1808 to 1835. While Hemans’s poems might have made their first appearance in books or periodicals priced at one shilling or more, they were among the most frequently reprinted content in periodicals and newspapers aimed at broad audiences that included working-class and lower-middle-class readers. In the second part of this chapter, I use Hemans’s poem ‘The Better Land’ as a case study for exploring how the practice of reprinting enabled the dissemination of her work to mass-market audiences and niche readerships. In the third section of this chapter, I explore the history of American reprintings of Hemans’s poetry, highlighting how she negotiated the lack of international copyright protection for British authors in order to harness new markets abroad. I close the chapter by exploring a posthumously published poem, ‘To My Own Portrait.’ Its circulation in memorials after Hemans’s death tells us much about emergent visual print culture, which defined the ‘poetess’ as both a celebrity author and a pictorial image.
Conference papers on the topic "American poetry, women authors"
1
Гусева, О. В. "Женский голос в современной польской поэзии." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.46.
Full textAbstract:
Women have been involved in the creation of Polish literature since the 17th century. A new page in the history of Polish literature, which came after 1989, is associated with the rapid development of feminism. An important phenomenon of poetry at the beginning of the XXI century was the abundance of female names: at this time, the authors of the older generation, such as V. Szymborska, E. Lipska, K. Miłobędzka, J. Hartwig, continue to create, but new names also appear: J. Mueller, M. Cyranowicz, J. Bargielska, M. Podgórnik, M. Lebda, J. Fiedorchuk, M. B. Kielar. Contemporary Polish women’s poetry is very soulful, sensual and deep, it is filled with empathy, and at the same time it is subjective. Corporeality and frankness become one of the characteristic features of women’s writing: women’s poetry tells more openly and directly about the most intimate experiences.
2
Dos Reis, Jorge. "Computer mimetics in visible performance: the late work of the Portuguese experimental poet Ernesto Melo e Castro." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004219.
Full textAbstract:
Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.
3
Carlini, Beatriz, Sharon Garrett, and Lexi Nims. "Are parents who use cannabis receptive to safe storage interventions and point-of-sale education?" In 2022 Annual Scientific Meeting of the Research Society on Marijuana. Research Society on Marijuana, 2022. http://dx.doi.org/10.26828/cannabis.2022.02.000.18.
Full textAbstract:
Purpose: The provision of cannabis storage devices paired with consumer prevention messages at point-of-sale has been considered by local health agencies to reduce youth access to cannabis in homes with adult cannabis consumers. This project sought to learn about current storage practices, interest in safe storage devices, and acceptability of youth prevention messages among adult consumers with youth at home. Methods: Potential participants responded to a Facebook advertisement and then completed an online survey which identified those who were over 21, used cannabis at least six times in the past six months, had children at home, lived in a target WA state county, and made at least one purchase from a cannabis store. Semi-structured interviews were conducted over Zoom, in May-June 2021. Participants responded to open-ended questions and reacted to existing prevention messages. Thematic analysis was performed by the three authors in two iterations; first initial themes were identified, and a coding framework was developed, then focused coding was conducted using this framework. Results: Sixteen parents ranging in age from 21-50 were interviewed. Most were women (14; 88%), 10 (63%) were White/Caucasian, 3 (19%) Black/African American, and 1 (1%) each Pacific Islander and White/Caucasian, Native American/American Indian, and Black/African American and White/Caucasian. Eleven had children between 2-10 y.o. and six between 11-17 y.o. in the home. Thirteen (81%) used cannabis daily, many for medicinal reasons. Parents described a wide range of storage practices and were supportive of receiving storage devices from retail stores. Health messages were well received when they were simple, depicted parents in a positive light, included relatable images, and emphasized edibles and that children may not know that products contain cannabis. Parents saw the importance of messages focused on brain development and the social consequences of teen use but were wary of messages that encouraged adult cannabis use to be hidden, that suggested that adults should communicate their disapproval of cannabis, or that described cannabis as addictive. Conclusions: Parents who use cannabis expressed concern for their kids and understood that cannabis use can negatively affect child development. While most were willing to store their cannabis out of reach of their children, cannabis was not viewed as being as harmful as other products that they consider a priority to store out of reach of children, such as opioids, alcohol, and guns. Content of health messages can easily be rejected if perceived as judgmental, stigmatizing, or untrue. Most parents trusted that open dialogues with their kids was the most effective prevention, and most were not willing to hide their own use.
Reports on the topic "American poetry, women authors"
1
Ureta, Manuelita, Alejandra Cox Edwards, and Suzanne Duryea. Women in the Latin American Labor Market: The Remarkable 1990's. Inter-American Development Bank, July 2002. http://dx.doi.org/10.18235/0011337.
Full textAbstract:
In this paper, the authors examine levels and trends of labor market outcomes for women in the 1990's using household survey data for 18 Latin American countries covering several years per country. The outcomes analyzed include labor force participation rates, the distribution of employment of women across sectors of the economy (formal versus informal), and earnings. Next, the authors examine the role of schooling in explaining the increase in female labor force participation in LAC countries. All of these findings suggest a fair degree of change in the role of women within households and in the labor market. The authors conclude that the macro economic picture of stagnation for LAC in the 1990s masks non-trivial developments in the division of labor and time allocation by gender.