Academic literature on the topic 'Family relationships poetry'
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Journal articles on the topic "Family relationships poetry"
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Werner, Christoph. "The Kujujī Poets: Families, Poetry and Forms of Patronage in Azerbaijan and beyond (Fourteenth to Seventeenth Centuries)." Eurasian Studies 15, no. 2 (April 26, 2017): 250–79. http://dx.doi.org/10.1163/24685623-12340038.
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Abstract Tracing the extended Kujujī family unit, originally from Western Azerbaijan, through the fourteenth up to the seventeenth century, I am especially interested in the interplay between members of the Kujujī family, their professional background, and the poetry they composed. Poetry is interpreted as a mode of transmission, understanding panegyric and mystical forms of poetry as a means to shape and reinforce family identities in reciprocal relationships – in our case the relationship between the local Sufi-notable family network of the Kujujīs with the respective ruling families of the Jalayirids and Safavids. The article explores their poetry, the poets as actors of transmission and the links that are created between distant members of the “imagined” family of the Kujujīs as expressed in literary anthologies (taẕkiras). Moving beyond traditional perceptions of one-on-one, client-patron relations in the production of court poetry and emphasizing the role of families creates a long-term perspective and re-evaluates classical Persian poetry as intra-generational cultural bond.
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Jones, Ellen, and Tab Betts. "Poetry, philosophy and dementia." Journal of Mental Health Training, Education and Practice 11, no. 2 (May 9, 2016): 75–80. http://dx.doi.org/10.1108/jmhtep-10-2015-0050.
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Purpose – The purpose of this paper is to describe the use of poetry by family carers as a way into the inner world of a person with late stage dementia, consistent with their values, preferences and experiences; enhancing the wellbeing of both the person with dementia and family carers. Design/methodology/approach – The use of poetry is being increasingly recognised as valuable in improving wellbeing for people with dementia. Poetry has an intrinsic quality which is well-suited for people with dementia: it does not require following a storyline and therefore can be enjoyed by those with no short-term memory. Findings – The paper describes the benefits to both family members and the person with dementia; the use of poetry opened up expression of deep emotions, improved communication and enriched family relationships. Research limitations/implications – Use of poetry by family carers with people with late stage dementia is under researched in the UK and further study of the impact of this intervention would be beneficial. Practical implications – Poetry can be used practically in both small groups in care homes or community settings and also one to one by family carers. Of especial value are poems that have been learnt by heart when young. Originality/value – Finally, the paper also draws attention to the positive lessons we can learn from people with dementia.
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Kaufman, K. "Silence." European Psychiatry 24, S1 (January 2009): 1. http://dx.doi.org/10.1016/s0924-9338(09)71166-6.
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Less can be more, much more. This brief four-stanza poem on “Silence” has served well as a focus in family psychotherapy addressing the changes in relationships between child and parent: inherent trust, perceived betrayal, attempts to heal, and communication. All parents and children at some time have felt or witnessed aspects of this poem. Poetry can be the catalyst for a deeper understanding of self, especially in the context of family. Poetry and poetry therapy permit the expression and analysis of powerful emotions and thoughts often too painful to vocalize.
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McLeod, Heather, and Gisela Ruebsaat. "“The Receiver No Longer Holds the Sound”: Parents, Poetry, and the Voices We Create in the World." in education 20, no. 2 (November 14, 2014): 29–47. http://dx.doi.org/10.37119/ojs2014.v20i2.182.
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In this article, we explore how poetic inquiry informed by duoethnography enables us to know our parents better and to reflect on our relationships with them after their deaths. We are interested in how this process of inquiry deepens our thinking about the nature of research and writing as well as about teaching and community work. Through the lens of poetry, we have been able to see beyond the received family histories of whom our parents were and to fashion a more layered and nuanced picture not only of them, but also of the social forces that shaped them, and in turn shaped us as researchers and social activists. Sources for our work include Heather’s father’s poetry and Gisela’s poems, which draw from interviews with her mother and anecdotes her mother told her as she was growing up.Keywords: poetic inquiry; duoethnography; parents
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Surdi, Elena. "Poems of home: domestic poetry written by Antonio Rubino and Emilia Villoresi." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 21–35. http://dx.doi.org/10.36253/rse-9638.
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In the preface Della poesia domestica. Pensieri (“On domestic poetry. Thoughts”) (1839) Giulio Carcano outlines a connection between poetry and family life. The author believes that home and intimate relationships are by nature rife with poetry. In Poetry for childhood in the XIX Century (“Poesia per l’infanzia nel sec. XIX”) (2007) Renata Lollo unlocks the educational potential of this vision. The paper, leveraging on this hermeneutical vision, proposes domestic poetry as a the interpretative lense to analyze some works by Antonio Rubino (1880-1964) and Emilia Villoresi (1892-1979). On the Corriere dei Piccoli, between 1909 and 1934 Rubino published several components based on the daily life for a child at the time. The artist, capable of adopting a multimedial approach in his dialogue with childhood, always considered poetry as the optimal way to narrate and to educate to beauty. By describing in verses daily life and domestic chilhood life he unlocks all its depth and richness. Likewise in 1937 Emilia Villoresi published Picci, non far capricci, a collection of poems dedicated to her niece that narrate the life of a three year old child. The poems describe simple and funny life episodes and, through rime, they are conveyed to children through images they are familiar with, using a clear but fascinating language. For both authors poetry is a primary choice used to describe childhood and to addreess childhood, full of educational meanings. By dealing with apparently trivial issues (linked to domestic and everyday life), poetry makes literature available to the youngest and educates them to the values that are pillars of family life.
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DAVIDSON, IAN. "The Languages of Charles Reznikoff." Journal of American Studies 45, no. 2 (May 2011): 355–69. http://dx.doi.org/10.1017/s0021875811000107.
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This paper examines the representation of American everyday life and the language of the legal system in the work of Charles Reznikoff. It draws comparisons between Reznikoff's accounts of the lives of immigrants to America in his work, and Jacques Derrida's experience of colonial relationships as described in his book Monolingualism of the Other or The Prosthesis of Origin. Charles Reznikoff was the son of Russian Jews who moved to America to escape the pogroms of the late nineteenth century. His parents spoke Yiddish and Russian, his grandparents spoke Hebrew, and Reznikoff's first language was English. This familial linguistic complexity was further added to by his associations with experimental modernist poetry and poetics through the “Objectivists,” an environment that provided him with the poetic forms in which to explore relationships between language, experience and its representation. I cite two other linguistic contexts: that of the law, acquired through his legal training, and that of commerce and sales, acquired through working as a hat salesman for his parents' business. Reznikoff therefore had no naturalized relationship between language and either family or national identity, or between language and place. I use Derrida's notion of “a first language that is not my own” to explore the implications for Reznikoff's poetry, and particularly the relationship between the specific accounts of experience in Testimony and the more general notions of nation and justice. While I conclude that a concern of the poems is always language, and what language means in different contexts, the poems also seek to connect with the material consequences of injustice for the fleshly bodies of the victims.
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Young, Francis. "The Shorts of Bury St Edmunds: Medicine, Catholicism and politics in the 17th century." Journal of Medical Biography 16, no. 4 (November 2008): 188–94. http://dx.doi.org/10.1258/jmb.2007.007058.
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The Short family of Bury St Edmunds produced at least eight doctors between the first half of the 17th century and the first half of the 18th. Some of these practised locally and others went on to achieve fame in London or abroad. They included Richard Short (d. 1668), a medical polemicist, and Thomas Short (1635–85) who treated Charles II in his last illness and became the subject of poetry and other literature. The Shorts generated controversy through their adherence to the Roman Catholic faith at a time of persecution and suspicion. Richard Short used medical polemic as a vehicle for advancing his religious views, and his son and nephew became involved in James II's political programme to introduce religious toleration in 1688. After the Revolution the Shorts withdrew from political life but continued in their medical practice and their recusancy. This paper is the first to unravel the family relationships of the Shorts, which previously have eluded most historians.
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Muhammad, Gholnecsar E., Glenda Mason Chisholm, and Francheska D. Starks. "Exploring #BlackLivesMatter and sociopolitical relationships through kinship writing." English Teaching: Practice & Critique 16, no. 3 (December 4, 2017): 347–62. http://dx.doi.org/10.1108/etpc-05-2017-0088.
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Purpose This study aims to explore the textual and sociopolitical relationships of kinship writing as 15 youth wrote politically charged poetry while participating in a four-week summer writing program grounded in a Black studies curriculum. Design/methodology/approach The authors explore the following research questions: How do youth writers draw upon each other’s writing to compose sociopolitical kinship poems when writing about critical issues affecting Black lives? What topics and oppressions do youth choose to write about and how do they write about these topics? Findings The authors found that the youth wrote across multiple topics affecting Black lives in their kinship poems. These include the appropriation of black beauty, gun violence and police brutality, love and Black lives, the need for equality, negative depictions and misrepresentations of Black people, the neglect and omission of Black lives and suppression of freedom. The youth took up various critical issues in their poems, which addressed what they deemed as most urgent in the lives of Black people, and these selected topics were highly historicized. We also found that the youth used the content, styles and audience of the original poems to pen their own pieces. Research limitations/implications Writing with another peer afforded collaborative writing and spaces for youth to read and interrogate the world while building criticality through their writing. Originality/value Kinship writing is a genre in which one piece of writing has a relationship with another piece of writing. Kinship writing carries significance in the Black literary community as the history of Black education has been interlaced with ideals of social learning, community, family and kinship. This literary approach contributes to ways Black people used each other’s writings to offer healing, comfort and care in a turmoil filled world.
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Taleghani, R. Shareah. "‘Personal Effects’." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 49–62. http://dx.doi.org/10.1163/18739865-01301003.
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Abstract Solmaz Sharif’s debut poetry collection, Look (2016), has been hailed by critics for its formal experimentation and as a searing indictment of war. Using various words from the 2007 Department of Defense (DOD) Dictionary of Military and Associated Terms, Sharif highlights the sterility of the official vocabulary of the US military machine and the ‘war on terrorism’. The poet juxtaposes the DOD’s lexicon with reflections on personal relationships, family, love and loss along with traces of the multiple sites of home of an Istanbul-born, Iranian-American poet. In this essay, I argue that throughout the collection, the poet engages in a subversive, translative act; Sharif presents an intralingual mode of translation in which her poems destabilize the seeming neutrality and sanitizing effect of military vocabulary by consistently juxtaposing it with representations of the effects and consequences of violence, as well as images of intimacy, in order to articulate an anti-war stance.
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Macanova, Kristīne. "INSPIRATIONS AND DISCOVERIES OF IDENTITY IN VILIS DZĒRVINĪKS’ POETRY." Via Latgalica, no. 6 (December 31, 2014): 53. http://dx.doi.org/10.17770/latg2014.6.1657.
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<p>Vilis Dzērvinīks was born on 16 March 1959 in Kromani village, Kaunata parish, Rēzekne district in the family of a blacksmith Jānis and a primary school teacher Antoņina. He studied in Ziedoņu elementary school, Rēzekne secondary school, that was graduated in 1975, Rēzekne Secondary school No. 1, that was graduated in 1977, Riga vocational training school No. 19, that was graduated in 1978 acquiring a general building master’s qualification. From 1978 to 1980 he served in the railway troops on Baikal–Amur Mainline. In 1988 he started to acquire a correspondence course at RPI (now – Riga Technical University) faculty of general technical sciences, where he completed four courses. In 1988 he began to work in LKP (Communist Party of Latvia) committee of Ludza district as an instructor in the Culture Department, in 1990 he was nominated by LTF (The Popular Front of Latvia) and elected as the Chairman of the Board of the deputies of Ludza town. In October 1991 he was elected as the Chairman of the Board of Ludza city. Later he moved to Rēzekne and was the owner of the company “Komforts” (by Paukštė, Rancāne, Salcevica, Vilčuka 2008: 160–161).</p><p>V. Dzērvinīks’ creative work has not been studied widely and its analysis has also missed out in the context of Latvian literature, but V. Dzērvinīks’ poetry has strengthened the usage of contemporary Latgalian language, as well as contributed to the development of Latgalian literature.</p><p>The article aims to reveal the factors of inspiration and identity them in V. Dzērvinīks’ creative work, describing the author’s characteristic traits. The findings of the research are based mainly on V. Dzērvinīks’ literary heritage, as well as on newspaper and book materials about V. Dzērvinīks.</p><p>The sources of the research are V. Dzērvinīks’ three volumes of poetry: “Laimeigu īsadūmōt” (2001), “Voi moz lidmašinu kreit” (2003), “Upers” (2006). To describe the author’s inspiration factors, there were used the following exploratory methods: psychology of creative work (A. Potebņa, R. Mūks) and structural semiotics (J. Lotman, R. Veidemane).</p><p>Inspiration factors can be divided into literary and non-literary ones, but it is impossible to draw a clear boundary between them, but the concept of identity is too broad and frequently used. Human identity (-ies) is formed during the person’s lifetime and is dependent on many factors. V. Dzērvinīks’ creative work depicts powerfully his affiliation to Latgalian, i. e., in this case we can speak of V. Dzērvinīks’ ethnic identity. Ethnic identity is formed, when a person accepts ethnicity-specific traditions, based on language and culture. V. Dzērvinīks’ ethnic identity is expressed both as a political and social participation in favor of Latgale and Latgalian language, that is the language of his creative writings and the dignity of Latgalian Heritage. Latgalian authors and cultural workers, who have spiritually enriched Latgale, are Antons Kūkojs, Pēteris Jurciņš, Ingrīda Tārauda, Anna Rancāne, Andris Vējāns, Antons Slišāns, Osvalds Kravalis etc., as well as emotional kinship with places of Latgale – Rēzekne, Ludza, Idzipoles Lake, Zvirgzdenes Lake, Kromanu village etc. Latgalian is considered as the familiar, but “čiuliskais” (‘other Latvians’) as the strange one.</p><p>Identity (particularity) is the person’s self-perception, self-characterization, which consists of an individual’s behavior patterns in different situations; this is how a person perceives himself. And, if there is created the inspiration – the model of identity relationships, then the inspiration is the impulse, the identity is the result of the impulse or it is something, that is formed in the result of inspiration. V. Dzērvinīks’ sources of inspiration can be viewed from two perspectives: firstly, analyzing the author’s creative writings, revealing the hidden motives of poems, and secondly, searching for answers in V. Dzērvinīks’ interviews and articles about the author.</p><p>Politics has been a bright non-literary inspiration factor in the author’s poetry. This is reflected both in the choice of the theme of poetry and the use of sharp and stinging irony and sarcasm, sharply dividing the oppositions such as familiar– unfamiliar, authorities–people.</p><p>Love as a non-literary source of inspiration creates the atmosphere of melancholy and longing lyrics in the poetry. Often it is an intimate poetry, because it is dedicated to a particular recipient. A woman in this poetry is divinized, because she is the muse – an inexhaustible source of inspiration.</p><p>V. Dzērvinīks’ Latgalian identity is revealed as a factor of non-literary inspiration. The proof of this identity is reflected both in the lyrics I self-revelation, acknowledging, that he is Latgalian, as well as in the choice of the tone of poems, when Latgalian is the familiar one, but the rest is the strange one.</p>
Dissertations / Theses on the topic "Family relationships poetry"
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Earley, Deja Anne. "Keeping Gardens: Poetry and Essay." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd943.doc.
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North, Naomi. "Fall Like a Man." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460115929.
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"Family relationships in Coleridge's poetry." Tulane University, 1985.
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The failures and disappointments in Samuel Taylor Coleridge's family life affected his poetry in several significant ways. His inability to achieve lasting happiness as a son, brother, husband, and father contributed to his idealization of domestic love and to his dependence on surrogate brothers, sisters, and mothers. His childhood trauma and later domestic frustrations apparently led to a preoccupation with Cain themes and other familial conflicts; however, he was usually reluctant to present detailed examinations of such themes in his poetry, and in several of his narratives, disturbing parallels to his private disappointments may have been one cause of his surrender to his habitual tendency toward fragmentary compositions When Coleridge did not leave a work as a fragment, he often seems to have used other means of screening himself from distressing implications of fratricide and domestic turmoil; severely editing the text, portraying conflicts symbolically, masking characters' identities, manipulating contrasts between violence and supportive love, adopting a pose of religious righteousness, or leaving a work unpublished. In several early poems, he praises domestic heroes and contrasts the unity of God's family with protrayals of tyrants who destroy their victims' families. In the conversation poems he focuses selectively on the most rewarding aspects of his relationship with his wife, his son Hartley, and the Wordsworths. After the collapse of his marriage, he found that he had virtually nothing to communicate in poetry concerning his own family. Most of his love poems to Sara Hutchinson remained unpublished, while some of the published lyrics conceal her identity and speak of her as if she were his wife. 'Christabel,' 'The Wanderings of Cain,' and 'The Three Graves'--narratives that closely reflect Coleridge's domestic frustrations--remained fragments, while in 'The Ancient Mariner' he deals with fratricide symbolically instead of literally. He was able to complete the plays Osorio and Zapolya, but apparently only at the cost of de-emphasizing the potentially meaningful Cain themes and contrasting the villains with numerous other characters who essentially represent domestic virtue. Other plays, which would have treated domestic violence more directly, remained unwritten projectsacase@tulane.edu
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Lewitt, Amy Joy. "Own worst enemy : an original novel in poetic form that explores the boundaries between literary genres, while investigating the problematics of memory and subjectivity within traumatised family relationships." Thesis, 2012. http://hdl.handle.net/10413/9051.
Full textBooks on the topic "Family relationships poetry"
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Landscape of the heart: Writings on daughters and journeys. Pullman: Washington State University Press, 1996.
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Moore, Deirdre. Survivors of beauty: Memoirs of Dora and Bert Birtles. Croydon, NSW: Book Collectors' Society of Australia, 1996.
Find full textBook chapters on the topic "Family relationships poetry"
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Cox, Rosanna. "Milton, Marriage, and the Politics of Gender." In John Milton. British Academy, 2010. http://dx.doi.org/10.5871/bacad/9780197264706.003.0007.
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This chapter investigates the seventeenth-century cultural and historical context of Milton's portrayal the relationship of Adam and Eve in Paradise Lost. This approach aims to bring the intellectual, doctrinal, and political debates with which he engaged in his portrayal of the relationship between the sexes. The chapter examines Milton' understanding of the ideas of woman, womanhood, and the cultural debates about the relationship of man and woman in marriage and in the household, and the ways in which these conceptions formed his political and theological outlook. Milton's thoughts on gender and marriage, which were grounded in reformation and seventeenth-century Puritan teachings, in political debates on family and political obligation, and in the ideological and imaginative relationships between politics and gender, formed his prose and poetry on the relationship of man and woman.
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Stalnaker, Aaron. "The Confucian Dào." In Mastery, Dependence, and the Ethics of Authority, 133–80. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052300.003.0004.
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This chapter explores Confucian practices, including archery, ritual, music, and poetry. It argues that the early Confucian Dào should be understood as a practice-centered tradition that shapes human relationships, character, and skills. Becoming good at these practices requires authoritative teachers, but their authority should not give contemporary people pause—the early Confucians took no vows of obedience, nor did they advocate ascetic renunciation. This chapter explores the three aspects of “the master”: a master practitioner of Confucian arts, an attractive exemplar of good living, and an effective guide for others. The Confucian Way forms a lifelong path, with distinct stages, that reflects a gradualist developmental paradigm, and makes family life central to good living. In sum, this chapter explores the reliance of students on their teachers, in order to suggest that it is salutary rather than deforming for both students and teachers.
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Kenny, Neil. "Introducing the Marots." In Born to Write, 233–35. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198852391.003.0016.
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Chapters 16–19 are a case study of the family that produced the best-selling vernacular literary author of sixteenth-century France: Clément Marot. The example of this family also provides one way of examining the relationship to family and social hierarchy of a genre of writing that was fundamental to literate culture: poetry. The aspiration to social ascent was only one of the reasons why poetry was so widely composed in sixteenth-century France, but it was a key one. Like other cultural practices—ranging from dress and heraldry to forms of address—poetry was therefore itself part of the very mechanics that constructed social hierarchy.
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Sharma, Swapna. "Gadadhar Bhatt and His Family." In Text and Tradition in Early Modern North India, 354–64. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0018.
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In this chapter, Swapna Sharma brings to light the special contributions of Gadādhar Bhaṭṭ and his family to the constitution of Vrindavan’s distinctive spiritual culture, relating these especially to the family’s Telangana origins and in their distinctive position as a bridge between Vallabhite, Chaitanyite, Haridasi, and Radhavallabhi religious communities (sampradāya). Among other things, Sharma draws attention to Gadādhar’s close relationship to Jīva Gosvāmī and his reputation as a practitioner of bhāgavata kathā, but it is the appeal of his Brajbhāṣā poetry that stands out above all.
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Fadiman, Anne. "The Oakling and the Oak: The Tragedy of the Coleridges." In Letter Writing Among Poets. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748681327.003.0006.
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The relationship between Samuel Taylor Coleridge and his elder son, Hartley, was close but fraught. Hartley, also a poet, was immortalized at a young age by the poetry of his father and William Wordsworth, burdened by impossible expectations, damaged by his father’s abandonment of his family, and drained by alcoholism. ‘The Oakling and the Oak’ derives its title from an 1833 review of the only book of poetry Hartley published in his lifetime; it praised the verse for embodying ‘no trivial inheritance of his father’s genius’ but also quoted the old saying that ‘the oakling withers beneath the shadow of the oak.’ Using letters by, to, and about Samuel Taylor Coleridge and Hartley as a framework, this chapter takes us inside the emotional life of their relationship and attempts to explain the breach that kept them apart for the last twelve years of Samuel Taylor Coleridge’s life.
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Daw, Sarah. "Nature and the Nuclear Southwest: Peggy Pond Church and J. Robert Oppenheimer." In Writing Nature in Cold War American Literature, 61–94. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430029.003.0003.
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Chapter Two takes as its subject the New Mexican poet Peggy Pond Church. Although Church is not a canonically recognised writer, this chapter reveals that her poetry and prose writings contain innovative depictions of an infinite, ecological Nature that is even capable of containing the new nuclear threat. Church’s biography places her at the centre of the story of the nuclear Southwest; her family was evicted from her father’s Ranch School when the US government repossessed their land to make way for the Manhattan Project in 1942. The main body of this chapter reads Church’s poetry alongside an exploration of her interest in Pueblo Native American thought, revealing the degree to which Church drew on the Pueblo worldview in forming the ecological vision of the human relationship to Nature that defines her writing. The final section of the chapter explores the relationship between Church’s writings and those of her neighbour and correspondent, the atomic physicist J. Robert Oppenheimer, exposing the synergies between both writers’ contemporaneous depictions of ecology.
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Isstaif, Abdul-Nabi. "Muhammad Mustafa Badawi in Conversation." In Studying Modern Arabic Literature. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748696628.003.0003.
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This chapter presents a 1997 interview with Mustafa Badawi and includes sections relating to his early life and education until 1947 when he was sent to England to pursue further studies in English. Badawi first talks about the years of his early formation in the family, the neighbourhood and his various schools in Alexandria before discussing his cultural formation in the city. He reveals that he decided to specialise in English language in order to deepen his study of English literature so that he could see Arabic literature in the wider context of world literature. Badawi also describes his attitudes towards literature and criticism, which he says involved three essential questions: the relationship between literature and politics; the relationship between literature and morality; and the nature of language and its function in poetry, and consequently the relationship between poetry and science, or between poetry and thought or knowledge in general.
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Bugan, Carmen. "The ‘Lyric I’." In Poetry and the Language of Oppression, 52–80. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868323.003.0003.
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There are two aspects of personal identity that often clash in the artistic process originating in oppression; they destabilize the voice of the ‘lyric I’. This chapter raises several questions about the relationship between personal biography and the construction of a lyric speaker, and explores the notion of a poetics that insists on healing the damage that politics does to the family; it discusses what happens when private and public identities become conflated because of politics, and how poetry ‘acts’ on the sense of family as a social microcosm where the conflict between the sense of the political self and the private self takes place.
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"Families and Family Relationships in the Speeches of Isaios and in Middle and New Comedy." In Poet and Orator, 375–88. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110629729-018.
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Gilmore, Lois. "Shop My Closet: Virginia Woolf, Marianne Moore, and Fashion Contemporaries." In Virginia Woolf and Her Female Contemporaries. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954088.003.0016.
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Woolf’s well-documented fashion angst is read through the lens of fashion contemporaries like Marianne Moore, whose fashion (and literary) identity was supported by family and friends in a kind of female patronage, resulting in her development as a fashion icon celebrated in magazines like Harper’s Bazaar and Vogue, which printed interviews, spreads, and poetry. Keying on the ideas of individuality and identity and working with the extensive Moore collection at the Rosenbach Museum and Library (Philadelphia), this essay examines how the support of Moore’s circle enabled her to navigate and rise above the doubts that beset Woolf ‘s relationship with fashion.