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Journal articles on the topic 'Feminist poetry – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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2

Marzec, Lucyna. "Kazimiera Iłłakowiczówna mniej więcej znana." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 75–94. http://dx.doi.org/10.14746/pspsl.2018.32.4.

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The article is the analysis of the place of Kazimiera Iłłakowiczówna in contemporary literary discourse. The author of the article claims – using Pierre Bayard’s theory – that the poetess is known “more or less”: she is remembered as someone who got prizes and recognition but at the same time she is impossible to read nowadays. There is political ambiguity and antiquity in her texts that keep her in the past. Marzec points at four areas of literary studies, where Iłłakowiczówna is still present: 1. Poetics: Iłłakowiczówna uses an original and unusual type of the Polish tonic verse. The author of this article analyses it using tools of psychoanalysis. 2. Religious discourse: Iłłakowicz.wna is interpreted as the author of religious poetry but Marzec argues with such interpretations. 3. Post-dependence studies: Iłłakowiczówna has not been analysed in terms of post-dependence studies yet but she is mentioned in the Polish borderlines discourse. 4. Feminist literary criticism: Iłłakowiczówna used to be studied as the author of androgynous poetry, but Marzec points out other motifs such as miscarriage, infanticide or problems of the new woman, like work at government institution, contestation of vitalism and bureaucracy. The aimof this article is to show that writing of Kazimiera Iłłakowiczówna needs to be read in terms of the history of literature which is devoid of evaluation and judging. Such analysis means going back in terms of modern literary studies which have undergone multiple turns that changed the tools accessible to contemporary critics.

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3

Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.

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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.

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4

Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.

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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.

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5

Hiddleston, Jane. "Imprisonment, freedom, and literary opacity in the work of Nawal El Saadawi and Assia Djebar." Feminist Theory 11, no. 2 (August 2010): 171–87. http://dx.doi.org/10.1177/1464700110366815.

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In her astute study of contemporary Arab women writers, Anastasia Valassopoulos begins by noting the pitfalls of much existing criticism of writers such as El Saadawi and Djebar in the West. Citing Amal Amireh’s article on the fraught history of the reception of El Saadawi in Egypt and in Europe, Valassopoulos comments that Arab women’s literature tends to be seen as ‘documentary’, and this obscures the ‘core issue of representation’ as it is explored and challenged by women writers. In the face of this omission, the present article explores a selection of works by El Saadawi and Djebar from an aesthetic perspective. El Saadawi and Djebar use literary writing as a means to escape the constraints placed upon them by patriarchy, as well as by colonialism, and uphold creativity and poetry as a possible release from imprisonment. This article also uses Glissant’s and Bhabha’s concepts of literary opacity and the right to narrate as a partial framework for a reading of the relation between writing, freedom and aesthetic form in the works of El Saadawi and Djebar. El Saadawi and Djebar purposefully deploy a form of self-effacement, both in their autobiographical representations and in their portraits of female characters, also akin to Trinh Minh-ha’s strategy in Woman, Native, Other. Minh-ha’s dissemination of the writing voice, and the affirmation of collective solidarity between multiple but internally fragmentary feminist positions, serves, then, as a further theoretical backdrop for El Saadawi’s and Djebar’s use of opacity and the right to narrate as tools in an active feminist resistance to sexist and racist discourses. Both El Saadawi and Djebar use their writing to conceive women’s liberation from various forms of imprisonment, and they figure women’s fractured, convoluted and at times opaque self-expression as a direct form of resistance to both patriarchal and colonial oppression.

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6

Stern, Kimberly J. "A History of Feminist Literary Criticism." Women's Writing 16, no. 1 (May 2009): 173–76. http://dx.doi.org/10.1080/09699080902854503.

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7

Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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8

Ledger, Sally. "Feminist Criticism in the Nineties." Literature & History 2, no. 2 (September 1993): 76–82. http://dx.doi.org/10.1177/030619739300200207.

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9

Gallop, Jane. "Heroic Images: Feminist Criticism, 1972." American Literary History 1, no. 3 (1989): 612–36. http://dx.doi.org/10.1093/alh/1.3.612.

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10

Herbert, T. Walter, Roberta Rubenstein, and Amy Schrager Lang. "Feminist Literary Criticism and Cultural Interpretation." American Quarterly 39, no. 4 (1987): 656. http://dx.doi.org/10.2307/2713134.

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11

Roof, Judith. "Hypothalamic Criticism: Gay Male Studies and Male Feminist Criticism." American Literary History 4, no. 2 (1992): 355–64. http://dx.doi.org/10.1093/alh/4.2.355.

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12

DuPlessis, R. B. "Marble Paper: Toward a Feminist "History of Poetry"." Modern Language Quarterly 65, no. 1 (March 1, 2004): 93–130. http://dx.doi.org/10.1215/00267929-65-1-93.

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13

Lisowska, Katarzyna. "Body, spirit and gender in Maria Komornicka’s poetry." Journal of Education Culture and Society 2, no. 1 (January 15, 2020): 96–106. http://dx.doi.org/10.15503/jecs20111.96.106.

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This paper concerns three significant concepts in Maria Komornicka’s writings: body, spirit and gender. The first two are closely related to each other, thus initial paragraphs are devoted to them both. On the basis of these reflections, I draw some conclusion about the image of gender created by the poet. The notion of gender is analysed in terms of Young Poland discourse of gender and from the perspective of modern methodologies: feminist criticism as well as gender and queer studies. This paper aims at encouraging the reader to reinterpret M. Komornicka’s output with contemporary awareness.

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14

Fraser, Mariam. "What is the matter of feminist criticism?" Economy and Society 31, no. 4 (November 2002): 606–25. http://dx.doi.org/10.1080/0308514022000020715.

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15

Brister, Evelyn. "Feminist criticism in biology exemplifies philosophy of science." Metascience 28, no. 2 (February 6, 2019): 277–80. http://dx.doi.org/10.1007/s11016-019-00391-4.

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16

Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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17

Langlands, Rebecca. "Latin Literature." Greece and Rome 63, no. 2 (September 16, 2016): 256–63. http://dx.doi.org/10.1017/s0017383516000139.

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Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativity and the literary imagination?) How do individuals, texts, and societies negotiate maternity's paradoxical relationship to power? Conflicting issues of maternal power and disempowerment run through history, through Latin literature, and through the book. McAuley's focus is the representational work that mothers do in Latin literature, and she pursues this through close readings of works by Ovid, Virgil, Seneca, and Statius, by re-reading their writings in a way that privileges the theme, perspective, or voice of the mother. A lengthy introduction sets the parameters of the project and its aim (which I judge to be admirably realized) to establish a productive dialogue between modern theory (especially psychoanalysis and feminist philosophy) and ancient literature. Her study evokes a dialogue that speaks to theory – even contributes to it – but without stripping the Latin literature of its cultural specificity (and without befuddling interpretation of Latin culture with anachronism and jargon, which is often the challenge). The problem for a Latinist is that psychoanalysis is, as McAuley says, ‘not simply a body of theories about human development, it is also a mode of reading’ (23), and it is a mode of reading often at cross-purposes with the aims of literary criticism in Classical Studies: psychoanalytical notions of the universal and the foundational clash with aspirations to historical awareness and appreciation of the specifics of genre or historical moment. Acknowledging – and articulating with admirable clarity and honesty – the methodological challenges of her approach, McAuley practises what she describes as ‘reading-in-tension’ (25), holding on not only to the contradictions between patriarchal texts and their potentially subversive subtexts but also to the tense conversation between modern theory and ancient literary representation. As she puts it in her epilogue, one of her aims is to ‘release’ mothers’ voices from the pages of Latin literature in the service of modern feminism, while simultaneously preserving their alterity: ‘to pay attention to their specificity within the contexts of text, genre, and history, but not to reduce them to those contexts, in order that they speak to us within and outside them at the same time’ (392). Although McAuley presents her later sections on Seneca and Statius as the heart of the book, they are preceded by two equally weighty contributions, in the form of chapters on Virgil and Ovid, which she rightly sees as important prerequisites to understanding the significance of her later analyses. In these ‘preliminary’ chapters (which in another book might happily have been served as the main course), she sets out the paradigms that inform those discussions of Seneca and Statius’ writings. In her chapter on Virgil McAuley aims to transcend the binary notion that a feminist reading of epic entails either reflecting or resisting patriarchal values. As ‘breeders and mourners of warriors…mothers are readily incorporated into the generic code’ of epic (65), and represent an alternative source of symbolic meaning (66). Her reading of Ovid's Metamorphoses then shows how the poem brings these alternative subjects into the foreground of his own poetry, where the suffering and passion of mothers take centre-stage, allowing an exploration of imperial subjectivity itself. McAuley points out that even feminist readings can often contribute to the erasure of the mother's presence by their emphasis on the patriarchal structures that subjugate the female, and she uses a later anecdote about Octavia fainting at a reading of the Aeneid as a vivid illustration of a ‘reparative reading’ of Roman epic through the eyes of a mother (91–3). Later, in her discussion of mothers in Statian epic, McAuley writes: ‘mothers never stand free of martial epic nor are they fully constituted by it, and, as such, may be one of the most appropriate figures with which to explore issues of belatedness and authority in the genre’ (387). In short, the discourse of motherhood in Latin literature is always revealed to be powerfully implicated in the central issues of Roman literature and culture. A chapter is devoted to the themes of grief, virtue, and masculinity as explored in Seneca's consolation to his own mother, before McAuley turns her attention to the richly disturbing mothers of Senecan tragedy and Statius’ Thebaid. The book explores the metaphorical richness of motherhood in ancient Rome and beyond, but without losing sight of its corporeality, seeking indeed to complicate the long-developed binary distinction between physical reproduction (gendered as female) and abstract reproduction and creativity (gendered as male). This is a long book, but it repays careful reading, and then a return to the introduction via the epilogue, so as to reflect anew on McAuley's thoughtful articulation of her methodological choices. Her study deploys psychoanalytical approaches to reading Latin literature to excellent effect (not an easy task), always enhancing the insights of her reading of the ancient texts, and maintaining lucidity. Indeed, this is the best kind of gender study, which does not merely apply the modern framework of gender and contemporary theoretical approaches to ancient materials (though it does this very skilfully and convincingly), but in addition makes it clear why this is such a valuable endeavour for us now, and how rewarding it can be to place modern psychoanalytic theories into dialogue with the ancient Roman literature. The same tangle of issues surrounding maternity as emerges from these ancient works often persists into our modern era, and by probing those issues with close reading we risk learning much about ourselves; we learn as much when the ancient representations fail to chime with our expectations.

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18

Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.

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19

Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (April 16, 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.

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20

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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21

Mendelman, Lisa. "Who Are We? Feminist Ambivalence in Contemporary Literary Criticism." American Literary History 32, no. 1 (December 4, 2019): 190–200. http://dx.doi.org/10.1093/alh/ajz051.

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Abstract Feminism exists in a perpetual identity crisis—with a vexed past, an unstable present, and an uncertain future. A scholar interested in this charged identity must manage such existential conditions in order to enable their transformative ambitions. Historicizing Post-Discourses (2017), Bodies of Information (2019), and Selling Women’s History (2017) take up this cognitive and corporeal challenge and largely meet it. In these three books, feminism’s endemic ambivalence becomes a resource for literary and cultural criticism. Focused on popular, digital, and material cultures in the twentieth- and twenty-first-century US, these volumes dramatize the merits and drawbacks of irresolution and resist a definitive conclusion about what feminism, both past and present, necessarily means for contemporary scholarship. Instead, we get alternative archives and, hopefully, better practices. Analyzing mass media, data visualizations, and consumer products, these studies engage new materials to flesh out the gendered, racialized human body at their common center. They rethink feminist historiography and demonstrate the myriad ways in which the sense of an ending continually renews and unsettles feminism’s search for a useable past. These works aim to create strategic alliances: they drive at embodied, material concerns, foreground questions of pedagogy and other modes of public interchange, and embrace a style of advocacy that rejects such extreme position-taking and instead embraces ambivalence.

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22

ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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23

Березина, А., and A. Berezina. "The Socio-Political Aspect in Iranian Women’s Poetry (on the Example of Forough Farrokhzad Lyrics)." Scientific Research and Development. Modern Communication Studies 7, no. 5 (September 25, 2018): 22–27. http://dx.doi.org/10.12737/article_5b9f9cec4b3aa7.27440906.

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The most important aspect in the study of a literary text as a form of sociocultural communication is the identification of its social orientation, the ability to generate ideas and influence their active functioning in the social space. The article deals with the socio-political aspect of the Forough Farrokhzad lyrics. She was the brightest representative of the new style in Persian poetry known as «she’r-e now» («new poetry»). The tools of feminist literary criticism were used as methodological basis of the work. During the study, all the poetic material of Forough Farrokhzad was analyzed, and some of the presented poetic passages were translated to Russian for the first time by the author of this article.

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24

Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.

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25

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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26

Scott, B. K. "GILL PLAIN and SUSAN SELLERS (eds). A History of Feminist Literary Criticism." Review of English Studies 59, no. 242 (October 25, 2007): 813–15. http://dx.doi.org/10.1093/res/hgn086.

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27

Shehab, Shereen. "دراسة انثا- بيئوية في قصائد مختارة للشاعرة ماري أوليفر." لارك 1, no. 2 (June 7, 2010): 1–12. http://dx.doi.org/10.31185/lark.vol1.iss2.23.

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Abstract: This research proposes a modern approach in studying the poetry of Mary Oliver using schemes that intertwine ecocriticism with feminist criticism . It investigates the relationship between women and the natural world and their reciprocal influence. Through an ecofeminist lens, the research uncovers Oliver`s deep and constant communion with nature. It also finds out that most of her poems are infused with themes and imagery from nature which are used for her philosophical, spiritual, and even religious meditation. Nature is proved, according to Oliver, as the only positive medium for personal heading .

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28

Castelao-Gómez, Isabel. "Beat women poets and writers: countercultural urban geographies and feminist avant-garde poetics." Journal of English Studies 14 (December 16, 2016): 47. http://dx.doi.org/10.18172/jes.2816.

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The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their most important contributions from the point of view of gender, cultural and literary studies: their negotiation of urban geographies and city space as bohemian women and writers, and their revision of Beat aesthetics through a feminist avant-garde poetics.

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29

Redl, Carolyn. "Ten Year Checkup: Feminist Criticism and the American Literary Canon." Canadian Review of American Studies 22, Supplement 2 (January 1992): 193–214. http://dx.doi.org/10.3138/cras-022s-02-03.

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30

Anam, Choerul. "CITRA PEREMPUAN DALAM NOVEL CERITA TENTANG RANI KARYA HERRY SANTOSO; TINJAUAN KRITIK SASTRA FEMINIS* (The Image of Women in the Novel Entitled Cerita Tentang Rani by Herry Santosa: A Feminist Literary Criticism)." ALAYASASTRA 15, no. 2 (November 29, 2019): 71. http://dx.doi.org/10.36567/aly.v15i2.303.

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This study aims to describe the image of women in Herry Santoso's novel: Cerita Tentang Rani in the perspective of feminist literary criticism. The method applied in the research is a qualitative one. The purpose of the qualitative method leads the writer being able to get to know the in-depth history of the research environment by applying descriptive research types. Feminist criticism theory of Rosemarie Putnam Tong and gender theory of Judith P. Butler were applied in this research. The results of this study prove that the image of the main character, Maharani, is a strong and tough woman. The images of the woman cover 1) the image of women in her relation with Allah Swt (God); 2) the image of women in her relation with herself; and 3) the image of women in her relationship with others. Keywords: female image, feminist literary criticism, Novel Cerita Tentang Rani.

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31

Henry, Astrid. "Feminist Deaths and Feminism Today." PMLA/Publications of the Modern Language Association of America 121, no. 5 (October 2006): 1717–21. http://dx.doi.org/10.1632/pmla.2006.121.5.1717.

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When asked to reflect on the role of feminist criticism today, i immediately recalled the recent deaths of Betty Friedan and Andrea Dworkin. Friedan and Dworkin join an unfortunately growing list of well-known feminist thinkers who have died over the last few years. The passing of Friedan and Dworkin makes us think about the feminism they represented and indeed about the history of feminist thought itself, its ebbs and flows, its metaphoric births and deaths. Ideas, after all, are as living as people, with periods of growth, maturity, and decline.

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32

Smith, Peter J. "Review: Book: The Matter of Difference: Materialist Feminist Criticism of Shakespeare." Cahiers Élisabéthains: A Journal of English Renaissance Studies 42, no. 1 (October 1992): 123–26. http://dx.doi.org/10.1177/018476789204200139.

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33

Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

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Whittington, Christine. "FEMINIST ART CRITICISM; AN ANNOTATED BIBLIOGRAPHY (Reference Publications in Art History). Cassandra Langer." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 4 (December 1994): 34. http://dx.doi.org/10.1086/adx.13.4.27948688.

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Schaffer, Talia. "Victorian Feminist Criticism: Recovery Work and the Care Community." Victorian Literature and Culture 47, no. 1 (December 7, 2018): 63–91. http://dx.doi.org/10.1017/s1060150318001304.

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It is fitting that this article emerged from a conference in which the orderly progression of speakers was continually modified by exchanges within the conference space, for these two ways of organizing information form the subject of this article. When we aim to recover Victorian women writers, we often imagine a particular case in a timeline, selecting and extracting in a tacit model of linear orderliness. This is particularly significant in what we might call “recovery feminism,” the practice of salvaging texts that have been lost to history. Recovery feminism has dominated Victorianist feminist criticism since its development in the late 1970s, and I practiced it enthusiastically in my first book,The Forgotten Female Aesthetes. In this article, I want to acknowledge what recovery feminism has given us, but I also want to delineate the profound and often unarticulated ways it continues to structure our work, often with unintended consequences. In order to explore alternative forms of feminism, I assess theories of influence and intertextuality, and I use Charlotte M. Yonge'sThe Heir of Redclyffe(1853) as an example that both thematizes this issue and acts as a case study of forms of feminist criticism. A viable feminist criticism, I contend, ought to be able to address a novel likeHeir, andHeiritself may be able to provide a model for how to do that. Such a model of feminist practice might actually resemble the simultaneous, atemporal, interactive model of the conference day. In the digital era, we occupy an alternative chronology, in which we envision ourselves not as strenuously excavating the last disintegrating relics of the past, but rather as choosing among multiple simultaneous virtual texts, severed from markers of time or space. What might be a feminist critical practice for the way we work now?

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Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (August 2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.

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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interior Scroll and the Guerrilla Girls' actions against gender discrimination in the art world, this article examines strategies adopted by female and feminist journalists in Britain and the US to counter women's inequitable status in art journalism and playwriting. By engaging with the gendered binaries mind–body and text–performance, Schneemann and the Guerrilla Girls help clarify how reviewing practices have informed critical thinking about femininity and performance. In doing so, these artists anticipate poststructuralist feminist critiques of visibility and the performing body. Stefka Mihaylova holds a PhD in Theatre Studies from Northwestern University. Her research focuses on performance theory, especially gender and racial aspects of spectatorship in contemporary American and British feminist and radical theatre and performance art.

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Armstrong, Isobel. "The First Post: Victorian Poetry and Post-War Criticism." Journal of Victorian Culture 8, no. 2 (January 2003): 292–304. http://dx.doi.org/10.3366/jvc.2003.8.2.292.

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DAVIES MITCHELL, M. "Review. Apollinaire, Visual Poetry, and Art Criticism. Bohn, Willard." French Studies 48, no. 3 (July 1, 1994): 353. http://dx.doi.org/10.1093/fs/48.3.353.

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Hagaman, Sally. "Feminist Inquiry in Art History, Art Criticism, and Aesthetics: An Overview for Art Education." Studies in Art Education 32, no. 1 (1990): 27. http://dx.doi.org/10.2307/1320397.

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HAMZA REGUIG MOURO, Wassila. "From Feminization of Fiction to Feminine Metafiction in Gaskell’s Wives and Daughters and Woolf’s Orlando." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 187–201. http://dx.doi.org/10.24093/awejtls/vol4no4.13.

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Feminism developed and widened its scope to different disciplines such as literature, history, and sociology. It is associated with various other schools and theories like Marxism and poststructuralism, as well. In the field of literature, feminist literary criticism managed to throw away the dust that cumulated on women’s writing and succeeded in raising interest in those forgotten female artists. Some critics in the field of feminism claim that there are no separate spheres, masculine and feminine, whereas others have opted for post-feminist thinking. Some women writers used metafiction to write literary criticism. Therefore, how do Gaskell and Woolf implement metafiction in their stories? Accordingly, this work aims at shedding light on Wives and Daughters by Gaskell and Orlando by Woolf to tackle metafiction from a feminist perspective. Examples from both novels about intertextuality, narration, and other aspects, that are part of metafiction, will be provided to illustrate how and where metafiction is used.

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Sperber. "Contemporary Orthodox Jewish Feminist Art in Israel: Institutional Criticism of the Rabbinical Establishment." Shofar 38, no. 2 (2020): 191. http://dx.doi.org/10.5703/shofar.38.2.0191.

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Sperber, David. "Contemporary Orthodox Jewish Feminist Art in Israel: Institutional Criticism of the Rabbinical Establishment." Shofar: An Interdisciplinary Journal of Jewish Studies 38, no. 2 (2020): 191–227. http://dx.doi.org/10.1353/sho.2020.0027.

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Somacarrera, Pilar. "“How Can You Use Two Languages and Mean What You Say in Both?”1: On Translating Margaret Atwood’s Poetry into Spanish." TTR : traduction, terminologie, rédaction 18, no. 1 (December 18, 2006): 157–81. http://dx.doi.org/10.7202/014371ar.

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Abstract Contrary to what might be expected, a Canadian literature in Spanish translation already exists and, expectedly, Margaret Atwood is one of the most translated writers. All her novels except Life Before Man, as well as three of her collections of short stories and three of her poetry collections have been translated into Spanish. Her work has received excellent reviews in Spain which have also praised her translators. This essay focuses on my own experience translating Atwood’s poetry–her collection Power Politics (Juegos de poder, 2000)–into Spanish, in an approach which compares my own project of translation or “projet-de-traduction,” as formulated by Antoine Berman, with that of the other translations of her poetry into Spanish. Being a university teacher and a researcher in Canadian literature, and not a specialist in Translation Studies, my approach is necessarily pragmatic and not theoretical. Bearing in mind Barbara Folkart’s contention that poetry is a cognitive activity and the multiplicity of interpretations that the poems offer, in which the feminist one is prominent, I tried to produce a translation which was as close as possible to the original characteristics of Atwood’s poetry in its tone, lineation and imagistic dimension. The first steps were the stylistic analysis, which resulted in a rhetorical study of the poems, and then the review of the existing criticism about the poems. The main problems which arose during the translation were related to the political and feminist connotations of the poems. If the political context is crucial in Power Politics, the cultural background is vital in The Journals of Susanna Moodie, although it has been erased in its Spanish version (Los diarios de Susanna Moodie, 1991, by Lidia Taillefer and Álvaro García). This is not an unusual phenomenon, since translation consists in an often insurmountable paradox which is formulated in the lines by Margaret Atwood quoted in the title of this article: trying to formulate the same idea in two languages which function differently and have completely different cultural contexts.

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Hendren, T. George. "Catullus’s Ameana Cycle as Literary Criticism." Mnemosyne 69, no. 2 (February 4, 2016): 262–75. http://dx.doi.org/10.1163/1568525x-12341769.

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This paper will reevaluate Catullus’s venom in poems 41 and 43 (the so-called ‘Ameana Cycle’) to show that his attacks on Ameana are in fact veiled criticisms of Mamurra’s loathsome poetry. Catullus’s descriptions of Ameana substantiate this reading: her physical features are disproportionate and ill suited to Roman conceptions of beauty, she is entirely without wit, and despite her patent imperfections, she has no idea how hideous she really is. The use of a poetic mistress in this manner has parallels within the Catullan corpus, and is also referenced in the work of Martial.

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Beaujour, Elizabeth Klosty, and Aleksey Gibson. "Russian Poetry and Criticism in Paris from 1920 to 1940." Russian Review 50, no. 3 (July 1991): 358. http://dx.doi.org/10.2307/131084.

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Bethea, David M., Aleksey Gibson, Anna Prismanova, Petra Couvee, Iurii Mandel'shtam, Ed Weeda, Valerii Pereleshin, and Jan Paul Hinrichs. "Russian Poetry and Criticism in Paris from 1920 to 1940." Russian Review 54, no. 1 (January 1995): 128. http://dx.doi.org/10.2307/130789.

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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.

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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.

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O’Malley, Maria. "Taking the Domestic View in Hawthorne’s Fiction." New England Quarterly 88, no. 4 (December 2015): 657–80. http://dx.doi.org/10.1162/tneq_a_00494.

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Shifting the emphasis within feminist criticism from the act of speech to the act of hearing, this article argues that, in The Scarlet Letter, The House of the Seven Gables, and Blithedale Romance, Nathaniel Hawthorne reveals how the public sphere depends on the voices of dispossessed women even as it attempts to silence them.

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Long, Judi. "Miss-Iology Meets Ms-Theology." Mission Studies 19, no. 1 (2002): 155–73. http://dx.doi.org/10.1163/157338302x00099.

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AbstractMissiology and feminist theology are becoming recognized as significant voices in contemporary Christian theology, both seeking to add other dimensions to the traditional elements of theology. Missiology seeks to bring mission back into the mainstream of Christian life and thought. While there is no one feminist theology but rather a diverse range of feminist theologies, these all seek to have the perspectives of women taken seriously in all aspects of theology. Both feminist theologies and missiology have areas that the other can critique. However, most importantly, they also have areas that can be enriched by engagement with each other. Missiology like much theology, has tended to be written by men, and focuses largely on the activities and priorities of men. It can benefit from the recognition of the role of women in mission both as missionaries, and as the missionised. Women have played a crucial role in mission that is only recently being recognized and affirmed. Feminist theologies have not tended to address issues of mission with the exception of the criticism of patriarchal missionary methods and their impact upon women. Missiology challenges feminist theologies to take seriously the core truths of the gospel and how these relate to world in which we live. The creative interaction between feminist theologies and missiology will have implications for our whole understanding of God, for our view of the Bible, and for how the gospel relates to a postmodern society. Both missiology and feminist theologies have challenges to bring to traditional theology. As they engage with each other, new and exciting aspects of both feminist theologies and missiology emerge that can be developed and explored.

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Elfenbein, Andrew. "Cognitive Science and the History of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 484–502. http://dx.doi.org/10.1632/003081206x129675.

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Cognitive psychologists studying the reading process have developed a detailed conceptual vocabulary for describing the microprocesses of reading. Modified for the purposes of literary criticism, this vocabulary provides a framework that has been missing from most literary-critical investigations of the history of literate practice. Such concepts as the production of a coherent memory representation, the limitations of working memory span, the relation between online and offline reading processes, the landscape model of comprehension, and the presence of standards of coherence allow for close attention to general patterns in reading and to the ways that individual readers modify them. The interpretation of Victorian responses to the poetry of Robert Browning provides a case study in the adaptation of cognitive models to the history of reading. Such an adaptation can reveal not only reading strategies used by historical readers but also those fostered by the discipline of literary criticism. (AE)

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