Academic literature on the topic 'Rural women poets'

Chapter 6 draws from Freud’s Moses and Monotheism, which posits that religious traditions, like neuroses, must be studied not only through their conscious self-presentations but also through trauma they have undergone that survives in unconscious memory traces and can return from repression. It is posited that the Mahābhārata recalls the trauma faced by a rural village and forest-based Brahmanism during India’s second urbanization, about which the epic tells its central apocalyptic myth of the unburdening of the goddess Earth from demon-inspired overpopulation. It also looks at the Mahābhārata

Abstract In this chapter the concept of identity is discussed in relation to niche events as expressed through images produced and circulated in social media. Since niche events focus on special interests and activities for a limited number of people and attract participants from afar who share this interest, these types of events also influence the identities of the places that are represented in relation to them. By circulating images online - the people, attractions, landscapes and cultural practices of places connected to specific hashtags on social media - places are co-constructed and materialized in the minds of visitors, businesses and other stakeholders in an ongoing flow of communication. The study shows that social media posts related to Landsmót (the National Championship of the Icelandic horse) represent both the event and Iceland as a destination by stressing national pride and an Icelandic identity strongly connected to the rural landscape, to outdoor activities, to harsh nature and to skilled, strong and independent men and women who create their identities in relation to their horses.

In 1802, shortly after William Wordsworth read and translated Chaucer, he set down to write a series of poems that mark a shift from his primary focus on the rural poor to tiny and seemingly insignificant natural objects, insects, birds and small common flowers such as the celandine and, above all, the daisy. While Wordsworth’s identity as a nature poet has long been observed, literary critics have yet to notice that among the poems that Wordsworth read and indeed knew well was Chaucer’s Legend of Good Women, written in 1386 or thereabouts, a poem whose prologue also includes not only close observation of the daisy but also a consideration of the kind of poetic language one should employ when encountering nature. Close study of Chaucer’s poem and Wordsworth’s multiple poems to daisies within the frame of Timothy Morton’s stimulating theory of ecomimetic ambient poetics reveals that for Wordsworth, Chaucerian medievalism offered a language for thinking through the strengths and limits of poetic encounters with nature.

This chapter explores how Hale County, Alabama became an iconic site of documentary representation during the twentieth century and why some its poor black and white residents resisted the attempts of documentarians to turn their private lives into public symbols. The chapter begins by examining the collaboration between two local white documentarians, amateur folklorist and poet, Martha Young and photographer J.W. Otts, who recorded the lives and customs of Hale County’s rural black people in the early 1900s. It focuses on Young’s dialect poems that speak from the perspective of black women who refused to be photographed by whites and who saw photography as an exploitative medium. Next, the chapter demonstrates how this narrative and tradition of resistance to documentary continued during the 1930s. It explores the resistance writer James Agee and photographer Walker Evans faced in the 1930s from some of the white tenant families they documented for their book, Let Us Now Praise Famous Men, and it shows how their descendants often found new ways to resist documentarians and journalists in succeeding decades. These acts of resistance transformed poor black and white residents into actors rather than just icons in the documentary process.