Academic literature on the topic 'Women poets, American – 20th century'
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Journal articles on the topic "Women poets, American – 20th century"
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Taylor, Ellen Maureen. "Personal Geographies: Poetic Lineage of American Poets Elizabeth Coatsworth and Kate Barnes." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 2 (December 16, 2016): 111–27. http://dx.doi.org/10.4312/elope.13.2.111-127.
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This paper examines the relationship between two 20th-century American poets, Elizabeth Coatsworth and her daughter, Kate Barnes. Both women mined their physical and personal geographies to create their work; both labored in the shadows of domineering literary husbands. Elizabeth’s early poetry is economical in language, following literary conventions shaped by Eastern poets and Imagists of her era. Kate’s work echoes her mother’s painterly eye, yet is informed by the feminist poetry of her generation. Their dynamic relationship as mother and daughter, both struggling with service to the prevailing Western patriarchy, duties of domestication and docility, also inform their writing. This paper draws from Coatsworth’s poems, essays, and memoir, and Barnes’ poems, interviews, and epistolary archives, which shed light on her relationship with her renowned mother.
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Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.
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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japanese make a wonderful use of Haiku where they usually use a single image. A haiku is a haiku because all the images it conveys occur simultaneously in a person's present perceptions of the world. Ezra Pound is one the major exponents of imagist school who gave systematic theory of modernism. Ezra Pound's In a Station of the Metro is regarded as a fine specimen of Haiku. Pound recalls that once he stepped out of a "metro", train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman. Throughout the day, Pound attempted to find words as worthy and as lovely as that sudden emotion. To his mind came an equation which was not in speech but in little sploches of colour. This feeling was the beginning of a language in colourfor Pound. Pound further elaborates that to express this kind of emotion he might find a new school of painting that would speak only by arrangements in colours. To substantiate his arguments, Pound expounds his view in Vorticism.
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Ivamoto, Henrique S. "Women in Brazilian neurosurgery." Arquivos Brasileiros de Neurocirurgia: Brazilian Neurosurgery 29, no. 03 (September 2010): 87–90. http://dx.doi.org/10.1055/s-0038-1625606.
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AbstractMedicine remained as a male profession during many centuries, but the proportion of women rose steadily during the second part of the 20th century in the world and in Brazil. In 2006 they became the majority (51.75%) of the new physicians licensed by the Regional Council of Medicine of the State of São Paulo. Nevertheless, the proportion of women in Neurosurgery and in directive posts in entities of the specialty in Brazil continue very low or absent. Data obtained from the Brazilian Society of Neurosurgery and the Brazilian Academy of Neurosurgery are very similar to those of the American counterparts, like the proportion of women among the associates, around 5%, and one single female chief of a service certified for training in each country. Authors from WINS, an American entity, reported several problems suffered by female neurosurgeons, including gender discrimination. Such occurrences, as reported in online news, should alert against discriminatory attitudes.
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Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.
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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literary studies in Ukraine, are analyzed. Protest poetry is defined as politically and socially engaged verse which is oppositional, contestatory and resistant in its subject matter, as well as in the form of (re)presentation. Focusing on political and societal issues, such as slavery, racism, segregation, gender inequality, African American protest poetry is characterized by discourse of resistance and confrontation, disruption of standard English grammar, as well as conventional spelling and syntax. It is argued that militant poems of Sonia Sanchez are marked by the imitations of black speech rhythms and musical patterns of jazz and blues. Similarly, Nikki Giovanni relies on the oral tradition of African American people while creating poetry which was oriented towards performance. The linguistic content of Sanchez and Giovanni’s verses is lowercase lettering for notions associated with “white america”, obscenities targeted at societal racist practices, and erratic capitalization, nonstandard spacing, onomatopoeic syllables, use of vernacular as markers of Black culture. The works of African American women writers, which are under analysis in the essay, constitute creative poetic responses to traumatic history of African American people. Protest poetry of Sonia Sanchez and Nikki Giovanni explicitly express the rhetoric of Black nationalism and comply with the aesthetic principles of the Black Arts movement. They are perceived as consciousness-raising texts by their creators and the audiences they are addressed to. It is argued that although protest and resistance poetry is time- and context-bound, it can transcend the boundaries of historical contexts and act as timeless texts.
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Tomas Reed, Conor. "The Early Developments of Black Women’s Studies in the Lives of Toni Cade Bambara, June Jordan, and Audre Lorde." Anuario de la Escuela de Historia, no. 30 (November 10, 2018): 45. http://dx.doi.org/10.35305/aeh.v0i30.249.
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<p>This article explores the pedagogical foundations of three U.S. Black women writers—Toni Cade Bambara, June Jordan, and Audre Lorde—widely recognized as among the most influential and prolific writers of 20th century cultures of emancipation. Their distinct yet entwined legacies—as socialist feminists, people’s poets and novelists, community organizers, and innovative educators—altered the landscapes of multiple liberation movements from the late 1960s to the present, and offer a striking example of the possibilities of radical women’s intellectual friendships. The internationalist reverberations of Bambara, Jordan, and Lorde are alive and ubiquitous, even if to some readers today in the Caribbean and Latin America, their names may be unfamiliar.<a title="" href="file:///C:/Users/natal/Documents/MEGA/1-REVISTAS/Anuario/Anuario%2030-2018/Dossier/02%20Articulo%20Conor.docx#_ftn1"><sup><sup>[</sup></sup></a></p><p>Bambara’s fiction centered Black and Third World women and children absorbing vibrant life lessons within societies structured to harm them. Her 1980 novel, The Salt Eaters, posed the question - “are you sure, sweetheart, that you want to be well?” -to conjoin healing and resistance for a new embattled generation under President Reagan’s neoliberal shock doctrines that were felt worldwide. June Jordan’s salvos of essays, fiction, and poetry -including Things That I Do in the Dark, On Call, and Affirmative Acts - intervened in struggles around Black English, community control, police violence, sexual assault, and youth empowerment. Audre Lorde’s words are suffused across U.S. movements (and, increasingly, in the Caribbean and Latin America)- on signs, shirts, and memes, at #BlackLivesMatter and International Women’s Strike marches. Your silence will not protect you. The master’s tools will never dismantle the master’s house. Revolution is not a one-time event. However, her voluminous legacy may risk becoming a series of slogans, “the Audre Lorde that reads like a bumper sticker.”</p><div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p> </p></div></div>
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García, María Isabel Maldonado. "The Spanish Women Poet’s Contribution To The Literature Of The 20th Century." Pakistan Journal of Gender Studies 10, no. 1 (March 8, 2015): 129–43. http://dx.doi.org/10.46568/pjgs.v10i1.230.
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The 20th century offers us a wealth of literary authors. The Spanish poets of the 20th century that usually come to mind are mainly male due to the fact that the female poets never received proper recognition and were ignored for many years. The historical events of the 20th century could have ceasedthe literary works of the Spanish authors. However, instead, the Spanish utilized the poetry of protest as a means of rebelling towards their social reality. Not only male poets but also women were extremely prolific in their craft. First during the Civil War and after during the thirty six years of dictatorship that followed in spite of the hardships, censorship and vigorous opposition. A few of these women are Carmen Conde, Rosa Chacel, Ernestina de Champourcin and others. This research studies thecontribution of a few outstanding women poets to the 20th century Spanish literature and language.
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Akram, Habeeb. "Nineteenth century American metaphysical women poets." International Journal of English and Literature 7, no. 1 (January 31, 2016): 1–7. http://dx.doi.org/10.5897/ijel2015.0853.
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Liu, Yan. "A Special Forum on “20th Century American Women Writers”." Comparative Literature: East & West 14, no. 1 (March 2011): 75–76. http://dx.doi.org/10.1080/25723618.2011.12015555.
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Šalamon, Samo. "The Political Use of the Figure of John Coltrane in American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 81–98. http://dx.doi.org/10.4312/elope.4.1-2.81-98.
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John Coltrane; one of the most influential and important musicians and composers of the 20th century; began to inspire jazz musicians and American poets in the 1960s with the Black Arts Movement poets. His music was interpreted and used for the promotion of political ideas in the poetics of Amiri Baraka; Sonia Sanchez; Askia Muhammad Toure; Larry Neal and others. This is the political Coltrane poetry. On the other hand; Coltrane’s music inspired another kind of poets; the musical poets; which began to emerge in the 1970s. In this case; the poetry reflects the true nature of Coltrane’s spiritual music quest. The poets belonging to this group; like Michael S. Harper; William Matthews; Jean Valentine; Cornelius Eady; Philip Levine; Nathaniel Mackey and others; go beyond politics; beyond race or gender. The paper will examine the first type of the Coltrane poetry; where Coltrane’s music was used to promote the political ideas of the Black Art Movement in connection with the political movement of Malcolm X. These poets changed; rearticulated and shifted Coltrane’s spiritually musical message towards the principles of the black nationalism.
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Janowska, Karolina. "Amor udrí – la poesía cortesana árabe en la Península Ibérica." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 323–42. http://dx.doi.org/10.36575/2353-2912/1(7)2019.323.
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The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.
Dissertations / Theses on the topic "Women poets, American – 20th century"
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Dowd, Ann Karen. "Elizabeth Bishop: her Nova Scotian origins and the portable culture of home." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238427.
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Riley, Peter. "Moonlighting in Manhattan : American poets at work 1855-1930." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610494.
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Park, Christopher 1966. "La modernité poétique des femmes chinoises : écriture et institution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56656.
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Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.
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Irvine, Dean J. (Dean Jay). "Little histories : modernist and leftist women poets and magazine editors in Canada, 1926-56." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37900.
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This study incorporates archival and historical research on women poets and editors and their roles in the production of modernist and/or leftist little-magazine cultures in Canada. Where the first three chapters investigate women poets who were also magazine editors and/or members of magazine groups, the fourth chapter takes account of women magazine editors who were not themselves poets. Within this framework, the dissertation relates women's editorial work and poetry to a series of crises and transitions in Canada's leftist and modernist little-magazine cultures between 1926 and 1956. This historical pattern of crisis and transition pertains at once to the poetry of Dorothy Livesay, Anne Marriott, P. K. Page, and Miriam Waddington and to the little-magazine groups in which they and other women were active as editors and/or contributing members. Chapter 1 deals with Livesay's editorial activities and poetry in the context of two magazines of the cultural left, Masses and New Frontier, between 1932 and 1937. Chapter 2 concerns Livesay, Marriott, their involvement in poetry groups in Victoria and Vancouver, and their publications in Contemporary Verse and Canadian Poetry Magazine, between 1935 and 1956. Chapter 3 addresses the poetry of Page and Waddington published in Preview and First Statement from 1942 to 1945, their poetry appearing in Contemporary Verse from 1941 to 1952--53, and their editorial activities in and/or relationships to these Montreal and Victoria - Vancouver magazine groups between 1941 and 1956. Chapter 4 documents the histories of some often forgotten women who edited modernist or leftist little magazines in Canada between 1926 and 1956. These core chapters are prefaced and concluded by histories of the antecedents to and descendants of Canadian modernist and leftist magazine cultures.
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Black, Latoya R. "Breaking barriers : oral histories of 20th century African-American female journalists in Indiana." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371196.
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This study introduced six African-American female journalists in Indiana and provided an intimate account of their perception of media in regards to African-American female journalists of the 21st century. The women were publicly analyzed with a series of questions and candidly discussed the role of Black female journalists at work, in their personal lives, and their communities in general. The women shared similar responses in regards to four main topics: diversity in media, gender-related challenges, career enjoyment and impact on their communities. The most pressing issue of concern was diversity. All of the women agreed that diversity is ineffectively addressed and provided suggestions. The two research questions concluded (1) none of the women credited any female pioneer in Black journalism to their success and (2) the women did not credit early Black female journalists toward their decision to obtain longevity in journalism.Department of Journalism
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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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McCann-Washer, Penny. "An American voice : the evolution of self and the awareness of others in the personal narratives of 20th century American women." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063194.
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The purpose of this study is to understand the connections between the public and private worlds of American women as described in their journals and diaries and to show how the interaction between the two realms changed the way women thought about themselves, their roles, and their environment.A total of ninety-four personal narratives were examined for the study and from that number, four were profiled. Two personal narratives were examined that were published following the Suffrage Movement and two personal narratives were chosen that were published following the Liberation Movement. Methods of rhetorical analysis were used to focus on changing levels of women's awareness of self, community, roles available to women, and issues appropriate for women's attention. I examined text divisions and organization, sentence structures, and markers of audience awareness.A pattern emerges demonstrating five metamorphoses: as the twentieth century continues, women's personal narratives are exhibiting greater self-awareness, greater audience-awareness, awareness of responsibility to the community of women, and awareness of expanding opportunities for women as well as generating an ever increasing readership.Department of English
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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.
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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.School of Music
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Adair, Vivyan C. "From "good ma" to "welfare queen" : a "genealogy" of the poor woman in 20th century American literature, photography and culture /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9511.
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Yang, Jing, and 杨静. "The construction of the Chinese woman in 1990s American cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.
Full textBooks on the topic "Women poets, American – 20th century"
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Winter music: A life of Jessica Powers : poet, nun, woman of the 20th century. Kansas City, MO: Sheed & Ward, 1992.
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Flawed light: American women poets and alcohol. Urbana: University of Illinois, 2009.
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Millier, Brett Candlish. Flawed light: American women poets and alcohol. Urbana: University of Illinois, 2009.
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A poet's truth: Conversations with Latino/Latina poets. Tucson: University of Arizona Press, 2003.
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DeNicola, Deborah. Where Divinity Begins: Poems. Cambridge, USA: Alice James Books, 1994.
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Davis, Helene. Chemo-Poet and Other Poems. Cambridge, USA: Alice James Books, 1989.
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Women poets on the left: Lola Ridge, Genevieve Taggard, Margaret Walker. Gainesville, Fla: University Press of Florida, 2001.
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Feminist criticism of American women poets: An annotated bibliography, 1975-1993. New York: Garland, 1994.
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Jane Kenyon Conference (1st 1998 Louisville, Ky.). "Bright unequivocal eye": Poems, papers, and remembrances from the First Jane Kenyon Conference. New York: Peter Lang, 2000.
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Burke, Carolyn. Becoming modern: The life of Mina Loy. Berkeley: University of California Press, 1997.
Find full textBook chapters on the topic "Women poets, American – 20th century"
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Ibarraran-Bigalondo, Amaia. "The 20th century and fashion." In Mexican American Women, Dress, and Gender, 20–24. Routledge, 2019. http://dx.doi.org/10.4324/9780429024016-3.
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Vickery, Ann. "Changing Topographies, New Feminisms, and Women Poets." In The Cambridge Companion to Twenty-First-Century American Poetry, 71–89. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108699518.007.
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Bennett, Paula. "“Pomegranate-Flowers”: The Phantasmic Productions of Late-Nineteenth-Century Anglo-American Women Poets." In Solitary Pleasures, 189–214. Routledge, 2020. http://dx.doi.org/10.4324/9780203760390-9.
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Keeling, Kara K., and Scott T. Pollard. "American Children’s Cookbooks as Scenes of Instruction." In Table Lands, 11–34. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828347.003.0002.
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This chapter tracks US children’s cookbooks over 150 years, showing how adults’ expectations change based on shifting ideologies of child capability. The essay analyzes cookbooks from three periods: 19th century, mid-20th century, and late 20th to the 21st century. The nineteenth-century housebooks deploy literary tropes (story) to foster agency, focusing on preparing young girls for taking on kitchen and household duties. In the period after World War II, children’s cookbooks transform cooking into an extension of play, reducing childhood agency significantly, a development that mirrors the disempowerment of women in the kitchen through advances in food technology (frozen foods, boxed foods) in the postwar period. Contemporary children’s cookbooks match what Warren Belasco calls the “countercuisine” and the resultant foodie culture: these texts re-empower child cooks with agency in a world that is much more aware of organic, sustainable practices and the downsides of industrial foods.
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Socarides, Alexandra. "Anthology Publication and the Woman Poet." In In Plain Sight, 35–70. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855521.003.0002.
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Chapter 1 investigates the moment at mid-century when American women’s poetry was, for the first time, being collected and marketed to a wide audience. By looking closely at the structures and visual components of the anthologies of the late 1840s, this chapter shows just how vexed the placement of the “American woman poet” into literary culture was. While women poets had been deployed in the service of a narrative about American literary culture earlier, it was with the creation of these anthologies that a whole host of conventions got embraced by writers and editors alike. By highlighting the diversity of approaches and poems contained within these anthologies, this chapter returns to the ways in which women’s poetry resisted being flattened into one kind of poem and women poets into one image.
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Socarides, Alexandra. "Ballad Knowledge and the Poetics of Repetition." In In Plain Sight, 109–40. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855521.003.0004.
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Chapter 3 explores a genre (the ballad) that was wildly popular in nineteenth-century America, and investigates the ways in which women poets entered into discussions about authorship, poetics, and gender through their engagements with it. Focusing in particular on tropes of faithlessness, pride, laziness, and general “badness” that had long marked traditional ballads, this chapter shows how these tropes came to be associated with women and how American periodicals seemed to embrace the circulation of such ballads. But as women poets took up this genre and were faced with how to rewrite this female figure, they pushed its primary convention—repetition—to its limits in order to make explicit the particular problem that accompanies the recitation of “ballad knowledge” for women. Instead of looking away from the scenes of repetition that disempower women, these ballads go right to the center, employing repetitions to new ends.
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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.
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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.
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Vulelija, Ana. "Feministički i spisateljski angažman Adele Milčinović na početku 20. stoljeća." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 408–31. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.25.
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Adela Milčinović, a Croatian writer with European and American address, a tireless worker in the struggle for women and children’s rights in Croatia in the first decades of the 20th century, is rarely mentioned in the history of Croatian literature as a self-employed writer, and more often just as the wife of the Croatian writer Andrew Milčinović and a coauthor of a collection of short stories entitled Pod branom (1903). In addition to her writing engagement, especially ignored and unexplored remains her feminist engagement in the time when Croatian female writers were not seriously understood in their intentions and contribution to the modern literature, being placed in its periphery, which can be perceived from the description of “Domaće ognjište,” a magazine in which women writers appeared with their first contributions, as the work of “mostly gentle hearts” (Matoš, 1976: 40). This paper presents Milčinović’s remarkable feminist engagement, reflected in the texts she wrote, which are mostly reviews of the negative critiques of the Croatian writers on “female” writing in Croatia at the turn of the century and in the first decades of the 20th century. Furthermore, we have raised the question whether the feminist engagement of the writer influenced her narrower writing interest, which will be researched by answering the question to what extent Milčinović’s female characters could be a reflection of the time the writer belonged to, which saw the major changes in Croatia both in literary and social terms.
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Peterson, William. "The Master of the Form." In Asian Self-Representation at World’s Fairs. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.
Full textAbstract:
By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique opportunities to further the power of Japonisme in the arts, while politicians in both countries used the event to champion Japanese-American relations.
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Tysick, Cynthia, and Cindy Ehlers. "Gender and the Internet User." In End-User Computing, 27–34. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-945-8.ch003.
Full textAbstract:
Civilization has seen an explosion of information technologies over the last one hundred years. The telephone, radio, television, and Internet have entered the lives of men and women at work and home, becoming the main forms of communication and entertainment. Unfortunately, early adopters and creators of these technologies were men. Women, working primarily in the home, were not exposed to these technological innovations until husbands or fathers brought them into the home. Oftentimes, wives and daughters viewed these “contraptions” as intrusive to the harmony of the home. Therefore, in order to appeal to the widest possible audience these information technologies were adapted, mostly by corporations, to appeal to women through aesthetically pleasing design, creative programming, and product marketing (Shade, 2002). By the end of the 20th century, the television emerged as the electronic hearth. Here the family gathered, shared their day, and engaged in entertainment or debate (Tichi, 1991). Today Americans are spending less time in front of the television and more time in front of the new electronic hearth—the Internet. The average American spends close to three hours on the Internet per day, exceeding the number of hours spent watching television by 1.7 hours (Nie, Simpser, Stepaniknova, & Zheng, 2004). The Internet has followed a diffusion of innovation pattern similar to all its predecessors, beginning as a communication tool for white, male scientists to share ideas, eventually being adopted by young male “inventor-heroes” who manipulated and improved it. These improvements motivated white businessmen to use the Internet to improve profits and productivity, gather information, and entertainment. In the end the computer, and as a result the Internet, left the man’s world of work and entered the woman’s domain of the home. Slowly, over the last ten years it has made a subtle impact on the lives of American women.
Reports on the topic "Women poets, American – 20th century"
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Payne, Krista. Median Age at First Marriage, 2019. National Center for Family and Marriage Research, May 2021. http://dx.doi.org/10.25035/ncfmr/fp-21-12.
Full textAbstract:
The median age at first marriage in the United States has increased steadily since the mid-20th century. In the mid-1950s, the median age was at a record low of just over 20 for women and 22 for men, but by 2020, the median age was 28 for women and 30 for men (see Figure 1). The median age at first marriage has increased similarly for both men and women. Consequently, the gender gap in the median age at first marriage has persisted, fluctuating between 1.6 and 2.7 years. This profile uses data from the 2019 American Community Survey (ACS), 1-year estimates to track the trends in women’s and men’s median ages at first marriage. The ACS is ideal because it provides the best annual data on marital status and demographic characteristics allowing for direct estimation of the median age at first marriage (Simmons & Dye, 2004). This is an update to our previous profiles on the topic for the years 2017 (FP-19-06), 2014 (FP-16-07), 2013 (FP-15-05), 2010 (FP-12-07), and 2008 (FP-09-03).