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Relevant bibliographies by topics / Women poets, Canadian (English)

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Academic literature on the topic 'Women poets, Canadian (English)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Women poets, Canadian (English)"

1

Kürtösi, Katalin. "Poets of Bifurcated Tongues, or on the Plurilingualism of Canadian-Hungarian Poets." TTR : traduction, terminologie, rédaction 6, no. 2 (2007): 103–30. http://dx.doi.org/10.7202/037153ar.

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Abstract Poets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.

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2

Akram, Habeeb. "Nineteenth century American metaphysical women poets." International Journal of English and Literature 7, no. 1 (2016): 1–7. http://dx.doi.org/10.5897/ijel2015.0853.

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Light, A. "Outside History? Stevie Smith, Women Poets and the National Voice." English 43, no. 177 (1994): 237–59. http://dx.doi.org/10.1093/english/43.177.237.

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4

Ware, Tracy. "An English-Canadian Poetics. Vol. 1, The Confederation Poets (review)." University of Toronto Quarterly 80, no. 2 (2011): 315–16. http://dx.doi.org/10.1353/utq.2011.0099.

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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.

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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.

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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.

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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.

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7

Ramayya, Nisha. "Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi." English: Journal of the English Association 69, no. 267 (2020): 310–30. http://dx.doi.org/10.1093/english/efaa031.

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Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.

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Berger, z”l, Shlomo. "A Question of Tradition: Women Poets in Yiddish, 1586–1987." Journal of Jewish Studies 67, no. 1 (2016): 213–15. http://dx.doi.org/10.18647/3274/jjs-2016.

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9

Trehearne, Brian. "Canadian Modernism at the Present Time." Modernist Cultures 13, no. 4 (2018): 465–95. http://dx.doi.org/10.3366/mod.2018.0226.

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The article critiques major debates in Canadian modernist criticism and assesses their impact on readerships in the present time of anti-elitism, resurgent nationalisms, and widening distrust of expertise. Feminist critics articulate women writers' conflictual relations to the modernist canon and have restored or introduced disregarded female poets to an academic readership. Commentators on ‘antimodernism’ defend traditional writers of the period against modernist ridicule and suggest an antimodernist nostalgia for indigenous national authenticity within modernist writing itself. Leftist critics emphasize the political radicalism of major Canadian modernist writers as well as promoting and editing little-known authors who share their politics. Theorists critique the editorial practices of the field and promote genetic editing and digital publishing. Three less prominent trends are likelier to provoke and keep new readers for Canadian modernism: philosophically and ethically driven criticism; renewed attentiveness to cosmopolitanism in Canadian modernist discourse; and candid engagement with the problem of Canadian modernism's derivation from modernisms elsewhere.

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MacDonald, Sharon, Beverly Boutilier, and Alison Prentice. "Creating Historical Memory: English-Canadian Women and the Work of History." Labour / Le Travail 48 (2001): 265. http://dx.doi.org/10.2307/25149167.

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Dissertations / Theses on the topic "Women poets, Canadian (English)"

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Kaminski, Margot. "Challenging a literary myth, long poems by early Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0024/MQ37562.pdf.

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Drodge, Susan. "The feminist romantic, the revisionary rhetoric of Double negative, Naked poems, and Gyno-text." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25770.pdf.

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Holmgren, Michele J. "Native muses and national poetry, nineteenth-century Irish-Canadian poets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq28493.pdf.

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Bertram, Vicki. "Muscling in : a study of contemporary women poets and English poetic tradition." Thesis, University of York, 1992. http://etheses.whiterose.ac.uk/2490/.

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Williams, Euriona Lucretia. "Lost in the shadows : Welsh women poets writing in English, c.1840 - 1970." Thesis, Bangor University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429646.

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Taylor, Jane. "'The country at my shoulder' : gender and belonging in three contemporary women poets." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/56237/.

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This study considers the work of three women poets writing in English during the period 1970-2000. I argue that the poets, Eavan Boland, Michele Roberts and Jackie Kay are all `hybrid' voices, positioned and positioning themselves on the borders between different cultures and traditions. Locating the poets within a specific social, cultural and intellectual context the study considers the different ways in which the poets negotiate these mixed heritages and how gender interacts with their cultural location to affect the poetic identities they inhabit. My study of Eavan Boland locates her as a post-colonial poet writing out of a very specific historical relationship with Britain. I argue that the effects of this relationship are explored in two ways; the political and psychic legacy of the British colonisation of Ireland but also the ways in which women in Ireland have been colonised by a nationalist poetic tradition. I show how Boland interrogates these different colonisations and drawing on the work of Homi Bhabha I argue that Boland finds her own hybrid space in the Dublin suburbs from where she explores the frictions between a number of conflicting positions. My study of Michele Roberts explores the effects of her dual French and English heritage on her writing. I argue that Roberts' desire to embrace both aspects of her identity manifests itself as a desire to reconcile what western dualistic thinking has split and separated. I consider how Roberts advocates a writing and reading practise which asks us to embrace the stranger within ourselves and so begin to heal the split within individuals and nations. My chapter on Kay explores how she negotiates the cultural specificity of her location as a Scottish writer who identifies as black and how her poetry complicates questions of cultural authority and theories of cultural hybridity. I argue that Kay through a focus on `performance' as both theme and aesthetic subverts simple fixed notions of identity. I conclude that all three poets problematise any simple notion of home and belonging as a fixed and immutable space. Rather they inhabit borderlands, unsettled spaces, where there is a constant interaction and reformulation of identity.

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Messem, Catherine. "'Angers, fantasies and ghostly fears' : nineteenth century women from Wales and English-language poetry." Thesis, Aberystwyth University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364769.

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8

MacIntyre, Christine Anne. "Turn-of-the-century Canadian women writers and the "New Woman"." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10372.

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This study examines the literature written by the generation of women who come between pioneering women writers such as Catharine Parr Traill and Susanna Moodie and contemporary women writers such as Alice Munro and Margaret Laurence, literature which helps us to understand the tradition of New Woman writing present in Canada at the turn of the century. This thesis examines selected texts published between 1895 and 1910, a period of rapid urban and industrial expansion in Canada when women began seeing themselves and their roles in society in "new" ways. The first chapter of this thesis examines the concept of the "New Woman" in terms of its original connotations. The second chapter focuses on the representations of the "New Woman" in Lily Dougall's The Madonna of a Day. Sara Jeannette Duncan's A Daughter of Today is the subject of the third chapter. The final chapter examines short stories written by Canadian women journalists Kit Coleman, Ethelwyn Wetherald, and Jean Blewett. (Abstract shortened by UMI.)

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9

Cook, Méira. "Speaking in tongues, contemporary Canadian love poetry by women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0025/NQ31971.pdf.

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10

Craddock, Jade. "Women poets, feminism and the sonnet in the twentieth and twenty-first centuries : an American narrative." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4158/.

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Initially developed and perfected by male poets, the history of the sonnet has been characterised by androcentrism. Yet from its inception the sonnet has also been adopted by women. In recent years feminist critics have begun to redress the form’s gender imbalance, but most studies of the female-authored sonnet have excluded the twentieth and twenty-first centuries, and thus one of the most important periods in women’s history – the rise of feminism – leading to a flawed narrative of the genre. Repositioning Edna St. Vincent Millay as the starting point in a twentieth-century tradition, this study begins where most others end and examines how the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition. By reading the works of Edna St. Vincent Millay, Adrienne Rich, Marilyn Hacker, Marilyn Nelson and Moira Egan within their specific feminist contexts and within the broader trajectory of feminism, it is possible to see how women in the era took ownership of the form. Ultimately, the thesis suggests that feminism has shaped an important narrative in the history of the genre that means today the sonnet is no longer exclusively male.

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Books on the topic "Women poets, Canadian (English)"

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author, Footman Jennifer 1942, James Candice 1948 author, Lever Bernice 1936 author, and Carson Louise 1957 author, eds. Dialogues, exchanges, conversations: Canadian women poets and their male mentors, 2013. The Feminist Caucus of the League of Canadian Poets, 2014.

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Whirr and click. Frontenac House Poetry, 2013.

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Powers, Margaret Fishback. Footprints: For women: scripture with reflections; inspired by the best loved poem. Zondervan, 2007.

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1944-, Kemp Penny, McMaster Susan 1950-, and League of Canadian Poets. Feminist Caucus, eds. Inspiratrices, 2008. Feminist Caucus of the League of Canadian Poets, 2008.

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Dominic, Magie. Inspiratrices, 2008. Feminist Caucus of the League of Canadian Poets, 2008.

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Keller, Betty. Pauline Johnson: First aboriginal voice of Canada. XYZ Pub., 1999.

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Charlotte, Gray. Flint & feather: The life and times of E. Pauline Johnson, Tekahionwake. HarperPerennialCanada, 2003.

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Charlotte, Gray. Flint & feather: The life and times of E. Pauline Johnson, Tekahionwake. HarperFlamingo Canada, 2002.

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Pauline: A biography of Pauline Johnson. Goodread Biographies, 1987.

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Powers, Margaret Fishback. Footprints: The story behind the poem that inspired millions. Walker and Co., 1998.

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Book chapters on the topic "Women poets, Canadian (English)"

1

Bradshaw, Penny. "Women Romantic Poets." In The Blackwell Companion to the Bible in English Literature. Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch27.

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Gerrard, Christine. "Eighteenth-century women poets." In The Cambridge History of English Poetry. Cambridge University Press, 2010. http://dx.doi.org/10.1017/chol9780521883061.021.

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Backscheider, Paula R. "Eighteenth-century women poets." In The Cambridge History of English Literature, 1660–1780. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521781442.010.

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Stevenson, Jane. "Anglo-Latin Women Poets." In Latin Learning and English Lore (Volumes I & II), edited by Katherine O'Brien O'Keeffe and Andy Orchard. University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442676589-037.

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"Meridiano 105° : An E-Anthology of Women Poets in Mexican and Canadian Indigenous Languages." In Translating Women. Routledge, 2016. http://dx.doi.org/10.4324/9781315624730-23.

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Entwistle, Alice. "Three twentieth-century women poets: Riding, Smith, Plath." In The Cambridge History of English Poetry. Cambridge University Press, 2010. http://dx.doi.org/10.1017/chol9780521883061.050.

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"Front matter." In Women poets of the English Civil War, edited by Sarah C. E. Ross and Elizabeth Scott-Baumann. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125033.00001.

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"Contents." In Women poets of the English Civil War, edited by Sarah C. E. Ross and Elizabeth Scott-Baumann. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125033.00002.

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"List of illustrations." In Women poets of the English Civil War, edited by Sarah C. E. Ross and Elizabeth Scott-Baumann. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125033.00003.

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"Acknowledgements." In Women poets of the English Civil War, edited by Sarah C. E. Ross and Elizabeth Scott-Baumann. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125033.00004.

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