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

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Published: 4 June 2021

Last updated: 3 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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11

Guth, Gwendolyn. ""A world for women": Fictions of the female artist in English-Canadian periodicals, 1840-1880." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ45175.pdf.

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12

Sandrock, Kirsten A. "Gender and region : maritime fiction in English by Canadian women, 1976-2005 /." Augsburg : Wissner, 2009. http://d-nb.info/99550590X/04.

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13

Sandrock, Kirsten A. "Gender and region maritime fiction in English by Canadian women, 1976 - 2005." Augsburg Wissner, 2008. http://d-nb.info/99550590X/04.

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14

Yan, Qigang. "A comparative study of contemporary Canadian and Chinese women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21657.pdf.

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15

Gossage, Ann. "Between the lines : the representation of Canadian women in English-language novels written by women in the 1930s." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24085.

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This thesis examines the role of Canadian women as presented in English language novels of the 1930s written by women authors. Within the context of the Great Depression it focuses on issues that are central to women's daily lives such as work, love, marriage and motherhood. It also isolates recurring themes in the novels and attempts to understand the authors' messages within their social context. Social reform, politics and gender relationships are among the subjects explored.

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16

Federici, Eleonora. "The intertextual revision of the canon by Canadian and English postmodern women writers." Thesis, University of Hull, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440655.

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17

Heaps, Denise Adele. "Gendered discourse and subjectivity in travel writing by Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49882.pdf.

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18

Gantzert, Patricia L. "Throwing voices, dialogism in the novels of three contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq23313.pdf.

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19

Kardynal, Kevin John. "The construction of identity in the life writing of Native Canadian women." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ54716.pdf.

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20

Bell, Monita Kaye Wyss Hilary E. "Getting hair "fixed" Black Power, transvaluation, and hair politics /." Auburn, Ala, 2008. http://repo.lib.auburn.edu/EtdRoot/2008/SPRING/English/Thesis/Bell_Monita_45.pdf.

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21

Olsen, Elena Brit. ""Alone I climb the craggy steep" : literary ambition and metaphysical identity in eighteenth-century women's poetry /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9337.

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22

Cook, Jessica Lauren. "Material and Textual Spaces in the Poetry of Montagu, Leapor, Barbauld, and Robinson." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5205.

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Women Poets and Place in Eighteenth-Century Poetry considers how four women poets of the long eighteenth century--Lady Mary Wortley Montagu, Mary Leapor, Anna Letitia Barbauld, and Mary Robinson--construct various places in their poetry, whether the London social milieu or provincial England. I argue that the act of place making, or investing a location with meaning, through poetry is also a way of writing a place for themselves in the literary public sphere and in literary history. Despite the fact that more women wrote poetry than in any other genre in the period, women poets remain a relatively understudied area in eighteenth-century scholarship. My research is informed by place theory as defined by the fields of Human Geography and Ecocriticism; I consider how the poem reproduces material space and the nonhuman environment, as well as how place effectively shapes the individual. These four poets represent the gamut of career choices in this era, participating in manuscript and print culture, writing for hire and for leisure, publishing by subscription and through metropolitan booksellers. Each of these textual spaces serves as an illustration of how the poet's place, both geographically and socially speaking, influences the medium of circulation for the poetic text and the authorial persona she constructs in the process. By charting how each of these four poets approaches place--whether as the subject of their poetry or the poetic space itself--I argue that they offer us a way to destabilize and diversify the literary landscape of eighteenth-century poetry.

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23

LaFramboise, Lisa N. "Travellers in skirts, women and english-language travel writing in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23012.pdf.

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24

Martin, Margaret Kathleen. "Discovering Lily Lewis, a Canadian journalist and new woman." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq63899.pdf.

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25

Taylor, Natalie. "Mapping mystic spaces in the self and its stories: Reading (through) the gaps in Ernest Buckler's "The Mountain and the Valley", Alice Munro's "Lives of Girls and Women", Peter Ackroyd's "The House of Doctor Dee", Adele Wiseman's "Crackpot", and A S Byatt's "Possession"." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/29374.

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In their novels, Ernest Buckler, Alice Munro, Peter Ackroyd, Adele Wiseman and A. S. Byatt have each explored moments when their characters experience expanded states of consciousness. Narratives such as these, as well as those of various mystical literatures, posit the idea that the barriers of the known self can be broken through, often repeatedly. Each of the novels to be studied here portrays a gap- or flaw-ridden self in the act of perpetuating and/or penetrating various forms of narrative and identity constructs. Each also features an encounter with what is other when these narrative and identity boundaries are breached. Reading about "mystical" occurrences of this nature challenges readers with the possibility that perceptions may be registered beyond the paradigms of the subject/object split. In this project, narrative fiction will be read in terms of its capacity to trigger a questioning of, and an expansion from within, systems of knowledge and identity, explicitly in terms of character and plot structure, and implicitly as a model for the reading self. The ability to observe and to respond to productive "gaps" or "flaws" in the stories of the self is a skill not only practiced by contemplatives and mystics, and by the characters in these novels, but by readers of imaginative fiction as well.

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26

Stead, Katrina M. "From cowlike commitment, good Lord deliver us : narrative strategies in 20th-century English-Canadian fiction written by women." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284313.

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27

Sojka, Eugenia. "Search procedures, carnivalization in language- and theory-focused texts of four Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25775.pdf.

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28

Mellor-Hay, Winifred Mary Catherine. "Writing the gap : the performance of identity in texts by four Canadian women /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ54839.pdf.

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29

Henderson, Jennifer. "Conducting selves, race and government in Canadian settler women's narratives." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ56234.pdf.

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30

Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.

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31

Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.

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32

Capp, Laura. "Dramatic audition: listeners, readers, and women's dramatic monologues, 1844-1916." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3438.

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The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.

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33

Wallace, Linda M. "Negotiating place, explorations of identity and nature in select novels by contemporary Canadian women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ49460.pdf.

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34

Jakobsen, Pernille. "Touring strange lands, women travel writers in western Canada, 1876 to 1914." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20791.pdf.

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35

Carrière, Marie J. "Poetics of the other, five feminist writers from English Canada and Quebec." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45662.pdf.

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36

Aujla, Angela. "Contesting identities in diasporic spaces, multigenerational South Asian Canadian women's literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ51290.pdf.

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37

Campbell, Leslie Marion. "Scottish influence and the construction of Canadian identity in works by Sara Jeannette Duncan, Alice Munro, and Margaret Laurence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57276.pdf.

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38

Kelly, Caralyn J. "Thrilling and marvellous experiences, place and subjectivity in Canadian climbing narratives, 1885-1925." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0010/NQ53500.pdf.

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39

Becker, Charity Dawn. "Constructing the mother-tongue, language in the poetry of Dionne Brand, Claire Harris, and Marlene Nourbese Philip." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54604.pdf.

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40

Rukavina, Alison Jane. "Cultural Darwinism and the literary canon, a comparative study of Susanna Moodie's Roughing it in the Bush and Caroline Leakey's The broad arrow." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61491.pdf.

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41

Holton, Danica Lynn. "Class and stratification in the works of Alice Munro and Margaret Laurence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ49367.pdf.

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42

Veillette, Marie-Paule. "La représentation de la folie dans l'écriture féminine contemporaine des Amériques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57482.pdf.

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43

Blackmore, Sabine. "In soft Complaints no longer ease I find." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.

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Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung von Frauen als Melancholikerinnen untersucht, rekurriert die Arbeit auf die Zusammenhänge von Medizin und Literatur im 18. Jahrhundert. Für die Gedichtanalysen werden gezielt Analysekategorien und zwei Typen poetisch-melancholischer Selbstrepräsentationen entwickelt und dann für die Close Readings der Texte eingesetzt. Die Auswahl der Gedicht umfasst sowohl Texte, die auf generisch standardisierte Marker der Melancholie verweisen, als auch Texte, die eine hauptsächlich die melancholische Erfahrung inszenieren, ohne dabei zwangsläufig explizit auf die genretypischen Marker zurück zu greifen. Die detaillierten Close Readings der Gedichte zeigen die oftmals ambivalenten Strategien der poetisch-melancholischen Selbstkonstruktionen der Sprecherinnen in den Gedichttexten und demonstrieren deutlich, dass – entgegen der vorherrschenden kritischen Meinung – auch Autorinnen dieser Epoche zum literarischen Melancholiediskurs beigetragen haben. Die Arbeit legt ein besonderes Augenmerk auf die sog. weibliche Elegie und ihrem Verhältnis zur Melancholie. Dabei wird deutlich, dass gerade Trauer, die oftmals als weiblich konnotierte Gegendiskurs zur männlich konnotierten genialischen Melancholie wahrgenommen wird, und die daraus folgende Elegie von Frauen als wichtiger literarischer Raum für melancholische Dichtung genutzt wurde und somit als Teil des literarischen Melancholiediskurses dient.<br>This thesis analyses different constructions of poetic self-representations through melancholy in poems written by early eighteenth-century women writers (ca. 1680-1750). The selection of poems includes texts written by representative poets such as Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Against the background of a detailed analysis of the medical-historical paradigmatic change from humoral pathology to the nerves and the subsequent re-positioning of women as melancholics, the thesis refers to the close relationship of medicine and literature during the eighteenth century. Specifical categories of analysis and two different types of melancholic-poetic self-representations are developed, in order to support the close readings of the literary texts. These poems comprise both texts, which explicitly refer to generically standardized melancholy markers, as well as texts, which negotiate and aestheticize the melancholic experience without necessarily mentioning melancholy. The detailed close readings of the poems discuss the often ambivalent strategies of the poetic speakers to construct and represent their melancholic selves and clearly demonstrate that women writers of that time did – despite the common critical opinion – contribute to the literary discourse of melancholy. The thesis pays special attention to the so-called female elegy and its relationship to melancholy. It becomes clear that mourning and grief, which have often been considered a feminine counter-discourse to the discourse of melancholy as sign of the male intellectual and/or artistic genius, and the resulting female elegy offer an important literary space for women writers and their melancholy poetry, which should thus be recognized as a distinctive part of the literary discourse of melancholy.

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44

Hiebert, Luann E. "Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry." 2016. http://hdl.handle.net/1993/31201.

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Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures.<br>May 2016

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45

Luu, Helen. "Impossible Speech: 19th-century women poets and the dramatic monologue." Thesis, 2008. http://hdl.handle.net/1974/1262.

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This study seeks to redress the continued exclusion of women poets from the theorization of the dramatic monologue. I argue that an unacknowledged consensus on the definition of the dramatic monologue exists, in spite of the oft-proclaimed absence of one, and that it is the failure to recognize this consensus which has in part debarred women poets from the theorization of the form. In particular, the failure to acknowledge this consensus has led recent feminist critics attempting to “rethink” the dramatic monologue, such as Cynthia Scheinberg and Glennis Byron, to reinscribe the very model they are attempting to rewrite by admitting into their analysis only those poems which already conform to the existing model. In consequence, these critics inadvertently repeat the exclusion they are attempting to redress by reinscribing a model which is predicated—as both Scheinberg and Byron acknowledge—on the exclusion of women poets. In order to end this cycle of exclusion, my project begins from a different beginning, with Hemans instead of Browning, and traces her innovations and influence across the dramatic monologues of two key dramatic monologists of the 19th-century, Augusta Webster and Amy Levy. In the hands of all three women poets, the dramatic monologue develops into a form which calls into question not only the nature of the self, as is characteristic of Browning’s model, but more crucially, the possibility of the subject. Their poems persistently dramatize what Judith Butler calls “impossible speech”—speech that is not recognized as the speech of a subject—and thereby challenges the model of authoritative speaking which underpins both men’s dramatic monologues and the prevailing theory of women’s as a clutch for linguistic freedom, power and authority. This project therefore has dual aims: to complicate our current conception of the dramatic monologue by placing the women’s dramatic monologues in conversation with the larger tradition of the form; and to complicate our understanding of 19th-century women poets’ conception and constructions of female subjectivity by re-theorizing their poetic strategies in the development of the dramatic monologue.<br>Thesis (Ph.D, English) -- Queen's University, 2008-06-26 14:13:29.982

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Pipkin, John George. ""The line invisible": Intertextuality and the men and women poets of British Romanticism." Thesis, 1997. http://hdl.handle.net/1911/19198.

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This dissertation challenges the canon in British Romantic Poetry by establishing an interpretive methodology to account for the intertextual relationships that Charlotte Smith, Joanna Baillie, and Mary Tighe maintain with William Wordsworth, Samuel Taylor Coleridge and John Keats. The interpretive model that I develop in the opening chapter builds upon the "rhizome" theory of Gilles Deleuze and Felix Guattari, in order to replace the "influence" of Harold Bloom's Oedipal model with a complex network of root-like intertextual relationships. By subsuming Bloom's linear structure under a non-hierarchical discourse network, this model encourages us to look at literary history as an intricate "root-system," extending in multiple directions from a plurality of disparate nodes. The resulting paradigm shift enables this dissertation to re-examine one of the dominant aesthetic concepts of the Romantic Period--the sublime--in order to show how the figurative construction of women as signifiers of materiality effects their cultural exclusion from commercial engagement with the Romantic aesthetic of transcendental sublimity. The "material sublime" is the term I use to denote those moments either when the physical world disruptively announces itself within the textual gesture toward transcendence, or when the text itself foregrounds the materiality upon which the sublime experience is based. After developing these two theoretical constructs, this dissertation then argues that Smith's Elegiac Sonnets engages in the discourse of the material sublime by expressing the terror and alienation she encounters upon leaving her spendthrift husband in order to raise their ten children on her own. The chapter examining Baillie's 1798 "Introductory Discourse" to A Series of Plays argues that her aesthetic theory anticipates Wordsworth's valorization of powerful emotions, natural language, and rustic themes, and that it is her methodical formulation of the "sympathetic curiosity" that compels Wordsworth to codify his own theories in the "Preface" of 1800. The final chapter explores the thematic and stylistic concerns of Tighe's Psyche, a rare example of an extended narrative poem by a woman during the Romantic period, in order to map her recuperation of beauty as an aesthetic category.

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Tallon, Laura. "“To Vindicate her Beauty’s Cause”: the sister arts and women poets, 1680-1790." Thesis, 2016. https://hdl.handle.net/2144/17864.

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This dissertation offers a new literary history of the tradition of the “sister arts” in England during the eighteenth and early nineteenth centuries. While previous scholarship has explored how canonical male poets conceived of their poetry in relation to painting, this project demonstrates that female poets also engaged in various forms of literary pictorialism. By attending to the work of these women writers alongside their male contemporaries, we gain a richer and more complex understanding of how poets evaluated the boundaries between verbal expression and visual composition. In line with my aim to offer a more nuanced historical account of the sister arts by including the contributions of women writers, I also examine the gendered conventions of this tradition. In my first chapter, I contend that poetry written by Anne Killigrew and Anne Finch calls into question common critical assumptions about the power dynamics of ekphrasis (the verbal description of visual art). The second chapter explores how Anna Barbauld, Anna Seward, and Amelia Opie respond to the influential model for verse epistles on the sister arts established by John Dryden and Alexander Pope, which assumes that poets and artists are male while the muses and objects of representation are female. In the third chapter, I argue that concepts derived from visual art animate the elegiac practices of Thomas Gray and Anna Seward, as they explore how acts of gazing can manifest same-sex desire. My final chapter shows how the concept of fancy, represented either as a mental creative process contrasted with imagination or as a personified female figure, comes to be associated with both visual power and femininity. I trace this poetics of fancy from essays by John Locke and Joseph Addison to Pope’s Eloisa to Abelard, the odes of William Collins, the sonnets of Charlotte Smith, and Visions of the Daughters of Albion by William Blake. The qualities that lead some writers to denigrate fancy—its association with femininity rather than masculinity, dreams rather than reality, and temptation or liberation rather than constraint—are precisely the same qualities that lead the major pictorial poets to seek to internalize it.<br>2018-08-11T00:00:00Z

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Roy, Stephannie C. ""Fifty-two easy steps to great health" : representations of health in English-Canadian women's magazines." 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94592&T=F.

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