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Articles de revues sur le sujet « Caribbean Women poets »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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1

Harris, Christine. "Caribbean Women Poets - Disarming Tradition." Miscelánea: A Journal of English and American Studies 22 (December 31, 2000): 45–60. https://doi.org/10.26754/ojs_misc/mj.200011216.

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This article sets out to explore the way in which women writers of Caribbean origin express various concerns relating to their heritage through poetry which encompasses not only their position as women seen from a feminist perspective but also from historical and contemporary positions in contrasting societies. It argues that an overall need to find an identity linked to the past is paramount for establishing a position for women in the future, and that the poetry achieves this through breaking with the traditional notions of women and poets. The article focuses particularly on the work by Gra

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Zapkin, Phillip. "Petrifyin’: Canonical Counter-Discourse in Two Caribbean Women’s Medusa Poems." Humanities 11, no. 1 (2022): 24. http://dx.doi.org/10.3390/h11010024.

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This essay utilizes Helen Tiffin’s idea of canonical counter-discourse to read the Medusa poems of Shara McCallum and Dorothea Smartt, two female Caribbean poets. Essentially, canonical counter-discourse involves authors rewriting works or giving voice to peripheral/silenced characters from the literary canon to challenge inequalities upheld by power structures such as imperialism and patriarchy. McCallum’s and Smartt’s poems represent Medusa to reflect their own concerns as women of color from Jamaica and Barbados, respectively. McCallum’s “Madwoman as Rasta Medusa” aligns the titular charact

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Narain, Denise Decaires. "‘Body language’ in the work of four Caribbean women poets." Women: A Cultural Review 2, no. 3 (1991): 277–86. http://dx.doi.org/10.1080/09574049108578093.

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Rosenblatt, Eli. "A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race." Slavic Review 80, no. 2 (2021): 280–89. http://dx.doi.org/10.1017/slr.2021.79.

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This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discours

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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 re

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Howley, Ellen. "The Mythic Sea in Contemporary Irish and Caribbean Poetry." Comparative Literature 74, no. 3 (2022): 306–25. http://dx.doi.org/10.1215/00104124-9722363.

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Abstract Myths of the sea are some of the most enduring cultural associations with oceanic spaces. In particular, literature written from islands and coastal locations often shares an interest in these mythic narratives. With a focus on this comparative element, this article investigates how contemporary poets from Ireland and from the Anglophone Caribbean engage with the myths of the sea in their work. It examines the poetry of Lorna Goodison (Jamaica), Seamus Heaney (Northern Ireland), Eiléan Ní Chuilleanáin (Republic of Ireland), and Derek Walcott (Saint Lucia), demonstrating the ways in wh

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Romariz, Letícia. "Sexual Freedom as Empowerment." Revista Leitura, no. 71 (December 30, 2021): 108–18. http://dx.doi.org/10.28998/2317-9945.202171.108-118.

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Women face disturbing realities of repression in Western society, which are built, mainly, through the establishment of stereotypes. One of the main ways such repression takes place is through the limiting of women’s sexuality expression. In the Caribbean author Grace Nichols’s The Fat Black Woman’s Poems (1986), the fat black woman provides us with new images to deal with her sexuality and to understand it as more than the mere sexual through Audre Lorde’s concept of the erotic. In the poems, the fat black woman uses the erotic to empower herself and to question the system of patriarchy. By d

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Cousins, Francina. "‘Is not easy to walk with so much power in your flesh’: uses of the erotic in Tanya Shirley’s poetry." Feminist Review 138, no. 1 (2024): 41–59. https://doi.org/10.1177/01417789241289357.

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This article analyses the representation of the sexual bodies and erotic desire of Jamaican black women in selected poems by Tanya Shirley. It draws on postcolonial feminist theories and Caribbean and diasporic cultural studies, especially Audre Lorde’s theory of the erotic as power, as it analyses idiosyncratic sources and strategies of women’s erotic empowerment. In her poetry, Shirley is careful to highlight the volatility of eroticism as a force that can both empower and imperil women. She also erotically empowers frequently neglected attributes of female subjectivity such as the fat femal

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Harding, Warren. "Absence and Disappearance." Small Axe: A Caribbean Journal of Criticism 26, no. 1 (2022): 1–15. http://dx.doi.org/10.1215/07990537-9724009.

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This essay argues for a comparative approach to studying and reading Black Caribbean women’s poetry. In particular, it focuses on the works of Cuban Soleida Ríos and Tobagonian Canadian M. NourbeSe Philip in their publications at the close of the 1980s. The essay asks, How does a recuperation of a poetics between Ríos and Philip enhance a study of the body? Through a close reading of two poems, it points to instances of absence and disappearance as generative signals that enable these women to transgress the silences that structure imaginative and lived experiences. In doing so, language, inte

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Figueroa, Víctor. "Occupying Makandal: Resistance from The Margins in Yolanda Arroyo Pizarro’s Yo, Makandal." Latin Americanist 69, no. 2 (2025): 170–93. https://doi.org/10.1353/tla.2025.a962908.

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Abstract: This essay examines the poetry collection Yo, Makandal (2017), by the Puerto Rican writer Yolanda Arroyo Pizarro. The book offers an innovative representation of the Maroon leader François Makandal, who remains a seminal figure in Caribbean history and a pivotal symbol in the region’s cultural imaginary. As a historical figure, he holds an important place in the centuries of resistance that led to the Haitian Revolution. Makandal’s role in the region’s culture is also linked to his presence important literary works, chief among them El reino de este mundo (1949), by the Cuban Alejo C

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Perkins, Anna Kasafi. "On/Unstained White dress(es)." African Journal of Gender and Religion 30, no. 1 (2024). http://dx.doi.org/10.36615/ad6nbz62.

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There is a white dress – baptismal, communion or confirmation – that appears in select poems of three Caribbean women poets, Jennifer Rahim (Trinidad), M. NourbeSe Philip (Trinidad/Canada) and Barbara Ferland (Jamaica). The dress is intended to be worn by Afro-Caribbean girls in a church, sacred, or sacramental context and speak to matters of purity in the female/girl child who is so clad. At the same time, the dress - spotless or yellowed - exposes the impurity, danger, and impiety of the Afro-Caribbean female body that is laid bare in the sacramental and sacred space of Church. This article

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Roy, Sukanta. "EXPLORING WOMEN DUB AS APPARATUS OF PERFORMATIVE RESISTANCE." Towards Excellence, June 30, 2022, 1930–41. http://dx.doi.org/10.37867/te1402161.

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While “dub” poetry, a sub-genre of performance poetry, is a male-dominated field women dub poets have entered this field with the help of male poets and then gradually carved their place within the genre as independent contributors and established themselves as a resistant force. When women dub poets write about the issues of general politics, they are welcomed but when they focus on women’s problems and gender questions, domestic affairs they are often neglected and sometimes criticised. The question remains how could women, being the representatives of traditional domesticity can/ should adh

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Belrose, Annick Marie. "FLORETTE MORAND, A MISUNDERSTANDING POET?" June 11, 2023. https://doi.org/10.5281/zenodo.8025631.

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<strong>ABSTRACT</strong> It's been a century since the women of Martinique and Guadeloupe have been writing. In 1924, three years after René Maran's renowned <em>Batoula </em>, Suzane Lacascade, from Guadeloupe, published in Paris the novel <em>Claire Solange, âme africaine </em>by the publisher Eugène Figuière. She received the Montyon Prize from the French Academy, and can be considered a pioneer of Négritude. Drasta Hoüel published the collection of prose poems <em>Les vies légères </em>, in 1916, and the novel <em>Cruauté

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Fleites Lear, Marena. "Estranged Intimacies: An Anticolonial Poetics of Silence in the Poetry of Raquel Salas Rivera and Ana-Maurine Lara." Latin American Literary Review 51, no. 102 (2024). http://dx.doi.org/10.26824/lalr.421.

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ABSTRACT: This article analyzes two recent poetry collections by queer Caribbean writers and probes them for what they can reveal about silence as a combined affective, aesthetic and political strategy. Both Kohnjehr Woman by Ana-Maurine Lara and While They Sleep by Raquel Salas Rivera encourage embodied reading practices that resist traditional literary analysis, understood as focused on achieving “mastery” and intellectual domination of a text, by engaging the reading body queerly and tangentially, and they ask what opportunities are presented by illegibility and untranslatability. I argue t

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Díaz-Cano, Marlenny, and Ellie Anne López-Barrera. "The "displaced of the sea". The case of fishing community "Don Jaca", Santa Marta, Colombia (in Spanish)." December 6, 2019. https://doi.org/10.5281/zenodo.7530527.

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This publication belongs to the WATERLAT-GOBACIT Network Working Papers Series Volume 6, No 1, “Artisanal fishing and cultural heritage: territorial conflicts, resistances, and social transformation in Colombia, Mexico and Spain” (in Spanish). (http://waterlat.org/publications/working-papers-series/) ________________________________________________________________________________________________________ Abstract This article addresses the case of the community of artisanal maritime fishermen “Don Jaca”, located in Santa Marta, Department of Magdalena, in the Caribb

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Woodward, Kath. "Tuning In: Diasporas at the BBC World Service." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.320.

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Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office

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Kabir, Nahid. "Why I Call Australia ‘Home’?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2700.

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   Introduction I am a transmigrant who has moved back and forth between the West and the Rest. I was born and raised in a Muslim family in a predominantly Muslim country, Bangladesh, but I spent several years of my childhood in Pakistan. After my marriage, I lived in the United States for a year and a half, the Middle East for 5 years, Australia for three years, back to the Middle East for another 5 years, then, finally, in Australia for the last 12 years. I speak Bengali (my mother tongue), Urdu (which I learnt in Pakistan), a bit of Arabic (learnt in the Middle East); but

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Morrison, Susan Signe. "Walking as Memorial Ritual: Pilgrimage to the Past." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1437.

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This essay combines life writing with meditations on the significance of walking as integral to the ritual practice of pilgrimage, where the individual improves her soul or health through the act of walking to a shrine containing healing relics of a saint. Braiding together insights from medieval literature, contemporary ecocriticism, and memory studies, I reflect on my own pilgrimage practice as it impacts the land itself. Canterbury, England serves as the central shrine for four pilgrimages over decades: 1966, 1994, 1997, and 2003.The act of memory was not invented in the Anthropocene. Rathe

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Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d

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