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Zeitschriftenartikel zum Thema "Young women – Poetry"
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Ahmad Gul Momand und Shamsurahman Adel. „Political Stability As A Major Concern in Pashtun Women's Poetry“. Creative Saplings 2, Nr. 06 (25.09.2023): 1–22. http://dx.doi.org/10.56062/gtrs.2023.2.06.378.
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Much of human emotions are expressed via poetry and other literary genres, but when it comes to women in Pashtun society, we lose their voices. Afzal Raza believes Pashtun women cannot speak about their pain, misery, or other feelings (Raza). As women could be persecuted for writing poetry in Pashtun society, much of the folklore poetry was anonymized by female speakers. Recently, the New York Times reported about several young girls set themselves on fire after they were caught reciting poetry to an FM radio from home (Griswold). Reading about women casualties in their poetry, Raza shall be accurate in saying that Tapa or Landay (two-verse poetry) is the ancient form of poems created mainly by women that still exists as its writer is unknown but has its female speaker for us to understand it. To study Pashtun women and their poetry, Tapa or Landay is the primary source to begin (Raza).
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Ahmad Gul Momand & Fahim Rahimi. „Introduction to Pashtun Women’s Poetry“. Creative Saplings 1, Nr. 12 (26.03.2023): 46–75. http://dx.doi.org/10.56062/gtrs.2023.1.12.231.
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Much of human emotions are expressed via poetry and other literary genres but when it comes to women in Pashtun society we lose their voices. Afzal Raza believes it is impossible for Pashtun women to speak about their pain and misery or any other feelings (Raza). As women could be persecuted for writing poetry in Pashtun society thus much of the folklore poetry came to existence by female speakers anonymously. Recently, New York Times reported about several young girls set themselves on fire after they were caught reciting poetry to an FM radio from home (Griswold). Reading about women casualties for their poetry, Raza shall be true saying that Tapa or Landay (a two-verse poetry) is the ancient form of poems mostly created by women that still exist as its writer is unknown but has its female speaker for us to understand it. To study Pashtun women and their poetry Tapa or Landay is the primary source to begin (Raza).
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Choi, Jung Ja. „Female Intersubjectivity: Violence, Women, and Elegy in Lee Chang-dong’s Poetry“. Journal of Korean Studies 25, Nr. 1 (01.03.2020): 237–61. http://dx.doi.org/10.1215/07311613-7932324.
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Abstract This article explores the configuration of female intersubjectivity demonstrated in the film Poetry (Si, 2010) by Lee Chang-dong (Yi Ch’angdong), as well as the power of poetry to conjure the dead and provide space and voice for marginalized and silenced women. The focus of the film is Mija, a woman in her mid-sixties who works as a caregiver to a disabled man while raising a grandson on her own. Just as Mija discovers that her grandson has been implicated in a sex crime that led to a girl’s death, she learns that she herself is in the first stage of Alzheimer’s disease. It is through poetry that Mija mourns her own impending death and also that of the young girl, who is otherwise consigned to oblivion under the phallocentric order of South Korean society. Lee Chang-dong’s film, this article argues, shows that despite the impossibility of poetry in the face of tragedy, lyric imagination offers women the power to escape the patriarchal imposition of silence and preserve a story of their own.
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ZAFER, Zeynep. „REVIVED FROM THE ASHES (THE POETRY OF MEFKURE MOLLOVA)“. Ezikov Svyat volume 20 issue 3, ezs.swu.v20i3 (20.10.2022): 427–36. http://dx.doi.org/10.37708/ezs.swu.bg.v20i3.14.
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Mefkure Mollova, known as a scholar in Turkology, was the first poetess to publish poems in the periodic print in Turkish language in Bulgaria and the only woman who was fortunate to issue a solo poetic collection (1964). She emerges as the most sensitive of the time, whose work boldly touches on the intimate corners of the Turk's mentality and emotionality, to questions and problems close to all women. The sophistication of her work excites young women and crumbles the walls of the traditional taboo. Her contemporaries are delighted with the talent of the beautiful poetess and the "freedom" of her speech, she is perceived as the Turkish Bagryana, almost all young Turkish intelligents were in love with her. Suffocated by the repression of the socialist dictatorship, she was forced to give up poetry. Her work is not known outside the circles of the Turkish readership of the 1950s and 1960s, and like most Turks-poets she remains unknown to the Bulgarian readership. The article also presents the first translations of her poems in Bulgarian.
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Bojö, Anna-Klara. „Kropparnas poesi“. Tidskrift för litteraturvetenskap 51, Nr. 1-2 (10.12.2021): 5–14. http://dx.doi.org/10.54797/tfl.v51i1-2.1705.
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The Bodies’ Poetry: Eva Runefelt, Eva Ström and Swedish Poetry in the Late 1970’s
In the mid 1970’s a new type of poetry, associated with the body, emerged in Sweden. Especially young women writers appeared to take Swedish poetry in new aesthetic directions, exploring questions regarding experience and language. This article focuses on two prominent writers, Eva Runefelt and Eva Ström, and discusses how their different types of poetry can be said to be a bodies’ poetry, and how it was discussed in contemporary literary critique. It also reflects on why this strand of poetry has been granted such a peripheral place in literary history.
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Muftee, Mehek. „Poetiska homeplaces: Reflektioner och samtal om muslimsk subjektivitet inom spoken word och poesi“. Tidskrift för genusvetenskap 43, Nr. 1 (11.01.2023): 27–48. http://dx.doi.org/10.55870/tgv.v43i1.10348.
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The last decade saw a renaissance of the artform called spoken word poetry through several spoken word projects in the suburbs of Swedish cities. A group of women who have been prominent in using these platforms as a way to highlight their voices and stories are young Muslim women from primarily from socioeconomically disadvantaged suburbs. This article focuses on a few of these voices. Based on a multimodal methodology including interviews with poets and readings of their work, this article sets out to understand how the young women use their poetry to formulate their subjectivity and issues that that matter to them. The poets and spoken word artists can be seen as knotworkers who use various platforms and tools in order to share their stories and reflections. The study shows how spoken word platforms have played an important role in creating a space where young poets find creative homeplaces and craft their own positions as poets and the kind of poetry they want to engage in. Through personal experiences and stories, the poets bind together several societal issues such as antiblack racism, antimuslim racism, classism, and patriarchy. Muslim subjectivity is articulated through the use of language and certain religious definitions such as references to prayers. Poetry is also used as a way to create feminist archives of missing stories. This study also highlights how double consciousness is at work where the poets reflect on certain difficult topics and how they chose to engage with them through their writing.
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Kovalova, Daryna. „FEMINIST DISCOURSE OF WOMEN’S POETRY OF YOUNG POLAND“. Polish Studies of Kyiv, Nr. 37 (2021): 186–95. http://dx.doi.org/10.17721/psk.2021.37.186-195.
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In the XIX-XX centuries. the emancipation of women had a strong influence on the established order of society. It was most evident in the works of contemporary writers. The article explores a little-known topic of women’s poetry of the literary period of Young Poland. The article analyzes the thematic range, issues and corporeality of poetry of Bronislava Ostrovska, Maryla Volska, Marcelina Kulikovska, Maria Komornitska and others. The essay examines the work of these women writers in the projection of the active development of feminist discourse through the prism of socio-political, cultural and gender characteristics. In women’s poetry of Young Poland there are recurring thematic areas, especially marked by corporeality and sensuality, such as love and erotica, motherhood, old age, disease and pain, the experience of death, the body also directs and profiles issues of creativity, sacred, metaphysics and cultural change. Particular attention needs to be paid to women’s experiences, which consist in the expansion of biology or the feeling of sexuality (pregnancy, childbirth), which became the discovery and description of the first half of the last century, referred to as the process of feminization of culture. They not only imitated contemporary poets, but also made a significant contribution to the development of the symbolic coordinates of this period. Their poetry is also characterized by decadent, impressionistic and expressionist motives. Female poets turned to popular topics for the late nineteenth and early twentieth centuries, such as love, nature, the meaning of existence, escape from reality, feelings of powerlessness and more. But they were not limited to philosophical and landscape lyrics. Further research on the creative path of poets of the Young Poland period is very promising, because they were not only active participants in the literary pro- cess, but also influenced future generations of Polish poets, who, following their example, developed themes of women’s experience, sensuality and corporeality in their work. These literary figures are also interesting for Ukrainian literary criticism, because some of the mentioned poets lived for some time in Lviv, Kyiv and Kharkiv, and therefore, intertwined with the Ukrainian literary process.
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Paden, William D., und Frances Freeman Paden. „Swollen Woman, Shifting Canon: A Midwife's Charm and the Birth of Secular Romance Lyric“. PMLA/Publications of the Modern Language Association of America 125, Nr. 2 (März 2010): 306–21. http://dx.doi.org/10.1632/pmla.2010.125.2.306.
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In “Tomida femina” (“A swollen woman”), a tenth-century charm written in Occitan, the vernacular of the south of France, a birthing woman and her helpers intone magical language during the most intense moments of childbirth. The poem permits us, with brief but uncommon intimacy, to imagine the lives of women long ago. It takes its place in a European tradition of birthing charms, including others written in Latin, German, and English. These charms, and in particular “Tomida femina,” provide an image of vigorous medieval women in childbirth that precedes the images of women in other secular Romance lyrics—young girls in love in the Mozarabic kharjas, idealized ladies in troubadour songs, and passionate aristocratic women in the poetry of the Occitan trobairitz.
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Mortensen, Emilie Lund. „Poetic Imagination“. Anthropology of the Middle East 16, Nr. 2 (01.12.2021): 75–90. http://dx.doi.org/10.3167/ame.2021.160204.
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Abstract In this article, I attend to poetic expressions of passionate longing for a beloved among displaced single Syrian men in the Jordanian capital of Amman. With a point of departure in the story and poetry of Qays, a 28-year-old Syrian man from Damascus, the article engages in an exploration of the poetic space engendered in the process of writing and reading poetry in exile. It demonstrates how longing found expression and relief in love poetry, as it enabled the young Syrian men to, momentarily, displace themselves to a different time and place, closer to the women they longed for. The poetry I thus argue, engenders and constitutes a creative space of possibility in which the impossible becomes possible in exile.
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Ronell, Avital. „On the Misery of Theory without Poetry: Heidegger's Reading of Hölderlin's “Andenken”“. PMLA/Publications of the Modern Language Association of America 120, Nr. 1 (Januar 2005): 16–32. http://dx.doi.org/10.1632/003081205x36831.
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The article considers the tendency among young theorists to forget or repress poetry. As symptom, the aberrant dissociation of poetry from theory reflects an increasing technicization, not to say impoverishment, of critical language. The theoretical elders, on the other hand, clung to poetic insight with the urgency of hunger. Focusing on tropes of greeting, celebration, and sending, I explore an exemplary instance in the encounter between poetry and thought—when Heidegger met Hölderlin. Still, Heidegger's appropriation of poetry leaves a violent residue, a kind of critical warping that has remained largely uninterrogated. I turn to a moment in the unprecedented testimony of Hölderlin's late thought in which the poet names the modern experience of mourning. While Heidegger's later work appears to be characterized by a similar tonality of mourning, Hölderlin's thought of finitude is often more joyous and affirmative. I zero in on the figure of “dark-skinned women” in the poem “Andenken” to show how philosophy is tripped up by the permanent insurrection that poetry conducts.
Dissertationen zum Thema "Young women – Poetry"
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BASTOS, ROMULO COELHO LISBOA. „IRONY AND CITY STREETS: TWO YOUNG CONTEMPORARY WOMEN POETS“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30155@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Partindo da discussão sobre o que se entende por poesia contemporânea, passando pelos possíveis recortes geracionais da segunda metade do século passado até a atualidade, esta dissertação analisa a obra de duas jovens poetas contemporâneas, Angélica Freitas e Alice Sant Anna, cujos livros de estreia foram publicados no século XXI.
On the basis of the discussion concerning what is meant by contemporary poetry and what counts as a generation in the period from the mid twentieth century to the present, this thesis examines the work of two contemporary young women poets, Angélica Freitas and Alice Sant Anna, who published their first books in the twenty-first century.
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Griffith, Asheley Randolph. „Four approaches to Marvell's "Upon Appleton House": Poetic patterns, estate lands, retirement of a hero, and education of a young woman“. 1996. https://scholarworks.umass.edu/dissertations/AAI9709600.
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Today Andrew Marvell's poetry is thought to offer a window onto mid-seventeenth-century English literature and culture, yet scholars find the poet's richly allusive early works puzzling: we often do not know what prompted these compositions, or how to interpret them. Marvell probably wrote much of his early verse in 1651-1652 while working as a tutor at the Fairfax family's Yorkshire estate, Nun Appleton. Four approaches to Marvell's major early work, the estate poem Upon Appleton House, help to clarify the poet's methodology, the Yorkshire cultural and landscape milieus of his 1651-1652 poems, the prominent family for which he worked, and the pedagogic content of the poem itself. In the first approach, textual analysis and pattern-tracing reveal that Marvell developed Upon Appleton House from short poetic studies in Latin and English, and reveal too some ways in which Marvell represented his employer, Thomas Fairfax; his student, Mary Fairfax; and himself, as tutor-poet persona. Next, research on central Yorkshire's historical geography and lore and especially on Fairfax family lands helps explicate Upon Appleton House and shows that Marvell himself was a researcher and close observer of the outdoors. Third, information about the career and retirement of Thomas Fairfax--who in 1650 was nominally Interregnum England's highest-ranking leader--partially demystifies both Fairfax's retirement motives and Marvell's poem. A final approach analyzes Upon Appleton House as a poem for the instruction of thirteen-year-old Mary Fairfax. Marvell apparently drew on ideas from advice-to-a-prince poems, education manuals, puritan theology, and other sources to prepare Mary Fairfax for her future roles as Protestant heiress, dynastic perpetuator, and "natural ruler." Moreover, Marvell lyrically transformed the lands she would inherit into a medium for learning. Each approach to Upon Appleton House includes attention to literary and visual arts' traditions and to Marvell's evolution as a poet. Together, the four approaches go far toward explaining Marvell's 1651-1652 compositional chronology and self-presentation, his descriptions of nature and Yorkshire landscapes, his praise and instruction of Fairfax family members, and his evocations of post-civil-war England.
Bücher zum Thema "Young women – Poetry"
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Pafunda, Danielle. Pretty Young Thing. Brooklyn, NY: Soft Skull Press, 2005.
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Ann, Duffy Carol, und Rafferty Trisha ill, Hrsg. I wouldn't thank you for a valentine: Poems for young feminists. New York: H. Holt, 1993.
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Badman, Jennifer. Rants. Wooster, Ohio: Wooster Book, 2002.
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WriteGirl. Untangled: Stories & poetry from the women and girls of WriteGirl. Los Angeles, Calif: WriteGirl, 2006.
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Scofield, Gregory A. I knew two Metis women: The lives of Dorothy Scofield and Georgina Houle Young. Victoria, B.C: Polestar Book Publishers, 1999.
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Engle, Margarita. The firefly letters: A suffragette's journey to Cuba. New York: Henry Holt and Co., 2010.
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Engle, Margarita. The firefly letters: A suffragette's journey to Cuba. New York: Henry Holt and Co., 2010.
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Engle, Margarita. The firefly letters: A suffragette's journey to Cuba. New York: Henry Holt and Co., 2010.
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Tobin, Belzer, und Pelc Julie, Hrsg. Joining the sisterhood: Young Jewish women write their lives. Albany: State University of New York Press, 2003.
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Taylor, Keren. Listen to me: Shared secrets from WriteGirl. Herausgegeben von WriteGirl (Organization). Los Angeles, Calif: WriteGirl, 2008.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Young women – Poetry"
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Auspos, Patricia. „2. A “Two Person Career”“. In Breaking Conventions, 93–174. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0318.02.
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The marital ideal that made it difficult for Grace Chisholm Young (1868-1944) to maintain an independent professional life was that of the "helpmate wife” who advanced her husband’s career. A graduate of Girton College and the first woman to defend a thesis and earn a doctorate in mathematics in Germany, Grace Chisholm was a mathematician in her own right when she married her former college tutor, William Henry Young (1863-1942), in 1896. After they moved to Europe with their infant son, Will encouraged Grace to fulfill her longstanding desire to study medicine, instead of continuing to work with him on pure mathematics. She remained in Germany with their two children while he divided his time between Germany and teaching jobs in Britain. Soon Grace was doing mathematics with Will as well as medicine, and also caring for their growing family (four more children were born between 1901 and 1908). Their partnership, which never fully acknowledged her contribution, established Will as a highly creative mathematician in the early 1900s. Over the next two decades, the Youngs produced several books and over two hundred articles, but Will took public credit for their joint work. Grace willingly assumed the role of junior, mostly anonymous, and distinctly subordinate partner in the Youngs’ collaboration. Her role in their professional partnership mirrored her role in their domestic partnership, and reflected their assessment of their respective talents: he was a late-blooming genius while she was merely talented. They agreed that helping him was more important than anything she could do on her own. Nevertheless, Grace refused to give up her medical training -- an aspect of her life that has not been adequately explored until now. Will encouraged her interest in medicine, but simultaneously pressured her to devote more time to helping him with mathematics. Grace never became a licensed doctor, but she eventually completed all the required coursework, despite the seemingly impossible demands on her time. She also published two children’s books about science, penned stories for her own children, wrote poetry, and authored an historical novel about Elizabethan England that was never published. When Will was teaching in India from 1914 to 1916, Grace wrote a series of papers under her own name that established her independent reputation in pure mathematics. Although she found it increasingly difficult to be Will’s self-sacrificing helpmate, especially after he retired, she continued to cultivate her image as a devoted, helpmate wife who advanced her husband’s career. But she silently rebelled, and her notebooks, pocket diaries, and the poetry she wrote in the 1930s record her disillusionment and suppressed anger.
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Richards, Joan L. „Robert Leslie Ellis: An Almost Perfect Moral Nature“. In Studies in History and Philosophy of Science, 147–67. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85258-0_7.
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AbstractSophia De Morgan met Robert Ellis when he was a student at Cambridge, and ever-after remembered him to possess an “almost perfect moral nature.” Her response to the sickly young man was typical of the ways Victorians responded to invalids like John Keats or Elizabeth Barrett Browning. But Ellis was neither a poet nor a woman. In the case of Ellis, the evidence of his moral character lay in the facility with which he practiced mathematics. Throughout the eighteenth century, the success of Newtonian cosmology served the English as a guarantee that in mathematics they could align their thoughts with the mind of God and by so doing truly understand the world in which they lived. As they moved into the nineteenth century, however, this assurance of unity between the human and the divine was being challenged on many fronts. When Sophia attributed “an almost perfect moral character” to the sickly young man, she was recognizing him as an ally in a battle for England’s soul that centered on the nature of mathematics.
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Kopley, Emily. „A Room of One’s Own, Woolf’s “little book on poetry”“. In Virginia Woolf and Poetry, 107–35. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198850861.003.0004.
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In several essays concurrent with her major experimental works of the 1920s, Woolf proclaims that the novel will usurp the tools and the place of poetry. Most important among these essays is the book-length A Room of One’s Own (1929). Here Woolf identifies the lack of poet foremothers available as models to women writers. She urges young women to fill this gap by writing not poetry per se, but rather prose whose greatness qualifies it as “poetry.” Woolf wants to gain for prose, and by extension women writers, the prestige historically accorded to verse. This chapter sketches the historic link among English Studies, poetry, and patriarchy. This link contributed to Woolf’s vision of the novel as the democratic, feminist alternative to poetry. It also spurred her subtle challenge in A Room of One’s Own to Sir Arthur Quiller-Couch, who had doubted women’s ability to write poetry. This chapter concludes by considering the real women poets who inspired Woolf’s fiction of Judith Shakespeare.
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Rasool, Zanib. „Using poetry to engage the voices of women and girls in research“. In Re-Imagining Contested Communities. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781447333302.003.0019.
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This chapter considers poetry as a creative or arts-based method within social research. It argues that poetry as a research methodology can elicit thoughts, feelings, and emotions, and can give a platform for marginalised voices, such as women and girls, as it enables those silenced voices to be heard — and heard loudly. Poetry offers one way to capture the knowledge held in communities, particularly among those whose voices have been traditionally marginalised, like young people and women. Poetry provides us with a different lens for making sense of everyday interactions, contradictions, and conflicts. Poetry allows us to express different perspectives of our lived experiences — a mosaic of autonomous voices freed through poetry.
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Graham, Maryemma. „As Low Down as the Blues Will Let You Be“. In The House Where My Soul Lives, 201–13. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780195341232.003.0012.
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Abstract This chapter examines how, despite what Margaret Walker thought about herself in 1939 after she returned to Chicago, the literary world had opened its doors to her. “For My People” continued to attract major attention. She was no longer a struggling young poet, but one with a growing reputation, which no one could question after Poetry published two more of her poems, “The Struggle Staggers Us,” and “We Have Been Believers.” Their successful placement affirmed her poetic talent, making the fiction she thought she needed to write much less important. Despite her interest in women’s writing, Walker was not prepared at this point to identify more closely with women artists and writers, preferring to admire them from afar. After the three poems had appeared in Poetry, she began to feel a stronger connection with, if not comparison to, some of the more popular women poets. The chapter then looks at the infighting in the Writers’ Project, which brought on by the growing resistance to WPA reformism and Democratic control in Congress, as well as Walker’s visit to New Orleans.
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Marchesi, Ilaria. „Women as Signs“. In Women in Martial, 21–60. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198920335.003.0002.
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Abstract The chapter provides several examples of normative treatments of what women are or are supposed to be, extracted from Martial’s poetry and chronologically neighboring cultural contexts. A compact front emerges, in which woman is treated as signifier of male identity. The role is, however, highly problematic: since a woman’s social task is the representation of the father and reproduction of the husband, she is at once valued for her stability and for her mutability. Pliny’s letter about the virtues of his wife Calpurnia is juxtaposed with an epigram Martial dedicates to his patron Regulus about the signs of brilliancy displayed by his young son. Deep strategic oppositions mark these texts, but both appear similarly engaged in constructing a paradigm of motherhood as semantic neutrality, while simultaneously haunted by the ambiguities and tensions associated with the maternal imprint.
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Orr, Leah. „Women in Translation“. In Publishing the Woman Writer in England, 1670-1750, 199—C5P70. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886293.003.0005.
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Abstract Through a survey of women writers published in translation, this chapter begins by showing that some of the most popular and prominent women writers in England in this period were French women published in translation. There were legal and commercial advantages to publishing translations over original new works in English in genres like fiction and poetry. Some women writers, such as Haywood and Behn, also translated texts by other writers, and they tended to select works in genres similar to their own published works. This chapter concludes with a case study of the marketing of Marie-Catherine d’Aulnoy in England. One of the most popular and prominent fiction writers from the late seventeenth century, Aulnoy was marketed by her publishers first as a young, aristocratic writer of key novels about European courts and later as a matronly writer of fairy tales when readers’ tastes changed.
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„Mary Robinson (1758-1800)“. In A Century of Sonnets, herausgegeben von Paula R. Feldman und Daniel Robinson, 73–89. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0023.
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Abstract Mary Robinson’s sonnet sequence, Sappho and Phaon, composed of forty four strictly Petrarchan sonnets, details the passionate but destructive love of a woman poet for a man who abandons her. Combined with its prose preface, the sequence makes a bold claim for the mental preeminence of literary women and identifies Robinson with a woman’s poetic tradition represented by Sappho. As an actress, under the tutelage of David Garrick, Robinson attracted the attention of the young Prince of Wales, later George IV; their affair brought her notoriety and made her the subject of national gossip. After the Prince abandoned her, she pursued a career as a professional au thor, publishing poetry, novels, plays, and essays, including the best-selling novel Walsingham (1797), the important volume Lyrical Tales (1800), and an autobiography (1801).
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Erkkila, Betsy. „Adrienne Rich, Emily Dickinson, and the Limits of Sisterhood“. In The Wicked Sisters, 152–84. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195072112.003.0005.
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Abstract In an essay on Elizabeth Bishop entitled “The Eye of the Outsider” (1983), Adrienne Rich comments on her quest as a young woman writer for a specifically female literary genealogy: “I was looking for a clear female tradition; the tradition I was discovering was diffuse, elusive, often cryptic” (Blood, Bread, and Poetry 125). In part because Rich was looking for a particular kind of women’s writing and in part because of Bishop’s literary reputation as a high modernist poet of wit, objectivity, and formal control, Bishop seemed at once inaccessible and unavailable to Rich as a literary model. “Women poets searching for older contemporaries in that period,” says Rich, “were supposed to look to ‘Miss’ Marianne Moore as the paradigm of what a woman poet might accomplish, and after her, to ‘Miss’ Bishop. Both had been selected and certified by the literary establishment, which was, as now, white, male, and at least ostensibly heterosexual” (125). Rich herself “felt drawn but also repelled, by Bishop’s early work,” finding it “impenetrable: intellectualized to the point of obliquity” (125).
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Myers, K. Sara. „Women in the Garden“. In Ancient Roman Literary Gardens, 101–35. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197773239.003.0004.
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Abstract Chapter 3 looks at how Catullus and Ovid engage with the Greek literary motif of the protected (premarital) virginal garden, primarily found in lyric poetry and tragedy. These passages place women in the center of the garden. In his two wedding poems 61 and 62, Catullus follows a Greek hymeneal tradition that represented the young bride (and sometimes groom) as a protected, yet ephemeral, plant in an enclosed garden. While the garden offers the flower/bride nurturing, it also symbolizes the containment and control of her sexuality by her male guardian. The two poems give different perspectives, male and female, on the experience of the bride. Ovid too gestures toward this Greek literary tradition in his two extraordinary garden passages, one each in the Metamorphoses and Fasti, which are presided over by the Roman female plant divinities, Pomona and Flora. Ovid uses these garden descriptions to reflect metapoetically on the complementary poetics of the Fasti and Metamorphoses and to create cross-generic tensions between them. In both poems the bounded nature of garden space is exploited by Ovid for gender and genre crossing.
Konferenzberichte zum Thema "Young women – Poetry"
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Ouellet, Chantal, Amal Boultif und Pierre Jonas Romain. „OUTCOMES OF SLAM WRITING WORKSHOPS FOR HAITIAN STUDENTS AT THE END OF ELEMENTARY SCHOOL“. In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v2end052.
Der volle Inhalt der QuelleAnnotation:
"In Haiti, the success rate in elementary school remains very low and the majority of teachers do not have sufficient knowledge of effective pedagogical approaches to writing which leads to demotivation and a low sense of effectiveness as scriptwriters among students. We chose slam as a genre of contemporary and urban poetry (Vorger, 2011) and the workshop device to work on slam poetic writing (Troia, Lin, Cohen and Monroe, 2011), ideal to improve students' writing skills, motivation and sense of effectiveness. The research took place in two primary schools in Port-au-Prince against the backdrop of a socio-political crisis. Twelve facilitators (10 women and 2 men), trained in advance, facilitated the workshops in 13 sessions of 90 minutes each. A total of 61 students aged 12-13 participated in the after-school writing workshops (26 boys and 38 girls). Students completed a questionnaire on their motivation and sense of writing skills before and after the program. A corpus of 41 texts of claimed poetry written by students is the subject of a thematic and linguistic analysis. The results indicate that students benefit from their writing and oral expression skills, self-confidence and empowerment, and that their texts demonstrate a high degree of linguistic creativity and thematic richness. The positive results are consistent with those obtained in other socio-cultural contexts (Patmanathan, 2014) regarding the impact of the writing workshops. They contribute to new knowledge about slam poetry as an appropriate literary genre for young people, even at the end of primary school."