Dissertations / Theses on the topic 'Rich, Adrienne'

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.
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Adrienne Rich publicou 17 livros de poesia e 4 de ensaios. Desde 1951 sua produção literária tem crescentemente estimulado debates críticos e controvérsias, devido à sua poética intrinsecamente relacionada a movimentos de libertação das mulheres, pacifismo, anti-semitismo e outras questões sociais. Este estudo tem por objetivo analisar as relações entre poesia e política na poesia de Rich de 1951 a 1999, tentando acompanhar seu desenvolvimento. Para tanto, o primeiro capítulo discute as idéias de Mikhail Bakhtin e Theodor Adorno sobre lírica e sociedade em relação às de Rich sobre o assunto. Os capítulos posteriores analisam os poemas dela em diálogo com esse embasamento teórico, entrevistas e ensaios de Rich, assim como críticas sobre a obra dela.

Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e Expressão
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Este trabalho busca analisar a trajetória da poeta e ativista política estadunidense Adrienne Rich, investigando até que ponto o engajamento nas lutas sociais se reflete em sua obra. Para tanto, foi feito o levantamento da produção literária da autora, que incluem suas coleções de poemas, ensaios críticos e entrevistas concedidas por ela. Em relação às reflexões desenvolvidas no trabalho, foram utilizados tanto textos críticos sobre a poeta quanto outras teorias, nomeadamente as de Michel Foucault, Edward Said e Hannah Arendt, entre outras. A partir de sua escrita, é possível perceber os diversos papéis assumidos pela poeta e a maneira pela qual a experiência pessoal influencia seu olhar sobre a condição das mulheres na sociedade contemporânea. Rich tem participado de vários movimentos sociais e políticos em seu país, posicionando-se de forma crítica diante dos sucessivos governos dos Estados Unidos da América. A política assume um papel importante na composição de sua arte. A poeta reconhece o poder do discurso como um instrumento que possibilita transformações sociais, e por essa razão busca fortalecer o poder das mulheres também na esfera política. Rich privilegia o discurso que denuncia e procura desestabilizar o poder institucionalizado. Segundo ela, para realizar transformações concretas na sociedade é necessário estabelecer uma relação mais próxima entre o discurso e a ação. Em sua busca por unir escrita e ação política, a poeta teoriza o corpo como um espaço de representação cultural. A partir da análise de seus poemas, ensaios críticos e entrevistas é possível perceber como Rich procura revelar diferentes formas de vivenciar o corpo gendrado, ao mesmo tempo em que faz dessa experiência um ato que pode levar à ação política.

Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear.
This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.

La lecture simultanee de trois poetes (adrienne rich, erica jong, may swenson) entend favoriser le dialogue entre des paroles poetiques singulieres. Les avatars du corps ecrit disent moins une realite du corps feminin qu'ils ne designent l'evanescence d'un reel (lacan). L'intertextualite permet de capter des bribes de textes ou de representations appartenant a tous, pour leur redonner une motivation poetique. Dans cette recherche imaginaire, le miroir est un instrument heuristique et non un simple ornement. Dans l'amerique des annees soixante secouee par des prises de conscience douloureuses, le feminisme et le poetique sont-ils compatibles? si a. Rich repond par l'affirmative, e. Jong est plus ambivalente et m. Swenson plus circonspecte. Le poeme permet du moins de rassembler des voix oubliees pour composer un palimpseste feminin. L'amerique semble le lieu ideal d'une ecriture utopique, car la question des origines ne cesse jamais de se poser. Les roles socialment prescrits influent sur l'apprehension du langage ordinaire que le poeme travaille. Pour rich la loi symbolique du pere imprime une marque infamante sur le langage, tandis qu'erica jong est stimulee par la dichotomie masculin feminin. Seule m. Swenson maintient a l'abri des poles determines par le sexe une vacillation poetique pure. L'etude du rythme et de la mer impose un rapprochement entre l'ecriture et le fort-da. La notion de voix poetique situe le poetique du cote du feminin, c'est-a-dire d'un reel difficile a cerner. Le nom propre signe l'oeuvre et marque la division irreductible du sujet de l'ecriture. Le feminin dans l'ecriture tient dans cette insistance a souligner la division interne propre a tout sujet d'enonciation: il est moins a rechercher dans les pleins d'un discours construit que dans les raccords et les sutures d'un tissu a inventer fil a fil
By reading three poets simultaneously (adrienne rich, erica jong, may swenson) we aim to further a dialogue between autonomous and distinct poetic "paroles". The metamorphic shapes of the written body tell us less about the reality of the female body than about the evanescent quality of the real (lacan). Intertextuality is a means to recapture snatches of texts or visual representations common to all, in order to give them renewed poetic meaning. In that imaginary quest the mirror is a heuristic implement and not a mere ornament. Does writing amidst the turmoil of the sixties in america mean that feminism and poetic writing are linked? a. Rich seems to answer yes, but e. Jong is more ambivalent and m. Swenson more wary about such equations. However, the poem is able to summon forgotten voices so as to recompose a feminine palimpsest. America seems to be the ideal place for a utopian mode of writing for the question of origins is ever present. The socially ascribed roles influence the poet's apprehension of everyday language that he she works with. For rich the symbolic law of the father puts its infamous imprint on the language, whereas jong finds the masculine feminine dichotomy challenging. Only m. Swenson is willing to adamantly maintain a purely poetic vacillation away from the gender-determined polarities. The study of rhythm and of the sea entails a parallel between writing and the freudian fort-da. The concept of poetic voice helps situate poetic writing in the realm of the feminine, or of the lacanian real, difficult to delimit and define. The name is the poet's signature and it is also the trace of the irreducible division of the subject of writing. The feminine aspect of writing lies in the insistent emphasis on this internal division of the subject of utterance : it is therefore less easy to discover it in the solid substance of discourse than in the shreds and the sutures of an ever-changing poetic fabric

Thesis (Ph. D.)--Illinois State University, 1998.
Title from title page screen, viewed July 18, 2006. Dissertation Committee: Victoria Frenkel Harris (chair), Charles B. Harris, Douglas D. Hesse. Includes bibliographical references (leaves 243-260) and abstract. Also available in print.

For many postmodern artists, such as Don DeLillo, Adrienne Rich, and Andy Warhol, the human body and identity are constantly challenged, refigured, and re-envisioned. In this thesis, I explore to what extent each of these artists depicts the human body as disempowered or empowered in postmodern American culture. In Chapter One, ?Technology, Death, and Identity in Don DeLillo?s White Noise,? I examine the ways in which White Noise explores the nexus between the body, pop culture, fear, and death. In Chapter Two, ?Adrienne Rich: Toward an Embodied Poetics,? I explore the shifts in emphasis throughout most of Rich?s poetry and how she explores the fate of the female body in a capitalist, patriarchal society. In Chapter Three, ?The Visual Art of Andy Warhol: Fame, Death, and Disaster in American Popular Culture,? I investigate how Warhol explores the human body as image and surface that lack depth or inherent meaning and human identity as a façade manufactured by American culture. In the ?Concluding Remarks,? I discuss the relationship between genre and each artist?s perspectives of the body while also exploring each artist?s conclusions about the empowerment and disempowerment of the human body in postmodern American culture.

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O presente trabalho tem como principal a reflexão acerca dos diferentes sujeitos femininos trazidos pela poesia de Adrienne Rich. A partir do corpora selecionado da poeta estadunidense, pretende-se refletir sobre o processo de construção da subjetividade e sexualidade desses sujeitos na contemporaneidade em oposição à figura feminina presente no discurso da heteronormatividade hegemônica. Desvinculado das representações sociais que assumem ser o corpo feminino um mero objeto masculino e indo além da noção de que a posse sexual da mulher é fator mantenedor da ordem social, o eu lírico de Rich é então, o sujeito formado pela e na diferença, figura marcada não apenas pelo seu gênero, mas por sua raça, classe, por sua linguagem e representações culturais. Hoje com a multiplicidade de valores, sentidos e representações, o sujeito feminino centralizado e estático perde seu espaço para uma figura contraditória, dinâmica e fragmentada, resultado de suas experiências. Nesta perspectiva, entende-se que os poemas de Rich aqui discutidos constituem um espaço de reflexão sobre o discurso hegemônico e práticas sociais guiadas pela cultura Ocidental. Assim, procura-se aqui articular a fala de autoras como Simone de Beauvoir e Teresa de Lauretis com os poemas de Rich, mostrando que com a crescente discussão de tal construção promove-se não apenas uma nova percepção de mundo, mas uma mudança no quadro de referências e critérios, na avaliação de fenômenos sociais.
This paper aims to reflect on the different female subjects brought by Adrienne Rich’s poetry. From the selected corpora of the American poet, it is intended to think about the process of construction of the subjectivity and sexuality of these subjects in contemporaneity in opposition to the female figure present in the discourse of hegemonic heteronormativity.Dissociated from the social representations that assume to be the female body in a masculine object and going beyond the notion that the sexual possession of the woman is a factor that maintains the social order, Rich's lyrical self is then the subject formed by the difference, not only by its kind, but by its class, language and cultural representations. Today with a multiplicity of values, senses and representations, a centralized and static female subject it is replaced for a contradictory, dynamic and fragmented figure, a subject that it is the result of different experiences. In this perspective, it is understood that Rich’s poetry discusses a space of reflection on the hegemonic discourse and social practices guided by Western culture. Thus, we try to articulate a speech by authors such as Simone de Beauvoir and Teresa de Lauretis with Rich's poems, showing that with a growing discussion of such a construction promotes, not only a new perception of the world, but a change of references and criteriaon the evaluation of social phenomena.

This thesis aims to explore the strategies of revisionary mythmaking employed by H.D., Sylvia Plath, and Adrienne Rich. Although I also turn to their prose writings, the main focus remains on poetry. The analysis of their poetry draws its insights from French feminist theory, particularly the theories of Luce Irigaray. The relationship between myths and construction of identity is explored through detailed reading of the poetry of these three poets. It investigates traditional patriarchal myths, such as classical, religious, historical, myths created and perpetuated by psychoanalysis, myths of womanhood and motherhood, as well as their function in organizing our perceptions of what constitutes reality. The thesis contests these myths' claim to universality. The poets not only challenge patriarchal myths in their poetry, but they also seek to present alternatives to established traditions. They work towards the rejection of clearly defined patriarchal binary oppositions, and instead propose a different kind of difference which is non-oppositional and non-hierarchical. Through detailed reading of their poetry, which is informed by theory, I suggest that the idea of a changeless and static self is rejected by the poets. In their work they deal with the lack of articulation of female subjectivity within patriarchal constructs, and identify the broken mother-daughter bond as a very important aspect of this impossibility. They repeatedly return to the semiotic where this vital bond is still intact, and patriarchal binary oppositions has not been established yet. Hence, multiplicity and ambiguity are always foregrounded as a key theme. The three poets ultimately posit that patriarchal myths are neither 'natural' nor 'compulsory'. They challenge patriarchal myths and language through their revisionary mythmaking and their articulation of female experiences that have been unheard, denied validity, and devalued. These strategies contribute to the ongoing process of subverting established myths, and ultimately, construction of alternative modes of imagination.

Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Includes bibliographical references (leaves 189-195). Issued in print and online. Available via ProQuest Digital Dissertations.

Le but de cette thèse est de comprendre pourquoi la poésie d’Adrienne Rich (1929-2012), autrice étatsunienne majeure, est absente du champ littéraire français. Poétesse prolifique, Adrienne Rich reçut de nombreux prix littéraires tout au long de sa carrière. Essayiste, elle fut une théoricienne du mouvement féministe étatsunien. Des recueils de ses poèmes ont été publiés dans une vingtaine de langues dans le monde. En français, une quinzaine de poèmes d’Adrienne Rich a été traduite et publiée sur divers supports (anthologies, revues littéraires, blogs). Un recueil a été conçu en collaboration avec la poétesse, mais il n’a jamais été publié à ce jour. Malgré différentes tentatives pour accueillir la poésie d’Adrienne Rich en France (traduction de ses essais, inscription au programme de l’agrégation, lecture en librairie) elle est toujours en 2019 dans une situation ambiguë de présence mais d’invisibilité pour le lectorat français. Nous chercherons donc à expliquer cette réception en suspens en examinant d’abord les traductions de poèmes d’Adrienne Rich publiés en français. Qui en sont les auteurs et autrices ? Quelles sont leurs pratiques et les caractéristiques de leurs traductions ? Leurs travaux s’inscrivent dans le sous-champ éditorial de la poésie traduite en France qui sera analysé pour en identifier les dynamiques, les acteurs et actrices, les supports de diffusion. À la lumière de ces analyses qui relèvent de la sociologie de la traduction et de la réception, nous comparerons le cas de la poésie d’Adrienne Rich avec d’autres poètes mais surtout d’autres poétesses étatsuniennes contemporaines. Dans ce contexte de réception, il faut aussi prendre en compte l’histoire des idées. En effet, l’œuvre d’Adrienne Rich est marquée par l’engagement féministe de l’autrice, ce qui représente une caractéristique significative pour le transfert culturel que constitue la traduction. Nous nous intéresserons donc à l’histoire des mouvements mais aussi des courants de pensée féministes aux États-Unis et en France depuis les années 1960. Enfin, dans une démarche prospective, ce travail se propose d’envisager les modalités de conception d’un recueil de poèmes d’Adrienne Rich traduits en français à l’aune de l’analyse du champ éditorial de la poésie en France et d’une lecture microtextuelle des poèmes déjà traduits. Nous illustrerons cette réflexion par des traductions ou retraductions de quelques textes : comment traduire une poésie féministe ?
The aim of this thesis is to understand why the poetry of Adrienne Rich (1929-2012), the major United States poet, is absent from the French literary field. Adrienne Rich was awarded numerous literary prizes throughout her prolific career. As an essayist, she was one of the first theorists of the feminist movement in the United States. Collections of her poems have been published in almost twenty languages worldwide. In French, fifteen of her poems have been translated and published in different forms (anthologies, literary magazines, blogs). A collection was being drawn up in collaboration with the poet, but to this day has never been released. Despite several attempts to introduce her work in France—some of her essays have been translated, a collection of her poems was in the agrégation curriculum, and she was invited to read her work in a bookshop—in 2019 it remains largely invisible to French readers. This thesis will thus try to explain this “arrested” reception first by examining the translations of Rich’s poems which have been published in French. Who translated her poetry? How can we characterise their translations? Their work is part of the French subfield of translated poetry which will be analysed so as to identify what is at stake, who is involved and how the poetry is distributed. In the light of these analyses which come under the sociology of translation and of reception, the case of Adrienne Rich’s poetry will be compared with other US male and especially female poets from the same period. In this reception context, addressing the history of ideas is crucial. Indeed, Adrienne Rich’s work is marked by her engagement with feminism, which is a significant element in the cultural transfer which translation represents. As such, the history of feminist movements and theories in France and the United States since the 1960s will be subjected to close analysis. Lastly, in a prospective approach, this thesis will focus on the conditions for the possible publication of a collection of Adrienne Rich’s poetry translated into French, in light of the analysis of the publishing field of poetry in France and of a microtextual reading of her previously published poems. These considerations will be illustrated by new translations or retranslations of selected poems. At the heart of this research lies the question: how is feminist poetry to be translated?

The thesis explores the poetry (and some prose) of Plath, Sexton, Atwood and Rich in terms of the changing constructions of self-image predicated upon the female role between approx. 1950-1980.1 am particularly concerned with the question of how the discourses of femininity and feminism contribute to the scope of the images of the self which are presented. The period was chosen because it involved significant upheaval and change in terms of women's role and gender identity. The four poets' work spans this period of change and appears to some extent generally characteristic of its social, political and cultural contexts in America, Britain and Canada. (Other poets' work, for example Rukeyser, Lorde, Levertov, is included too. ) The poets were not chosen to illustrate a pre-feminist vs. feminist opposition since a major concern is to explore what I see to be the symbiotic relation between femininity and feminism (as also between orthodoxy and heresy). However the thesis is organised chronologically because periodisation is important for a consideration of the poetry's social setting. In wanting to connect the poetry with cultural and political circumstances as much as possible I have taken Edward Said's assertion of a text's position of 'being in the world', its potential as a cultural product to help reshape reality, and its value as a 'powerful weapon of both materialism and consciousness'. This is the starting point for the study which is circular and cumulative in shape, fundamentally thematic, though each chapter is a chronological exploration of the work of one specific poet, beginning with Plath and completing with Rich. A conclusion attempts to pull the strands of each together and consider the implications raised. The thesis has four general concerns which run through its particular focus on each poet. The first involves the relations between cultural practice and ideology; the second involves the ideology of gender (through exploration of femininity and feminism); the third involves authorial ideology (through the construction of self-image in relation to femininity and feminism) while the fourth involves these concerns in terms of the overall arena of women's struggle for meaning and selfdetermination in cultural practice. More specific elements of the study include collating and comparing self-images and attempting to make connections or chart changes where images such as witch, queen, handmaid, shamaness, goddess, earth mother, whore, madwoman, etc., re-occur. Usage of myth (particularly Persephone). the Gothic, 'and articulation of lesbian desire are also explored. The emergence of a female 'hero' self-image, in opposition to 'victim', seems to be a corollary of the impact , of feminism in Rich's poetry particularly, but this tendency can be traced back through Plath. I explore the celebration of nature and the power of essentialism in the construction of heroic female images, particularly in the figure of the mother flowing with milk at the centre of 'ecriture feminine'. The concluding chapter suggests that femininity did not constitute such a repressive constraint on self-image and writing practice for women as perhaps might be supposed; and that feminism, while opening up many empowering changes for women, has raised further disturbing and unresolved questions about identity, and even helped, in some of its aspects, to create a new 'orthodoxy' in which various aspects of experience cannot easily be articulated. My example is Rich's later work where it seems to admit itself limited by its own initially liberating strategies and looks further on towards new 'heresies.'

Thesis (Ph.D.)--University of Cincinnati, 2008.
Advisor: Don Bogen PhD (Committee Chair). Title from electronic thesis title page (viewed Sep.4, 2008). Keywords: poetry; Paula Gunn Allen; Adrienne Rich; trauma theory; cartographic theory; Native American. Includes abstract. Includes bibliographical references.

Thesis (Ph. D.)--Illinois State University, 2000.
Title from title page screen, viewed July 31, 2006. Dissertation Committee: Lucia C. Getsi (chair), William W. Morgan, Cynthia A. Huff. Includes bibliographical references (leaves 182-189) and abstract. Also available in print.

Notre travail rend compte d'un trajet de la féminité observé à travers les oeuvres de trois femmes poètes américaines contemporaines, Sylvia Plath, Denise Levertov, et Adrienne Rich. Ce trajet va de l'exclusion de la féminité qui correspond aux années de formation et coïncide avec l'adhésion des poétesses aux schémas poétiques hérités de la tradition, à la découverte et à l'exploration, dans un deuxième temps, d'un moi féminin qui passe par la douleur, pour aboutir, dans un troisième temps, à la reconstruction et à l'élaboration d'une féminité redéfinie. Avec l'émergence de la conscience de la féminité dans les oeuvres de Plath, de Levertov, et de Rich, on assiste, semble-t-il, à la mise en place d'une tradition de la poésie des femmes au sein de la culture américaine, une tradition marquée par la résistance et l'énergie de renouvellement qui part du cri et se heurte au suicide dans la poésie de Sylvia Plath, trouve son prolongement dans l'engagement politique avec l'oeuvre de Levertov, et conduit à l'engagement féministe radical dans l'oeuvre de Rich
There are three phases in the evolution of female consciousness in the poetic works of Sylvia Plath, of Denise Levertov and Adrienne Rich. This is the analysis of an imaginary process that begins with the exclusion of female consciousness and the poets' adhesion to poetic traditional patterns, develops into the emergence and exploration of female consciousness and eventually leads to the elaboration of a new definition of feminity. With the emergence of female consciousness in the works of Plath, of Levertov and Rich, it seems a female tradition has come to life : a tradition characterized by resistance and the energy of renewal, which starts from cry and comes up against suicide in Sylvia Plath's poetry, which finds an original expression in political commitment with Denise Levertov and eventually reaches its fullest expression in Adrienne Rich's feminist radicalism

Mot bakgrund av att asexualitet på senare år formulerats som en möjlig sexuell identitet, orientering eller preferens är syftet med uppsatsen att teoretisera den asexuella positionen – här definierat som ”frånvaro av lust till sexuell praktik”. Detta görs genom en nära läsning av fyra texter som varit centrala inom feministisk och queer teoribildning, med intentionen att undersöka hur asexualitet positioneras i relation till dessa teorier. De teoretiska utgångspunkterna hämtas från feministiska och konstruktivistiska teorier om kön, sexualitet, makt och subjektstatus, främst Michel Foucault (1976)och Judith Butler (1990). Mina läsningar visar att i Gayle Rubins sexuella värdehierarki (1984) tilldelas positioner utifrån sexuellt aktörskap, och det är således sexuella subjekt som kan emanciperas. I Adrienne Rich’s text om obligatorisk heterosexualitet (1980) tillskrivs även den icke-sexuella kvinnan aktörskapet att undkomma tvångsheterosexualisering - Rich’s införande av ett lesbiskt kontinuum kan ses som en dekonstruktion av en sexuell kategori. I min läsning av Michael Warner (1993) frågar jag huruvida den queera metoden även kan användas till att ifrågasätta normer om att vara sexuell, och i min läsning av Butler (1990) diskuterar jag frånvaro av begär i relation till möjliga subjektspositioner inom ramen för en heterosexuell matris. I min slutdiskussion återknyter jag till Foucault, och problematiserar (a)sexualitet ur ett könsmaktsperspektiv. Jag avslutar med att problematisera den gränsdragning mellan sexuellt och icke-sexuellt vi alla ständigt avkrävs att göra.

Assessing the feminist belief that women have a perspective dramatically differing from the patriarchal perspective, and that this viewpoint is, or could be, couched in a language differing from the norm, this researcher addressed the following three questions: (1) is there a definition of a women's language? (2) does a women's language exist? and (3) if a women's language does exist, in what form does it exist? These questions engendered feminist rhetorical criticism on the work of two radical feminists well known for their interest in, and attention to, the issue of a women's language.

Thesis (Ph. D.)--Ohio State University, 2003.
Document formatted into pages; contains 386 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 May 26.

碩士
國立中山大學
外國語文學系研究所
90
The purpose of my thesis is to explore lesbianism in Adrienne Rich’s essays and poetry. Rich has earned her reputation as a major American poet and essayist since the 1950s. Most attention has been paid to her extraordinary poems and revolutionary prose. However, the issue of lesbianism has seldom been focused on or fully discussed. Therefore, I would try to present a panoramic view on how lesbianism has been developed in Rich’s works. In the first chapter, I have tried to delineate various definitions of “lesbian”, and formulate my own definition. Besides that, I have also introduced some theoretical perspectives of lesbianism. In the second chapter, the discussion is mainly on Rich’s concepts─ “institutionalization of heterosexuality”, “lesbian existence” and “lesbian continuum”─which were brought up in the essay “Compulsory Heterosexuality and Lesbian Existence.” In the third chapter, my aim is to delineate the development of Rich’s lesbian perspective in her poetry. The discussion consists of three parts: the first part covers the revelation of women’s oppression; the second is stressed on the concept of androgyny; the last part will present Rich’s idea that women’s power should be based on close relations among women.

碩士
國立中央大學
英美語文學研究所
91
The focal issue in this thesis is feminist discourses on motherhood. In Taiwan feminist texts, local feminists’attitudes toward motherhood are ambiguous. They mainly treated motherhood as a social and cultural problem, without exploring and discovering the physical and psychological meanings. However, the issue of surrogate motherhood forces feminists to face the radical level of motherhood─body and reproduction. Most of the Taiwan feminists believe surrogate motherhood is a new way of women’s oppression of patriarchal motherhood. But some others argue surrogate motherhood will shake the patriarchy in a fundamental way. To reconsider motherhood radically, I reread Adrienne Rich’s Of Woman Born and Shulamith Firestone’s The Dialectic of Sex. Rich has critically pondered her own experiences of motherhood radically both in terms of physiology and psychology. She believes that the motherhood could be powerful and enjoyable, but the patriarchal institution has made it suffering. Therefore she goes on exploring the stigmatized potentials of motherhood. On the contrary, Firestone thinks motherhood is repressive in itself. She argues reproduction is the original division of labor. Only the technology of artificial reproduction can liberate women from the root of women’s oppression. Although Rich’s and Firestone’s viewpoints are different and even opposite, both of them mean to empowering women and mothers. Their radical arguments are worth reconsidering to enrich and enlarge local feminist perspectives on motherhood.

This dissertation examines the influence of film on the poetry of H.D., Marianne Moore, and Adrienne Rich. It builds on scholarship by Susan McCabe (2005), Lawrence Goldstein (1994) and others, who have traced the way twentieth-century American poets reacted formally to film culture in their writing. My project responds to the call of the editors of the volume of Close Up 1927-1933: Cinema and Modernism for critics to interrogate how authors harnessed the aesthetic and political possibilities opened up by cinema. This study draws from theories of feminist film phenomenology by Vivian Sobchack and Laura U. Marks to analyze the aims and arguments of the texts. The literary works studied include: H.D.’s Sea Garden, “Projector” series, Trilogy, Helen in Egypt, and film essays; Marianne Moore’s animal poems from the 1930s and early 1940s and film essays; and Adrienne Rich’s The Will to Change. This dissertation argues that the poets drew from film to renovate their poetic vision and forms and ply at questions of power, visuality, and bodies. The poems articulate an awareness of the filmic gaze and how it constructs feminine or animal others. Through careful analysis of the poems, this dissertation locates each poet’s particular rapport with film and how it influenced her literary style and prompted her to challenge dominant patriarchal scripts. This dissertation makes several original contributions to twentieth-century Anglo-American poetry scholarship. It sets these three authors alongside one another to reveal how their engagements with film inspired their poetics and politics at various points throughout the twentieth century. The conclusions herein determine how the poets turned to film to construct their poetic projects. The dissertation offers new readings of the work of H.D., Moore and Rich as queer women poets invested in film culture.
Graduate

In my dissertation I look at the works of Mina Loy and Adrienne Rich through the lens of Rosi Braidotti’s nomadic theory in order to demonstrate that both poets developed what I consider a poetics of change, which is akin to “poetics searching for transformative meaning on the shoreline of what can now be thought or said” (Rich Poetry and Commitment 35-36), and which constitutes an expression of what Braidotti calls “becoming nomadic” (“Nomadic Ethics” 346). Inspired by the new materialist philosophy, I rethink the concept of newness away from the rigid definitions of the avant-garde poetics as opposed to the poetics of personal experience, grounded in identity politics, and explore the possibilities of a shared, cross-generational conversation between these two, differently located, poets. I argue that the poetics of change developed by Loy and Rich emerges as new not only in its formal innovativeness, but also in its capacity to flow away from the habituated – whether it is the conflict between the roles of woman and artist, fossilized misrepresentations of femininity and masculinity, or the silence around lesbian experience. It also overcomes content/form bifurcation, emphasizing instead the organic relationship between “what can now be thought or said” and how it becomes rendered in verse. Last but not least, it problematizes the mind/body dichotomy, offering a nuanced perspective on how to probe flows and interconnections between concepts “A” and “B” rather than become fixated on the disconnect. I propose to read Loy’s and Rich’s poetics of change – irreducible to aesthetics – as an expression of profound shifts in consciousness. These “nomadic shifts” – to use Braidotti’s nomenclature – consist in moving away from “the socially coded modes of thought and behavior” (Nomadic Subjects 35-36) and “of letting go of that to which one has always held on…” (Mackenzie 2). Significantly, for both Loy and Rich a move towards new consciousness was by no means an attempt to develop a new kind of disembodied consciousness. On the contrary, both brought the question of bodily materiality to the forefront and anticipated a new materialist call to re-think “bodily roots of the subjectivity” (Nomadic Subjects 24-25). Like new materialists, Loy and Rich endeavored, although not always successfully, to overcome the split between thinking mind and sensing body. In their writings corporeality often emerges as “a point of overlap between the physical, the symbolic, and the sociological” (New Materialism 33). The four main chapters of my dissertation discuss different aspects of Loy’s and Rich’s poetics of change in relation to Braidotti’s nomadic theory. Chapter One traces how Loy’s nomadic consciousness, aimed at self-exploration and instigating changes, was gradually evolving and manifesting itself in her work. It demonstrates that Loy’s poetics of change at the time entailed deconstructing the existing gender paradigms, which enabled her to “[resist] assimilation or homologation into dominant ways of representing the self” and facilitated her “progressive metamorphoses away from the program set up in the phallogocentric format” (Briadotti Nomadic Subjects 12-60). Chapter Two examines Rich’s early works of self-exploration and transition. Focusing primarily on the poems spanning the years 1951-1973, it attempts to show that during that period Rich was going through a complex, and often painful, process of disidentification, theorized by Braidotti as “disengagement from the dominant institutions and representations of femininity and masculinity” (79). Chapter Three shows that the nomadic subject in Loy’s works is always embodied and sexually differentiated. Looking at Loy’s early and later works, it argues that she shifts from rendering the specificity of the female body to a more general question of how to think materiality in relation to consciousness. Chapter Four probes the interrelations between Rich’s poetics of change and the concept of politics of location, which Braidotti revisits in her nomadic theory, and demonstrates how the body emerges in Rich’s writing as a “geography closest in” – a primary form of the subject’s locatedness (Blood Bread 212). In the Coda I propose to look at Braidotti’s nomadic framework as conducive to developing dynamic modes of criticism that would probe poetic flows rather than reproduce canonized bifurcations and bring into a shared conversation those poets who are differently located not only in terms of aesthetics, but also gender, race or ethnicity.Celem niniejszej rozprawy doktorskiej jest ukazanie, że teoria nomadyczna Rosi Braidotti pozwala na nowe odczytanie dzieł północnoamerykańskich poetek Miny Loy i Adrienne Rich, oraz że poetyka zmiany, którą, jak staram się dowieść, stworzyły obie poetki, ucieleśnia idee nowego materializmu. Jak argumentuję w tejże pracy, filozofia neo-materialistyczna, postulująca wyjście poza sztywne ramy kategoryzacji -- określane również jako „klasyfiksacje” (van der Tuin 2014) -- inspiruje do przemyślenia na nowo rozróżnienia między poezją awangardową, z definicji opierającą się na eksperymencie językowym, a poezją „nie-awangardową,” tradycyjnie ugruntowaną w polityce tożsamości i osobistym doświadczeniu. Zestawiając ze sobą poetki uchodzące za przedstawicielki powyższych nurtów, w swojej pracy staram się nie redukować innowacyjności do tego, co w danym kontekście historycznoliterackim uchodzi za awangardowe na poziomie formy, lecz dążę do redefinicji tego, co „nowe” posługując się kategoriami nomadyczności i zmiany. Poetyka Rich i Loy jest bliska „poetyce poszukującej znaczenia, które niosłoby ze sobą potencjał zmiany i umiejscowionej u progu tego, co może teraz zostać pomyślane lub wypowiedziane” (Rich Poetry and Commitment 34-35). Źródeł innowacyjności w pracach Loy i Rich upatruję, po pierwsze, w ich „stawaniu się nomadą,” czyli, podążając za Braidotti, w procesie przełamywania utrwalonych kulturowo schematów myślenia i zachowania („Nomadic Ethics” 346), odnoszących się chociażby do roli kobiety i artystki; tego co, „kobiece” w opozycji do tego, co „męskie,” czy też miłości lesbijskiej. Nieredukowalną do formy poetykę zmiany można w związku z tym traktować jako wyraz głębokich przemian świadomościowych. Po drugie, obie poetki dążą do stworzenia nowego języka procesów i relacji, kładąc nacisk na organiczny związek między tym, „co może teraz zostać pomyślane lub wypowiedziane” a tym, w jaki sposób zostaje to wyrażone. Po trzecie, na różnych etapach swojej twórczości Loy i Rich podejmują kwestię złożonych związków umysłu z korporalną materialnością, antycypując neo-materialistyczny postulat, aby przemyśleć na nowo cielesne korzenie podmiotowości nie wpadając jednocześnie w pułapkę esencjalizmu (Braidotti Nomadic Subjects 24-25). Podobnie jak nowi materialiści, podejmują próbę -- choć należy zaznaczyć, że nie zawsze jednakowo udaną -- wyjścia poza opozycję między sferą świadomości a materialnym ciałem. W ich dziełach cielesność często wyłania się jako „punkt, w którym krzyżuje się to, co fizyczne, to, co symboliczne i to, co socjologiczne” (New Materialism 33). Niniejsza dysertacja składa się z czterech rozdziałów, z których każdy omawia określone aspekty poetyki zmiany Loy i Rich w relacji do teorii nomadycznej Braidotti. Rozdział I ma na celu zobrazowanie, w jaki sposób nieustannie ewoluująca nomadyczna świadomość znajduje swoje odzwierciedlenie we wczesnej twórczości Loy. Staram się dowieść, iż u Loy poetyka zmiany obejmowała w tamtym okresie dekonstrukcję paradygmatów płci, stanowiącą „sprzeciw wobec przymusu dostosowywania własnego ja do dominujących form reprezentacji [podmiotu kobiecego],” oraz umożliwiającą „progresywną metamorfozę z dala od fallogocentrycznych wyobrażeń [o „kobiecości”]” (Briadotti Nomadic Subjects 12-60 ). Rozdział II stanowi analizę wierszy Rich z lat 1951-1973, w których dążyła ona do zrozumienie źródeł konfliktu między rolą kobiety i poetki oraz poddawała krytyce „zasadniczą niezgodność patriarchalnych założeń o kobiecości z egzystencjalną rzeczywistością kobiecego życia i myśli” (Podmioty Nomadyczne 154). Argumentuję, iż ten okres w twórczości Rich można lepiej zrozumieć patrząc na niego przez pryzmat złożonego, oraz często bolesnego procesu, jaki Braidotti określa mianem disidentification, czyli najogólniej rzecz ujmując, dystansowania się od głęboko zakorzenionego dualizmu ról płciowych. Rozdział III obrazuje, iż chociaż podmiot nomadyczny w twórczości Loy jest zawsze ucieleśniony, jej konceptualizacje relacji ciało-umysł dynamicznie się zmieniają na przestrzeni dekad. Podczas gdy we wczesnych pracach poetka skupia się głównie na specyfice korporalnego doświadczenia kobiety, w dziełach z lat czterdziestych i pięćdziesiątych przechodzi ona już do bardziej ogólnych rozważań nad powiązaniami materii, świadomości i językową reprezentacji. Rozdział IV z kolei bada relację między poetyką zmiany a polityką umiejscowienia wypracowaną przez Rich i zredefiniowaną przez Braidotti. Śledzę w jaki sposób w „nowej poezji” Rich kobiece ciało -- co ważne w pełni zintegrowane z umysłem -- wyłania się jako to, „co geograficznie najbliższe” (Zapiski 33). W zakończeniu proponuję potraktować czytanie „poprzez nomadyzm” jako nową, dynamiczną formę krytyki literackiej, która nie reprodukuje utartego rozumienia eksperymentu w poezji, pozwalając tym samym na dialog pomiędzy odmiennie usytuowanymi autorami; dialog ponad „klasyfiksacjami.”

Thesis (Ph. D.)--University of Chicago, Department of Music, August 2001.
For mezzo-soprano and chamber orchestra. Text excerpted from Collected Early Poems by Adrienne Rich. Includes performance notes. Also available on the Internet.

Thesis (M.A.)--University of Wisconsin--Madison, 2006.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 106-112).