Relevant bibliographies by topics / Women poets, Greek (Modern)

Academic literature on the topic 'Women poets, Greek (Modern)'

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Published: 25 July 2024
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Journal articles on the topic "Women poets, Greek (Modern)"

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Holst-Warhaft, Gail. "The Poetics of Pain." Journal of World Literature 8, no. 1 (April 21, 2023): 104–22. http://dx.doi.org/10.1163/24056480-00801009.

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Abstract Modern Greek poetry has been influenced by a tradition of lament that is still practiced in rural Greece, and by the tragic events of modern Greek history. In contrast to the elegiac tradition, laments and their women practitioners ascribe a positive value to pain. Male poets of the generation of 1930 made use of the imagery of folk lament in their poetry, and women poets of the second half of the 20th century addressed the dead directly as their village counterparts still do. The Asia Minor catastrophe of 1922 dominated 20th-century modern Greek literature and drew on another traditional poetic form, the “lament for lost cities.” More recently, songwriters have mourned the political and economic tragedies of contemporary Greece in lyrics that seem much closer, in their expression of pain, to the tradition of lament than to elegy.
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Levy, David. "Utility-Enhancing Consumption Constraints." Economics and Philosophy 4, no. 1 (April 1988): 69–88. http://dx.doi.org/10.1017/s0266267100000341.

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The Greek poets and philosophers, united in a belief that men and women perceive the world around them very poorly, for this reason describe much of human behavior as fumbling for happiness in the dark. By contrast, perception failure is anathema to the modern tradition, as even the most innocent sort plays havoc with modern preference axioms.
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Jawad, Areej Muhammad, and Rana Jabir Obed. "The New Penelopean Poetics: A Feminist Reassessment of the Victimization of Women in Edna St. Vincent Millay’s ‘‘The Ballad of the Harp-Weaver’’ and ‘‘An Ancient Gesture’’." Kufa Journal of Arts 1, no. 25 (January 18, 2016): 47–60. http://dx.doi.org/10.36317/kaj/2015/v1.i25.6293.

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The Greeks have a certain authority, for they are the source of the Western traditions of poetry, philosophy, and science. The figure of Penelope in the Homeric epic can be seen as a symbol not only for woman’s trials in general but also for the trials of the woman artist in a man’s world. This study explores the penelopean myth as ideological tool of patriarchal system and it argues that gender stereotypes set in Greek myths have been recreated later by the modern American poet, Edna St. Vincent Millay. Encouraged by the feminist movement, Millay revised and rewrote the penelopean myth highlighting the gender stereotyping as an important feature in her poems, ‘‘The Ballad of the Harp-Weaver,’’ and ‘‘An Ancient Gesture.’’
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Dickie, Margaret, and Jean Gould. "Modern American Women Poets." American Literature 58, no. 1 (March 1986): 119. http://dx.doi.org/10.2307/2925951.

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Keefe, J. T., and Jean Gould. "Modern American Women Poets." World Literature Today 60, no. 1 (1986): 116. http://dx.doi.org/10.2307/40141258.

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Wilcox, John C., and Janet Perez. "Modern and Contemporary Spanish Women Poets." South Central Review 15, no. 3/4 (1998): 86. http://dx.doi.org/10.2307/3189852.

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Debicki, Andrew P., and Janet Perez. "Modern and Contemporary Spanish Women Poets." Hispania 80, no. 1 (March 1997): 58. http://dx.doi.org/10.2307/345954.

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Ahern, Susan W., Jane Stevenson, and Peter Davidson. "Early Modern Women Poets: An Anthology." Sixteenth Century Journal 33, no. 4 (2002): 1171. http://dx.doi.org/10.2307/4144185.

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Daugirdaitė, Solveiga. "Žemaitė XX a. II pusės lietuvių poezijoje ir prozoje." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 105–19. http://dx.doi.org/10.37384/aplkp.2022.27.105.

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The article dedicated to the works of the Lithuanian literature written in the second half of the 20th century depicting the writer Žemaitė (pen name of Julija Beniuševičiūtė-Žymantienė, 1845–1921). This writer was not rejected by the Soviet authorities because of her realistic outline and her democratic political views, the social criticism expressed in her work towards greed, selfishness and clericalism. Lithuanian writers dedicated to her their poetry, fiction, and drama works. However, Soviet writers were also impressed by Žemaitė’s personality traits, which mentioned less frequently in public: independence, perseverance, wit, the courage to stand out from her surroundings and to disregard the societal norms that stifled older women in traditional society. The article analyses the features of Žemaitė’s personality in works of Lithuanian literature created by poets Salomėja Nėris, Judita Vaičiūnaitė, and others. The author reveals how different aspects of Žemaitė’s work and personality were emphasised depending on the time of writing. This change partly reflects the shift of literature from socialist realism to more modern literature. Among the works of prose, the author singles out Bitė Vilimaitė’s cycle of short stories “Apsakymai apie Žemaitę” (Short Stories about Žemaitė) from her collection Papartynų saulė (Fernery Sun, 2002). The stories reveal both the character of Žemaitė, her environment and people close to her, and the most important features of Vilimaitė’s own work: attention to a woman’s fate, subtle psychological insight, attention to detail, and a specific model of a short novella. Since the protagonists of the cycle are usually real people, Vilimaitė’s talent for using documentary material and combining it with fiction is also evident here. The article concludes that Soviet-era authors portraying Žemaitė’s character raised aspects relevant to the time of writing, such as the promotion of national culture, problems of women’s emancipation and, also the fact that for female writers, Žemaitė was a role model.
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Connor, W. Robert. "Women Poets and the Origin of the Greek Hexameter." Arion: A Journal of the Humanities and the Classics 27, no. 2 (2019): 85–102. http://dx.doi.org/10.1353/arn.2019.0015.

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Dissertations / Theses on the topic "Women poets, Greek (Modern)"

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McMullen, Maram George. "Irish Women Poets of the Twentieth Century and Beyond| Voices from the Margin." Thesis, King Saud University (Saudi Arabia), 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3576677.

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This dissertation study explores the rise of Irish women poets of the twentieth century, in particular Eavan Boland from the southern Republic of Ireland and Medbh McGuckian from Northern Ireland. It investigates the birth of Irish Feminist Literary Theory and Irish Postcolonial Literary Theory and uses these two theories to analyze the poetry found therein. This project shows that, unlike Irish women novelists and playwrights, Irish women poets were excluded from the Irish canon until poets such as Boland and McGuckian destabilized their once rigid national literary tradition and challenged it to include women as both authors and subjects of the Irish poem. In addition to challenging their patriarchal literary tradition, Irish women poets of the twentieth century also drew attention to the lingering effects of British colonial rule in Ireland, demonstrating that Irish women poets were doubly colonized and doubly marginalized. As a result, their poetry features two distinct voices: one which speaks for the women who were silenced in Ireland and one which raises postcolonial issues. By challenging the hegemonic power structures which dominated them, Boland and McGuckian paved the way for the Irish women poets who followed, including Mary O'Malley from the Republic of Ireland and Sinéad Morrissey from Northern Ireland. For the most part, Irish women poets of the twenty-first century have managed to let go of the trauma of colonization—both patriarchal and imperial—and have created a new hybrid national identity, a Third Space, which has liberated their work. This hybridity has broadened the vision of the Irish poem which now features a new global voice.

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Kay, Janet Catherine Mary. "Aspects of the Demeter/Persephone myth in modern fiction." Thesis, Link to online version, 2006. http://hdl.handle.net/10019.1/2409.

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Tzoumakas, Dēmētrēs (Dimitris). "Ho hermaphroditos tou kēpou tōn grammatōn : hē synklisē poiētikou kai kritikou logou sto ergo tou Nikola Kalas." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27932.

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Achieving fame and notoriety in the 1930s as an avant-garde Greek poet and Marxist critic, Nikolaos Kalamaris (1907-1988) — better known by his pseudonyms of Nicolas Calas, Nikitas Randos and M. Spieros — went on to write poetry and criticism in French and finally to pursue a successful academic career in the United States as an art critic and historian. The aim of this thesis is to investigate what common threads run through his multifaceted and multilingual writings, and in particular to what extent his poetry corresponds to the artistic program set out in his critical works. Part I (chapters 1-3) deals with Calas’ poetry, while Part 11 (chapters 4-7) examines his critical and theoretical writings. As is explained in the Introduction, the thesis is based on the full corpus of Calas’ poetry (five small collections, two volumes of collected poems, plus a few poems published only in journals), on his six books of theory and criticism, and on numerous smaller texts published in journals and exhibition programs. The thesis includes a list of Calas’ published works more complete than any previously available. Some private letters and other material from his personal archives have also been taken into account. The first chapter examines Calas’ Greek poetry in relation to avant-garde movements of the inter-war period — in particular expressionism, futurism and surrealism. The Marxist influence in his poetry is the subject of the second chapter, while the third deals with intertextual references, in particular to the “extreme” demoticism of Psycharis (of which Calas strongly disapproves), to ancient Greek culture (which he knows intimately but refuses to fetishise), and to his contemporaries and predecessors on the Greek literary scene, to whom he directs an incisive and frequently negative commentary. The fourth chapter examines Calas’ early critical and theoretical writings, up to 1938, concentrating in particular on his treatment of Marxist themes, his critical attitude to the doyen of Greek poetry at the time, Kostis Palamas, and his views on Cavafy — often regarded as the founder of Greek modernism — and on Calas’ contemporary and fellow-Marxist, Ritsos. The thesis proceeds in Chapter Five to discuss Marxist and Freudian elements in Calas’ treatment of surrealism in his major French work Foyers d ’incendie (1938). The last two chapters examine two major aspects of his American period: firstly his work as a theorist of and apologist for surrealism, and finally his writings on art criticism. The overall conclusion is that, even though the fact that he wrote comparatively little poetry in the post-war period makes a detailed parallel study of his literary and critical development impractical, there is indeed a close correspondence between theory and practice in Calas’ work as a whole. An important but little-known text, “Towards a third Surrealist Manifesto”, is presented in Greek translation in Appendix I, while Appendix II offers a summary account of the Calas Archive in the National Art Gallery in Copenhagen.
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Angelou, Klairi. "Reappraising the work of modern Greek women sculptors : the cases of Ioanna Spiteri-Veropoulou (1920-2000), Bella Raftopoulou (1906-1992) and Natalia (Nata) Mela (1923-)." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.742990.

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Argyropoulou, Christina. "The Language of the poetry of Hector Kaknavatos: the grammar, the functions of the poetic language and text-linguistic analysis of some poems." Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212193.

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Delgado, Duatis Diego. "The Hellenic World of Henry Miller and Lawrence Durrell." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/385980.

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Aquesta tesi doctoral estudia les produccions literàries de dos escriptors interconnectats, Henry Miller i Lawrence Durrell, tot posant especial atenció a les seves obres sobre el món grec, i la influència de la cultura hel•lènica sobre ambdós autors a través d’alguns escriptors grecs moderns. La meva tesi demostra que el contacte dels esmentats autors amb el món hel•lènic i amb determinats escriptors grecs de la primera meitat del segle vint va influenciar als primers considerablement, impregnant moltes de les seves obres. El terme “hel•lènic”, en la tesi, s’utilitza en el sentit que li dóna Kavafis, entenent la cultura grega com un continu. És a dir, l’herència cultural del poble grec com a grup que comparteix la llengua grega i un conjunt de valors. Aquesta connexió es manifesta en tres àrees principals de confluència entre Durrell i Miller i els autors grecs que s’aborden: l’assimilació que els primers en fan de les produccions d’aquests autors grecs, les estretes afinitats intel•lectuals i estètiques entre tots ells, i la influència decisiva del país que els va aplegar. Miller i Durrell van jugar un paper realment molt important en la difusió internacional d’alguns escriptors grecs moderns que encara no ha estat suficientment estudiat. Les seves relacions personals i literàries amb certs membres de la “Generació grega dels anys 30” marcaren una empremta en les seves obres i el seu discurs. Conseqüentment, aquesta tesi doctoral també explora l’àmplia correspondència entre Durrell i Miller i alhora, el seu intercanvi epistolar amb alguns d’aquests intel•lectuals grecs. Aquest darrer aspecte ha comportat realizar recerca en diversos arxius que compten amb col•leccions relacionades amb Durrell, Miller, Seferis i Sikelianos. Aquesta tasca ha permès l’estudi d’una extensa compilació de documents inèdits.
Esta tesis analiza las producciones literarias de dos escritores interconectados, Henry Miller y Lawrence Durrell, poniendo una atención especial en sus obras sobre el mundo griego, y la influencia que la cultura helénica tuvo sobre ambos autores a través de algunos escritores griegos modernos. Mi tesis demuestra que el contacto de Miller y Durrell con el Mundo Helénico y con determinados escritores griegos de la primera mitad del siglo veinte les influyó considerablemente e impregnó muchas de sus obras. El término ‘Helénico’ se utiliza aquí en el sentido que le da Kavafis, entendiéndose la cultura griega como un continuo. Es decir, la herencia cultural del pueblo griego como grupo que comparte la lengua griega y un conjunto de valores. Esta conexión se manifiesta en tres áreas principales de confluencia entre Durrell y Miller y los autores griegos que se abordan: la asimilación que los primeros hacen de las producciones de estos últimos, las estrechas afinidades intelectuales y estéticas entre todos ellos, y la influencia decisiva del país que los reunió. Miller y Durrell jugaron un papel realmente muy importante en la difusión internacional de algunos escritores griegos modernos que todavía no ha sido suficientemente estudiado. Sus relaciones personales y literarias con ciertos miembros de la “Generación griega de los años 30” marcaron una huella en sus obras y en su discurso. Consecuentemente, esta tesis doctoral también explora la amplia correspondencia entre Durrell y Miller y al mismo tiempo, su intercambio epistolar con algunos de estos intelectuales griegos. Este último aspecto ha comportado realizar investigación en distintos archivos que cuentan con colecciones relacionadas con Durrell, Miller, Seferis y Sikelianos. Esta tarea ha permitido el estudio de una extensa compilación de documentos inéditos.
This dissertation analyzes the literary productions of two interconnected writers, Henry Miller and Lawrence Durrell, while paying special attention to their works on the Greek world, and the influence that the Hellenic culture had on both authors through some modern Greek writers. This thesis demonstrates that Miller’s and Durrell’s contact with the Hellenic World and with certain Greek writers of the first half of the twentieth century strongly influenced them and permeated many of their works. Here, the term ‘Hellenic’ is employed as used by Cavafy, meaning the Greek culture as a continuum. That is to say, the cultural heritage of the Greek people as a group sharing the Greek language and a common set of values. This connection is found in three main areas of confluence among Durrell and Miller and the Greek authors that are here studied: the formers’ assimilation of the latter’s productions, the close intellectual and aesthetic affinities among all of them, and the decisive influence of the country that brought them together. Miller and Durrell played indeed an important role in spreading the knowledge of some modern Greek writers at an international level which still had not been sufficiently studied. Their personal and literary relationships with some of the members of the Greek “Generation of the 30s” pervaded their productions and philosophical discourses. Consequently, this dissertation also examines Durrell’s and Miller’s long mutual correspondence and their exchange of letters with some of these Greek intellectuals. This last aspect has involved working in several archives with collections related to Durrell, Miller, Seferis, and Sikelianos, which has resulted in the study of an extensive compilation of unpublished documents.
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"Greek poets in South Africa, 1960-2004." Thesis, 2014. http://hdl.handle.net/10210/8919.

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M.A. (Greek)
The main purpose of this study has been to investigate the work of Greek poets in South Africa's Hellenic Diaspora from 1960 up to date, a period of a more voiummous artistic production due to the noticeable increase in the number of new Hellene immigrants and the innovative cultural atmosphere they brought along. Under this perspective, we examined the forces which led individuals to artistic creation with special focus on the relation between national identity and poetic production. Research has initially been based on poem collections, personal interviews as well as on newspaper articles, magazine publications and schedules of events which constitute our primary resources. In due course, lexicons and encyclopaedias were used to clarify terminology and semantics, as well as p!Cvious studies and relevant bibliography in order to prove, substantiate and enrich our present study. Implementation of quantitative and qualitative approaches with the use of questionnaires, interviews and data analysis rendered our project the following form: In the first chapter, Hellas is examined as the poets' country of origin in order to investigate the possible historic and literary influences carried over by the Greek poets to their new home. A history review of the period between the Second World War and 1974 was conducted examining the Hellenic socio-economic conditions predominant during the said period, which are likely to have led individuals into emigrating, as well as the post-war Hellenic literary development…
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Andrew, Michael Guy. "After ... life in creative translation : a critical study of modern English poetic translations from selected Greek, Latin, and Italian poets." Thesis, 2012. http://hdl.handle.net/10539/11716.

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Ph.D. University of the Witwatersrand, Faculty of Humanities, 2012
The scope of the research is indicated by the sub-title, “A Critical Study of Modern English Poetic Translations from Selected Greek, Latin, and Italian Poets”: the poets selected are Homer, Catullus, Horace, Ovid, and Dante, and the translations are by a range of modern English poet-translators. After an opening chapter that is mainly theoretical, the study offers detailed critical analyses of the original poems or extracts and also of the translations into modern English poetry, to investigate whether the modern English poetic translations confirm the validity of Middleton’s claim, “how centrally the art of translation has mattered in the history of English poetry” (Christopher Middleton in “The Presence of Translation: A View of English Poetry” in The Art of Translation: Voices from the Field, edited by Rosanna Warren (Boston: Northeastern University Press, 1989), p. 258). The analysis assesses the achievement of twentieth-century English poettranslators in their translations of the selected Greek, Latin, and Italian extracts or poems and demonstrates that poetic translations have become a peculiarly sensitive form of literary criticism as well as creative works of art in their own right. The research concludes by formulating some critical categories of and criteria for creative translation that will assist in the practice of poetic translation and in the critical examination of poetic translations.
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Tsai, Hsiao-Wen, and 蔡曉文. "Edward Hopper’s Depiction of Modern Femininity in the Light of Archetypal Women in Greek Mythology." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/25u8xc.

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碩士
國立臺北科技大學
應用英文系碩士班
101
This paper seeks to explore Edward Hopper’s depiction of modern women can be viewed as a remolding of the archetypal women in Greek mythology. To further discuss the recasting of female archetypes in modern American settings, I have collected fifteen poems which were inspired by Edward Hopper’s paintings. Also, I have translated these poems into Chinese, which has helped me in acquiring a deeper understanding of the texts. To make a comparison with six mythical females, the fifteen poems are divided into three categories in terms of the roles women have long been expected to play in our society. This paper thus conducts an analysis of both Edward Hopper’s paintings and the responses of contemporary poets to his portrayal of women. According to Carl Gustav Jung’s idea, the term “archetype” serves as a “collective unconsciousness” (3); a prime example of this is the complex characteristics Edward Hopper projected on his wife and only female model, Josephine Hopper (1883-1968), which bear resemblance to the images of modern women shaped by contemporary poets and the reflections of six women in Greek mythology: Penelope, with her astounding endurance to wait for her husband; Andromache, who lacks the authority to stop the outbreak of war yet knows better than anyone the reality of human limitations; the Sirens, with euphonious but deadly voices; the beautiful witch Circe, with her magic power to transform valiant sailors into dirty swine; the nymph Calypso, smothering a man with deceitful love; and the ferocious witch Medea, sacrificing her children in revenge for a man’s betrayal. Influenced by a strong sense of uncertainty and anxiety toward the rapidly changing society in America, Hopper’s paintings were generally based on the themes of loneliness and alienation. While stressing the indifferent relationships among modern people, Hopper used the color red to depict men’s desire and an inexplicable fear toward women’s rising self-awareness. This is perhaps best exemplified by Hopper and Josephine’s marital relationship, which was built upon reciprocal respect and mutual competitiveness. Thus, from Hopper’s special ways of depicting Josephine, this paper shows that Hopper’s art chronicled the dynamic changes in American gender relations.
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Monteiro, Ana Catarina de Brito. "Melancholy and the poetic self in early modern women’s poetry." Master's thesis, 2017. http://hdl.handle.net/1822/45904.

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Dissertação de mestrado em Língua, Literatura e Cultura Inglesas
The habit of melancholy in the early modern period engendered medical inquiry, selfexamination, and artistic reverberations. The theory of the humours, combined with Aristotle’s dovetailing of melancholy and genius, exerted enormous influence on attitudes towards melancholy. Melancholy became, then, a desirable attribute, and the figure of the atrabilious man something to emulate. Women, however, because of their disorderly bodies and unruly emotions, were largely excluded from the tradition of melancholy. Their presumed irrationality precluded them from partaking in its artistic associations. Therefore, the atrabilious woman was not a woman of great intellectual capabilities, but simply a sick woman suffering from pathological melancholia. So far, it is the tradition of melancholy in poetry written by men that has been the subject of scholarly analysis and scrutiny, and only in recent years has there been a greater effort to include women poets in this major tradition. This dissertation examines a selection of poems by English women writing in the early modern period, such as Aemilia Lanyer, Margaret Cavendish, Anne Lock, Mary Sidney, and Katherine Philips, and attempts to determine how melancholy is experienced, performed, and deployed in their work, and also to what extent conceptions of melancholy are gendered. The question of women’s marginalised place in society and usual relegation to the domestic sphere is of central importance in exploring to what degree the politicisation of melancholy as subversive device figures in their poetry. The absence of agency plays an important part in the ways early modern English women poets use melancholy to challenge preconceived notions of womanhood and manipulate it in order to self-fashion representation.
O hábito da melancolia durante o Renascimento engendrou investigação médica, introspecção, e reverberações artísticas. A teoria dos humores, juntamente com a teoria de Aristóteles que alia melancolia a génio, exerceram uma grande influência nas atitudes relativas à melancolia. A melancolia tornou-se, assim, uma característica ambicionada, e a figura do homem atrabiliário algo a que se aspirar. No entanto, a mulher, por causa do seu corpo indisciplinado e emoções impetuosas, ficou largamente excluída da tradição da melancolia. A sua suposta irracionalidade impedia-a de tomar parte daquelas associações artísticas. A mulher atrabiliária não era, portanto, uma mulher de capacidades intelectuais superiores, mas sim e apenas uma mulher doente, que sofria de melancolia patológica. Até à data, é a tradição da melancolia na poesia masculina que tem sido alvo de estudo e escrutínio, e só em anos recentes tem havido um maior esforço de incluir poetas femininas nesta importante tradição. Esta dissertação, através da análise de uma selecção de poemas de poetas femininas inglesas do Renascimento, pretende determinar de que formas a melancolia é vivida, representada, e aplicada no trabalho daquelas, e também até que ponto as concepções de melancolia incitam questões de género. A questão da posição marginalizada da mulher na sociedade e a sua relegação à esfera doméstica é de grande importância na exploração do grau de politização da melancolia enquanto instrumento subversivo na sua poesia. A ausência de iniciativa tem, assim, um papel fundamental na forma como as poetas inglesas femininas do Renascimento fazem uso da melancolia para contestar noções preconcebidas de feminilidade e a manipulam de modo a gerar representação autoral.
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Books on the topic "Women poets, Greek (Modern)"

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Karen, Van Dyck, Galanakē Rea, Mastorakē Tzenē 1949-, and Laina Maria, eds. The rehearsal of misunderstanding: Three collections by contemporary Greek women poets. Hanover: University Press of New England, 1998.

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Katrakazou, Kōnstantina, Thanasēs Chatzopoulos, Louiza Karapidakē, and Phaiē Zēka. Apousia. Athēna: Nēsos, 2013.

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Georgoudaki, Ekaterini. Hē Hellada kai ho politismos tēs stēn poiēsē Hellēnidōn tēs diasporas. Thessalonikē: Step Publications, 2000.

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Mythistorēma gynaikas: Poiētries tou eikostou aiōna. Athēna: Ekdoseis Papazēsē, 2007.

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Reisman, Rosemary M. Canfield. Greek poets. Ipswich, Mass: Salem Press, 2012.

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1961-, Byrne Michel, and McMillan Dorothy 1943-, eds. Modern Scottish women poets. Edinburgh: Canongate, 2003.

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1943-, McMillan Dorothy, and Byrne Michel 1961-, eds. Modern Scottish women poets. Edinburgh: Canongate, 2005.

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Josephine, Balmer, ed. Classical women poets. Newcastle-upon-Tyne: Bloodaxe, 1996.

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Giannēs Ritsos: Hena schediasma viographias. Athēna: Hellēnika Grammata, 1996.

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Judith, Kinsman, ed. Six women poets. Oxford: Oxford University Press, 1992.

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Book chapters on the topic "Women poets, Greek (Modern)"

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Pavlidou, Theodossia-Soula. "Greek. Women, gender and Modern Greek." In Gender Across Languages, 175–99. Amsterdam: John Benjamins Publishing Company, 2003. http://dx.doi.org/10.1075/impact.11.11pav.

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Stevenson, Jane, and Peter Davidson. "Mary Mollineux (née Southworth) (1651-95)." In Early Modern Women Poets (1520-1700), 413–15. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0142.

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Abstract Her cousin Frances Owen, who provides a brief biography in her book Fruits of Retirement, notes that Mary was an only child, and her weak eyesight decided her faTher to educate her in Latin, Greek, arithmetic, ‘Physick and Chyrurgy’ raTher than conventional feminine skills.
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"Lady Jane Dudley (náe Grey)(1537-1554)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 43–44. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0020.

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Abstract The unfortunate Lady Jane Grey, The ‘nine day’s queen’, was a victim of Tudor politics: her faTher-in-law, John Dudley, Duke of Northumberland, attempted to put her on The throne of England (she was The granddaughter of Henry VIII’s sister Mary), and in consequence, she was beheaded at The age of 16. Like oTher Tudor royal ladies, she received an extensive humanist education. Her tutor, Dr Harding, began teaching her Latin, Greek, and modem languages at 7. As she grew up, she became a convinced Protestant, and also an enthusiastic scholar. A frank conversation with The educationalist Roger Ascham when she was 14 suggests an element of compensation for, or withdrawal from, her mistreatment by her parents:
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"Bathsua Makin (NéE Rainolds) (1600-after 1673)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 218–21. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0079.

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Abstract Bathsua was The granddaughter of Henry Rainold, who lived in Ipswich until The 1680s or 16gos, and is known to have translated two books of Latin sermons by The German humanist Christopher Hegendorff (STC 13021-2). His son, her faTher (also Henry), moved to Stepney by 1600, The year of her birth, and became a schoolmaster. He also wrote a broadside of Latin poems praising James I, Charles I, and Henrietta Maria, printed in 1625 (STC 20840): she is thus The product of a highly educated family, and her own Musa Virginea can reasonably be seen as having been written under her faTher’s direction. This book of poetry in five languages (Latin, Greek, French, Hebrew, and Italian) was published by her at The age of 16.
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"Mildred Cecil, Née Cooke, Lady Burleigh( I 526-1589)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 19–20. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0011.

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Abstract Mildred was The oldest daughter of Sir Anthony Cooke of Gidea Hall in Essex. His family consisted of five daughters and four sons, of whom four daughters became famous as scholars. The details of Their curriculum are unknown, but They were certainly taught The Classical languages, Italian, probably French, and Latin and Greek verse composition. The youngest daughter (Margaret) appears to have died in her late teens, but The surviving four impressed Their contemporaries as outstandingly learned. Mildred, Lady Burleigh, second wife of William Cecil, was almost certainly The eldest. She married Cecil on 21 December 1545, and much of The family’s story Thereafter can be explained by this connection. At The time of his second marriage, however, he was only 25. Henry VIII was still on The throne, and Cecil’s political importance was negligible, while Mildred was merely The daughter of an old University friend. .
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"Lucy Hastings, Née Davies, Countess of Huntingdon (b. 1613)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 246. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0087.

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Abstract She was The daughter of Eleanor Audley (The prophetess) and her first husband, Sir John Davies of Englefield, Berks, and spent her early years in Ireland, where her faTher was Attorney General. She married Ferdin ando, son and heir of Henry Hastings, fifth Earl of Huntingdon, in 1623, at Englefield. Bathsua Makin, in her Essay, p. ro, indicates that she acted as The Countess’s private tutor: ‘I am forbidden to mention The Countess Dowager of Huntington (instructed sometimes by Mrs Makin) how well she understands Latin, Greek, Hebrew, French, and Spanish; or what a proficient she is in arts, subservient to Divinity, in which (ifl durst I would tell you), she excels.’ Lucy Hastings gave proof of The education with which Mrs Makin credits her by translating The Latin poetry of Peter du Moulin, as we know from Huntington, CH HA 9465, a letter from du Moulin to The countess thanking her for her translations.
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"Fionnghuala, Ìnghean UÍ Domhnaill Bhriaij’." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 174–77. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0067.

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Abstract save up all The mice you catch for Mistress and bring downe unto her house, it shalbe for your gayne for shee will content you for your cost and payne. but yf this will not serve alack what shall I saye, some oTher physick lett her take her greef for to allay, yf phisick will not helpe Then lett her goe with speede and take some heare and sue her geare and bite away The threade.
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"Elizabeth, Viscountess Mordaunt (N ée Cary) (d. 1678)." In Early Modern Women Poets (1520-1700), edited by Jane Stevenson Peter Davidson, Meg Bateman, Kate Chedgzoy, and Julie Saunders, 343–44. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198184263.003.0121.

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Abstract Elizabeth was The daughter of Thomas Cary, second son of Robert Earl of Monmouth, and she married Henry Mordaunt, later The second Earl of Peterborough. He was a central figure in The futile Royalist intrigues and uprisings of 1658-9, and Clarendon describes his wife as ‘a young, beautiful lady of a very loyal spirit and notable vivacity of wit and humour, who concurred with him in all honourable dedication of himself’. Lady Mordaunt kept her diary, which contains occasional verses, from 1656 to 1678, The year ofher death. A poem giving thanks for The birth of her son Louis in staunchly Royalist Oxford in 1665, suggests her political affiliations. Louis was one of seven sons and four daughters born to her. After The Restoration, The Mordaunts had a house at Parsons Green, in The London borough of Fulham, which, as she records in this poem, survived The Great Fire of London. Her husband was to die There in June 1675. She was an intimate friend of Margaret Godolphin, and Mary, wife of John Evelyn:
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Morgan, Llewelyn. "Epodes." In Horace: A Very Short Introduction, 33–49. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/actrade/9780192849649.003.0003.

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Abstract This chapter explains the nature of the ‘iambic’ poetry in the Epodes, a poetry of abuse with models in the Greek poets Hipponax and especially Archilochus (the latter in the 7th century bce). The association of iambic poetry with the symposium, a Greek male social gathering, is considered, and its aggressive representation of women: the point is made how selective a reading of Horace is required to produce the model of middle-aged poise and wisdom that is his modern reputation. But the high capacity of this poetry to convey the tense and febrile conditions of Rome at the time of its publication, in the immediate context of the critical battle of Actium, is also observed.
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Hurst, Isobel. "‘We’ll all be Penelopes then’: Art and Domesticity in American Women’s Poetry, 1958–1996." In Living Classics, 275–94. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199233731.003.0017.

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Abstract Mythical characters or plots offer writers a distinctive perspective on the language and ideas of their own day, enabling them to explore contemporary life with some critical distance. Poets may produce a literal translation of an ancient text, create a poem which refers to a classical text but is also a new and influential work, rework familiar stories (often in a different genre), or challenge the interpretation and value attached to a particular classical text, suggesting questions which have not previously been asked or have been forgotten. These strategies have proved particularly useful to women poets who sought to challenge narrow stereotypes of womanhood by using literary models of strong, active, creative women to prove that women’s inferiority is determined by society, not nature. Sandra M. Gilbert argues that ‘a mythological way of structuring female experience ... has been useful to many women writers since the nineteenth century’ (Gilbert (1979) 248). Victorian women writers explored controversial issues through the women of Greek tragedy, particularly Medea and Antigone; suffering, outspoken, violent, and troubling female characters such as Clytemnestra, Medea, and Electra make Greek tragedy a perennially rich resource for those who undertake ‘the aggressive act of truth-telling from a woman’s experiences’ (Blau DuPlessis (1979) 284).
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Conference papers on the topic "Women poets, Greek (Modern)"

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MEHMETALI, Bekir. "The Woman in Diwan (The Brunette Said to Me) by Nizar Qabbani." In I.International Congress ofWoman's Studies. Rimar Academy, 2023. http://dx.doi.org/10.47832/lady.con1-1.

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The woman, since God created her, was equal to the man, and a foundation on which life, the family, and society rest. Girlfriend, lover, dancer, singer, wife. Arab poetry immortalized many women, such as Abla Bint Malik Al-Absi, Habiba Antarah Bin Shaddad, Laila Habiba Majnoon Bani Amer, Buthaina Habiba Jamil, Afra Habiba Urwa, and the birth of Habiba Ibn Zaydun. In the modern era, poets emerged who had the upper hand in dealing with the issue of women, and talking about them in their poems. He describes her, flirts with her, praises her charms, or attacks and criticizes her. In this research, I wanted to address the image of the woman in the poetry collection (The Brunette Said to Me) by Nizar Qabbani, in an attempt to clarify his position towards her as it was revealed in this collection that we chose. Because it is his first collection of poetry. The aim of the study is to clarify the true image of women in this collection of poetry from the poet's perspective, his attitude towards her, and his view of her, while he was in the prime of his life and in the prime of his youth. The researcher uses the descriptive and analytical approaches, presenting and analyzing Nizar Qabbani's poems related to this topic as contained in his poetry collection (The Brunette Said to Me). To deduce, clarify, and extrapolate her image or images from the poet's perspective.
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