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Ahmad Gul Momand i 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 (1.03.2020): 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., i 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 (marzec 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 (1.12.2021): 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 (styczeń 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.
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Al – Rubaie, Dr Taghreed Adnan Mahmoud. "Women in the poetry of Farazdak (an analytical reading of his poetic introductions)". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, nr 1 (1.09.2018): 45–72. http://dx.doi.org/10.36473/ujhss.v226i1.186.
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The Farzdaq is a unique phenomenon in Arab poetry that we rarely find a counterpart, a self-righteous personality enveloped by so Childesh, Shomokh, Fathers and glory. The woman had a privileged position, and he employed her in his poetic creations, as she was an artistic curator of the beginning of his poems as textual values. These introductions create a balance that enters the heart of the poetic industry, because they are the first to encounter the reader, and reach the ears of the listener, and the reader is located on it. These introductions to their diversity and sometimes their brevity between the kinsman, the ruins, the graying and the young, and the description of the spectrum have taken a woman's title and reason. In this light, we can identify the emotions inherent in the same fractal and observe their manifestation in drawing a picture of the woman as a symbol of his hopes and pains and putting everything he feels and is in his chest. We considered this to be indicative of the mediation of the D/text (submitted) as a present signal to reveal its meaning (absence) as referred to by the recipient seeking access to it. The poetic introductions are a response to the need of the Creative Commons, as well as the diligence to convince the reader of the sincerity of his psychological experience, contribute to read the text and receive it with a reader, and interact with him, which invites him to read and meditate and ask himself questions concerning what is coming: Is this yarn intended for oneself to sing the beauty of a woman, or a technical means of expressing his life? Were the introductions a reflection of the character and breathing space in front of the other as a self-part? Did he achieve the substantive and emotional harmony of the reader-the receiver of the text? . Most of our study of poetic sponsors is not only to provide an insight into a poem that is viewed in a superficial way, but to deal with its connotations and its relationship to poetic purposes.
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Al – Rubaie, Dr Taghreed Adnan Mahmoud. "Women in the poetry of Farazdak (an analytical reading of his poetic introductions)". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, nr 226(1) (1.09.2018): 45–72. http://dx.doi.org/10.36473/ujhss.v0i226(1).186.
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The Farzdaq is a unique phenomenon in Arab poetry that we rarely find a counterpart, a self-righteous personality enveloped by so Childesh, Shomokh, Fathers and glory. The woman had a privileged position, and he employed her in his poetic creations, as she was an artistic curator of the beginning of his poems as textual values. These introductions create a balance that enters the heart of the poetic industry, because they are the first to encounter the reader, and reach the ears of the listener, and the reader is located on it. These introductions to their diversity and sometimes their brevity between the kinsman, the ruins, the graying and the young, and the description of the spectrum have taken a woman's title and reason. In this light, we can identify the emotions inherent in the same fractal and observe their manifestation in drawing a picture of the woman as a symbol of his hopes and pains and putting everything he feels and is in his chest. We considered this to be indicative of the mediation of the D/text (submitted) as a present signal to reveal its meaning (absence) as referred to by the recipient seeking access to it. The poetic introductions are a response to the need of the Creative Commons, as well as the diligence to convince the reader of the sincerity of his psychological experience, contribute to read the text and receive it with a reader, and interact with him, which invites him to read and meditate and ask himself questions concerning what is coming: Is this yarn intended for oneself to sing the beauty of a woman, or a technical means of expressing his life? Were the introductions a reflection of the character and breathing space in front of the other as a self-part? Did he achieve the substantive and emotional harmony of the reader-the receiver of the text? . Most of our study of poetic sponsors is not only to provide an insight into a poem that is viewed in a superficial way, but to deal with its connotations and its relationship to poetic purposes.
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Zaman, Independent University, Bangladesh, Niaz. "From Islamic Feminism to Radical Feminism: Roquiah Sakhawat Hossein to Taslima Nasrin". Asiatic: IIUM Journal of English Language and Literature 10, nr 1 (15.06.2016): 4–26. http://dx.doi.org/10.31436/asiatic.v10i1.781.
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This paper examines four women writers who have contributed through their writings and actions to the awakening of women in Bangladesh: Roquiah Sakhawat Hossein, Sufia Kamal, Jahanara Imam and Taslima Nasrin. The first three succeeded in making a space for themselves in the Bangladesh tradition and carved a special niche in Bangladesh. All three of them were writers in different genres – poetry, prose, fiction – with the last best known for her diary about 1971. While these iconic figures contributed towards women’s empowerment or people’s rights in general, Taslima Nasrin is the most radically feminist of the group. However, while her voice largely echoes in the voices of young Bangladeshi women today – often unacknowledged – she has been shunned by her own country. The paper attempts to explain why, while other women writers have also said what Taslima Nasrin has, she alone is ostracised.
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Garbacik-Balakowicz, Magdalena. "Suffering, Trauma, and Death in Anna Terék’s Poetry Book Halott nők [Dead Women]". Acta Universitatis Sapientiae, Philologica 13, nr 1 (1.11.2021): 105–15. http://dx.doi.org/10.2478/ausp-2021-0008.
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Abstract Anna Terék is one of the most interesting Hungarian poets of the young generation. The study is focused on Terék’s third poetry book, Halott nők (Dead Women) (2017). The book is a poetry cycle that shows stories/voices of five women. Violence, physical as well as psychological and symbolic, becomes destructive to the identity of the individual but also to the identity of the community. At the same time, it demands an effort of expression. The paper analyses these issues. The study describes the speech / narrative forms and their functions, and it examines the system of metaphors and the specific poetic language. The poems are closely related to the Yugoslav Wars. The study refers to this historical background but also shows the poems’ universal dimension, which makes it possible to speak about them in terms of the life stories of today.
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Farhangi, Fariba. "A Systematic Educational-Based Review of Stories and Poems: Seeking the Voice of Young Women in Charlotte Smith’s and Anna Barbauld’s Major Works—Are There Any Implications for Educational Context?" Education Research International 2022 (1.10.2022): 1–12. http://dx.doi.org/10.1155/2022/8305051.
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Many researchers with an interest in the field of teaching have attempted to implement story reading and storytelling strategies in teaching oral language skills to EFL/ESL language learners as a means of extending the positive effects of storytelling and poetry on first language acquisition to second language acquisition. Numerous studies have looked at how narrative and poetry affect language abilities, but few have tried to find educational applications in well-known works of literature. To address the gap, this study was carried out to seek the voice of young women in Charlotte Smith’s and Anna Barbauld’s major works and tried to extract implications for the educational context. Charlotte Smith and Anna Barbauld, two eighteenth-century women authors, found themselves working within a literary tradition that saw Milton and Shakespeare and the poet as masculine traditions and which portrayed women as a muse for male poets. They published their works during the start of the influential Romantic Movement, which demanded an independent personality and many volumes of poetry and affected both the leading male and female writers of the day. Smith and Barbauld developed an authoritative persona to help them negotiate between societal expectations of women and those of a writer during a time when women writers were persecuted for expressing any ideas that might upset the status quo. In doing so, they challenged preconceived notions about what constitutes an authoritative voice and developed feminine poetics. This paper examines how the two poets explore the female voice, studies the challenges and problems they faced as women writers, and ponders on their influence on English literature. Additionally, this study explores how the novels of Charlotte Smith and Anna Barbauld were modified to more organically reflect aesthetic political concerns on the other side of the English Channel. This study has multiple pedagogical implications for educational environments.
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Zawiszewska, Agata. "Zofia Wojnarowska. Poetka dla dzieci – poetka miłości – poetka rewolucji". Poznańskie Studia Polonistyczne. Seria Literacka, nr 32 (2.10.2018): 57–74. http://dx.doi.org/10.14746/pspsl.2018.32.3.
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The article discusses Zofia Wojnarowska’s (1881-1967) biography and poetry which were representative of the life path and artistic career of many other active Polish poetesses at the turn of the 19th century. The output of Wojnarowska, who made her debut in the period of Young Poland and reached her artistic maturity in the interwar period, expresses a typical situation of an artist–epigone whose mediocre talent looks for its own expression and place in the literary Parnassus in the time of, important for the national community, political, economic and cultural changes. Political facts like the country’s occupation, World War I and a difficult process of the restoration of an independent country influenced the judgments of Polish critics who rarely applied esthetic criteria to the evaluation of poetesses’, including Wojnarowska’s, output and instead appreciated their subordination to the following functions: didactic (in children’s poetry), expressive (in love poetry) and ideological (in the poetry of proletarian revolution). The situation in which systemic and individual factors like the emancipation of women, the crystallization of literary professions literary critics’ lenient approach to the artistic output of women and the ease of writing overlapped, the need of success and ideological engagement, on the one hand, made it difficult for women writers to improve their own work, to function in higher mainstream and to play the roles of culture creators and, on the other hand, made it easier for them to function in the popular mainstream and play a role of literary craftsmen.
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Nisha, Shwet, Umesh Kumar, Shivangi Choudhary, Jay Prakash Vishwakarma, Rajesh Mahadeva, Vinay Gupta, Shivani Kampani i Saurav Dixit. "Analyzing W.B. Yeats Selected Poetry Through Feminist Epistemology: A Reassessment". BIO Web of Conferences 86 (2024): 01113. http://dx.doi.org/10.1051/bioconf/20248601113.
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W.B. Yeats stands out as one of the most influential poets of the twentieth century. His symbolic poetry and his political and philosophical ideas are all prominently reflected in his work. During his lifetime, he was deeply influenced by a few remarkable women who made significant contributions to his poetic development and played a pivotal role in shaping his personality. Yeats's poems chosen for this study offer a profound insight into the predicament of women within various socio-cultural and economic contexts. This analysis will explore how Yeats projected female voices through multiple images and symbols in poems such as 'A Prayer for My Daughter,' 'Among School Children,' and 'Leda and the Swan.' While Maud Gonne is widely recognized as a central figure in Yeats's love poems, it's essential to acknowledge that she wasn't the sole woman who influenced the artist's evolution. Others, like Lady Gregory, Olivia Shakespeare, and George Hyde-Lees, the wife of W.B. Yeats, played significant roles in the later phase of his life, particularly in developing his philosophical treatise, "A Vision." In his final poems, Yeats attempted to convey his ultimate understanding of love, emphasizing its perfection in the unbroken relationship between the body and the mind. Works like 'Among School Children,' 'Leda and the Swan,' 'The Second Coming,' 'Sailing to Byzantium,' 'A Man Young and Old,' and many other universally acclaimed poems were inspired by his complex relationships with Maud Gonne and others.
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Offredi, Mariola. "Educating the Young against Discrimination." Archiv orientální 82, nr 1 (18.05.2014): 59–116. http://dx.doi.org/10.47979/aror.j.82.1.59-116.
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The paper takes into consideration the Hindi textbooks of the National Council of Educational Research and Training (NCERT, set-up in 1961 and fully funded by the Central Government) for sixth to twelfth grade students (11/12 to 17/18 years of age) published in the 2000s. In accordance with the NCERT’s aim of seeking qualitative improvements in school education, these new generation textbooks are framed so as to bridge the gap between education and life. The literary texts of the collections – prose works, poetry, drama, songs, all introduced (with the exception of the syllabus for class 6) by a critical note – differ as to the subject matter. Some of them are clearly intended to fight discrimination of every kind, be it against low caste people, women, or minorities, while others deal with the problem of discrimination in indirect, and even subliminal ways. In both cases, however, the critical introduction to each text and the associated exercises are meant to serve as a stimulus for reflexion and discussion. The paper focuses on woman as the main issue arising in the 15 analysed textbooks. The paper is subdivided into to parts. The first part deals with the textbooks for classes 6 to 10, the second part analyses the textbooks for classes 11 and 12. The dividing line is marked by the two examinations in the secondary education system, namely, the All India Secondary School Examination (class 10), and the All India Senior School Certificate Examination (class 12).
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Turdubaeva, Nazgul. "KYRGYZ WOMEN'S POETRY IN CHINA: HISTORY OF DEVELOPMENT, IDEOLOGICAL AND ARTISTIC FEATURES". Alatoo Academic Studies 23, nr 3 (30.09.2023): 320–30. http://dx.doi.org/10.17015/aas.2023.233.32.
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This article discusses the history of the development of women's poetry in the literature of the Kyrgyz people living in China, who also wrote at that time, focused on the ideological, artistic and thematic features of the poems created by our daughters. They came to Kyrgyz literature in the 80s, and from year to year they are joined by young poets led by the famous poet Gulaiy Matili, the article also aims to reveal in chronological order their contribution to the development of the poetic genre by reviewing their work. Of course, we were able to give an example of only a few lines of verse. At the same time, it is said that one of the eternal themes in the poetry of women poets is love, life, the love of women for men, but there are moments of disappointment when they cannot express it openly with the help of poetic lines.
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Lipenga, Ken Junior, i Asante Lucy Mtenje. "Black Women and Self-Care: A Black Feminist Reading of Upile Chisala’s Poetry". Tulsa Studies in Women's Literature 42, nr 2 (wrzesień 2023): 343–60. http://dx.doi.org/10.1353/tsw.2023.a913029.
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ABSTRACT: This article examines poems of the young Black writer Upile Chisala selected from her three poetry collections, soft magic (2019), nectar (2019), and a fire like you (2020). The poet advances an ethic of self-care—driven by the simultaneous needs for deliberate selfishness and sisterhood—directed at Black women in Africa and the diaspora as the first step towards their mental, physical, and social well-being. Adopting the notion of self-care as advanced by a number of Black feminist scholars, the article examines the way Chisala tackles the topic through a three-pronged trajectory, emphasizing deliberate love of the self, the rejection of toxic relationships, and Black women’s (re)discovery of their voice.
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Cornish, Alison. "A Lady Asks: The Gender of Vulgarization in Late Medieval Italy". PMLA/Publications of the Modern Language Association of America 115, nr 2 (marzec 2000): 166–80. http://dx.doi.org/10.2307/463254.
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Classical texts were extensively translated into the vernacular in Italy during the period when Italian poetry began, and the “mentality” of translation is traceable in this early verse. Vernacularization is gendered female, especially in the conventions of lyric poetry. As exemplified in some thirteenth- and fourteenth-century poems and their prose commentaries, “vulgarization” is often presented as a discourse to women, who are conceived as a superior rather than an inferior audience. Instead of demeaning the Latin original, this kind of vulgarization paradoxically ennobles both the learned or scientific content and the young language in which it is written. This peculiar moment of Italian literary history contrasts with concurrent translation in France, with the subsequent abandonment of vulgarization under the influence of Petrarch, and with modern notions of the politics of translation.
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Putzi, Jennifer. "Charity Bryant and the Queer Affordances of the Early American Acrostic". Early American Literature 58, nr 2 (2023): 363–94. http://dx.doi.org/10.1353/eal.2023.a903779.
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Abstract: This article investigates early American women's acrostic poetry, especially as it was written and exchanged in same-sex friendships and romantic relationships. It begins with a discussion of male poets' deployment of the print acrostic in the service of courtship, considering how such poems expose women to the public eye. Women's manuscript acrostics, on the other hand, refuse the isolation of the female subject in the heterosexual pair, instead creating community in their composition and circulation practices. By way of example, the article turns to acrostic poetry written and received by Charity Bryant, a young teacher from New England whose affections for other women prompted the exchange of manuscript acrostics that fit same-sex love into the larger framework of gendered respectability and morality. Taken together, these poems demonstrate the adaptation of women's manuscript practices to relationships that included but went well beyond the rhetoric of romantic friendship. In this exchange, the article argues, acrostics normalize same-sex relationships, making them legible and preserving them for posterity.
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Alcorn, John. "I Am Not a Juvenile Delinquent: How Poetry Changed a Group of At-Risk Young Women". Italian Americana XL, nr 2 (1.08.2022): 192–94. http://dx.doi.org/10.5406/2327753x.40.2.30.
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Salsabila, Virgiena, Lili Awaludin i Hasbi Assiddiqi. "REFUTATION OF LAURA MULVEY'S 'MALE GAZE' THEORY IN FILM LITTLE WOMEN (2019)". Saksama 1, nr 2 (8.12.2022): 100–118. http://dx.doi.org/10.15575/sksm.v1i2.23899.
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Film, along with other literary works such as books, poetry and theater, is one of the mediums used in the contemporary day to communicate messages to society. Greta Gerwig adapted the film Little Women (2019) from the novel Little Women (1868) by Louisa May Alcott. This film shows a breakthrough over the prejudice and discrimination towards women in 19th-century cinema. The subject of female gaze has received attention since, up to this point, women have frequently only been shown as passive narrative objects, or even as the principal sexual objects in movies. Analyzing by comparing Laura Mulvey's theory regarding female gaze and male gaze through the phenomena contained in the film Little Women, which narrates the lives of five young women during their adolescent years. The image of women in the film Little Women does not appear as an object but a subject, the characters in the film Little appears strong, ambitious and optimistic. Little Women proves that Mulvey's theory of the patriarchal world is neither permanent nor obligatory.
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Jaleel, Jaleel Abd. "Natural Indices in Rupi Kaur’s Poetry: An Ecocritical Reading". JOURNAL OF LANGUAGE STUDIES 7, nr 1 (30.09.2023): 73–86. http://dx.doi.org/10.25130/jls.7.1.7.
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Rupi Kaur is a Canadian young poet that employed natural elements in her poems to reflect the genuine human experiences. She has recently made great fame on social media and her poetry collections have made a great impact on Canadian literature. Her poetry can be analyzed through the ecocritical lens. Kaur’s poetry is not abstruse, or metaphysically oriented rather it is easy, and simple and reflects the plight of women and her journey from stumbling, falling, breaking, rising, and finally blooming. This journey sounds more like a non-human experience that is natural for instance the cycle of life of flowers. Through mobilizing several vivid images she channels the metaphors to human life in the form of natural images regarding feeling, shaping, flourishing, and prospering. The ecocritical approach is applied in this paper to pinpoint this common tendency among humans and their counterparts from non-human entities. Moreover, it casts the light on Kaur’s descriptive force and skillfulness in forming settings fit to her perpetual slippage from certain natural asset to the other. The paper also musters certain images, metaphors and other poetic devices to show the ecocritical awareness among people with reference to this modern approach that studies the interconnectedness between nature and culture. Applying of the ecocritical approach to Rupi Kaur’s poetry may afford a feasible solution to the physical/transcendental dualism, whereas we observe the formulation of hybrid identity that results from the merging of nature and human attitudes. This study traces the five sections of the Volume “The Sun and Her Flowers” and attributes them to the development of Rupi Kaur the woman.
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Peterson, Linda H. "ALICE MEYNELL'S PRELUDES, OR PRELUDES TO WHAT FUTURE POETRY?" Victorian Literature and Culture 34, nr 2 (25.08.2006): 405–26. http://dx.doi.org/10.1017/s1060150306051242.
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In 1875, the young poet Alice Thompson (soon to be Alice Meynell) published Preludes (1875), a slender volume of lyrics illustrated by her sister, Elizabeth. Given the professional musical training of the Thompson women, the title of the volume may recall Chopin's musical Preludes (1838), those brief lyrical pieces composed when Chopin was twenty-seven that cover all twenty-four musical keys and demonstrate, as one critic has put it, an “astonishing variety and vividness of mood…achieve[d] in little more than a blink of an eye” (Siepman 5). Meynell's Preludes, written in her mid-twenties and published when she, too, was twenty-seven, may similarly have aimed at variety and vividness of mood, achieved within the brief compass of lyric verse; this sense of the title certainly fits with a wide range of subjects, meters, and stanzaic forms in the volume. Yet whether or not the title embeds a musical allusion, Preludes suggests, more fundamentally, a first volume of poetry, a volume anticipatory of a later, larger poetic achievement and perhaps also of a new direction in lyric verse.
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Karmen, Kaitlin. "First edition and translation of an unpublished poem (1566) from Johanna Otho to Camille de Morel". Humanistica Lovaniensia 70, nr 2 (18.02.2022): 209–27. http://dx.doi.org/10.30986/2021.209.
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This paper presents the first full edition and translation of an unpublished (1566) poem written by Johanna Otho and sent to Camille de Morel. Both young women, linked by their mutual acquaintance Karel Utenhove, were internationally recognized for their learning. Otho’s poem is a significant contribution to the corpus of women’s Latin poetry. This paper also offers a brief introduction to the poem’s historical context and suggests contem- porary political resonances for Otho’s poem. Her poem contains allusions to the conflict between courtly life and religion, which reference the ongoing conflict between Protestants and Catholics in Europe and specifically France.
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D, Ammu. "Personification of Puranaanutru Avvai". International Research Journal of Tamil 4, S-8 (20.07.2022): 86–92. http://dx.doi.org/10.34256/irjt22s812.
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Personality is the ability to govern oneself and others. In psychological terms, personality refers to a person's organised dialectical characteristics and the resulting attitudes, behaviors, feelings, and thoughts. Personality in general refers largely to one's outward appearance. Although women were not given full freedom during the Sangam period, they excelled in many fields during that time. As well as excelling in various fields, they were well versed in Tamil as well. Reminiscing about the excellence of Sangam period woman poet Avvaiyaar and studying her language skills and intellect can teach us a lot. Sangam women lived a life of virtue, chivalry, love, pleasure and nature. Because they were literate, they became creators and recorded the lives of women. Women were the root of the akappaatalkal (poetry of love genre). Most of the epithets built on femininity are seen in Akappaatalkal as Thalaivi (woman-lead), Thozhi (friend), Virali (young girl), Natraai (mother), Sevilitthai (nanny). Literature is the one that captures various aspects of life. In it, the speech and life of Purananutru Avvaiyaar are seen with pride. Though Athiyaman Neduman Anci was a king of a small region, she befriended him and stayed in his court till the end. She sang heroic songs, especially for the king. She tirelessly supported Anji till the end. She had lived a simple life and was considered a worldly poet because of her respect for humanity and culture. The new saying is that good things happen and evil things are destroyed by women. Women are gifted with wisdom and intelligence. The qualities of excellence, knowledge, humility, etc. are inherent in nature. The purpose of this article is to look only at the personality of Puranaanutru Avvaiyaar.
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Zhumataeva, Aidana Nyshangaliyevna. "THE POETIC IMAGE OF A WOMAN IN ABAI’S WORKS: A COMPARATIVE ANALYSIS WITH PRE-ABAEV ARTISTIC TRENDS". Chronos 7, nr 3(65) (13.04.2022): 25–30. http://dx.doi.org/10.52013/2658-7556-65-3-6.
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Analyzing the evolution of artistic views on the image of Kazakh women in national art, we draw attention to the fact that the image of the steppe beauty is recreated in the binary opposition good / bad. Precisely in this way, the female character was stereotypically recreated by the poets of the pre-Abaev era. The character of the heroines is revealed in the female images, born by the pen of Abai, the psychological, emotional state, spirituality are conveyed. The portrait characteristic is remembered. This determines the importance of scientific understanding of how complex and multifaceted the images of women in the lyrics of Abai are. The main purpose of the article is a comprehensive examination of the artistic image of Kazakh women in the poetry of Abai, the identification of their typological features. The author of the article carried out a literary analysis of poems of a moral and psychological orientation in the work of poets, representatives of the author’s literature of the pre-Abaev period, defined artistic and aesthetic criteria and ideological orientation. The author conducts a comparative analysis of Abai’s poetic skill in conveying a female character, reveals and generalizes poetic traditions, reveals the skill of Bukhara, Aktamberdy, Shalgez, Shal akyn and Akan Seri, a prominent representative of sal-seri poetry. Important points in the creation of a gallery of ethically and aesthetically ideal female types, strong in spirit, striving to build their lives in a new way, are highlighted. The poet sings of the harmony of the mind, talent, character, beauty and wealth of the inner world. The new, feminist interpretation of Abay’s poetry, previously referred to as love lyrics, is of particular interest for Abay studies. In accordance with the purpose of the study, a comparative analysis of the poetry of zhyrau and the lyrics of Abai was carried out on the basis of objective-analytical, historical-literary and comparative-typological methods. Abay’s works, glorifying lyrical heroines, are conventionally divided into three groups. The process of transformation of the traditional female image into a deep, multifaceted image of a mother, into a complex, mysterious image of a beloved wife, friend, beautiful girl, muse is revealed. It has been convincingly proven that the poetic skill of Abay, who realistically captured the images of the heroines in their behavior and actions, influenced the poets of the Abay poetic school. The article is of scientific interest for young scientists interested in Abay studies.
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Diko, Mlamli. "Education and drug abuse in two selected isiXhosa poems produced by Anelisa Thengimfene". International Journal of Research in Business and Social Science (2147- 4478) 12, nr 2 (25.03.2023): 588–97. http://dx.doi.org/10.20525/ijrbs.v12i2.2370.
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The poetry of Anelisa Thengimfene, through scholarly critique, certifies that applicatory subjects may be enacted in isiXhosa modern literature. Such applicatory subjects breathe pertinence to social issues that predominantly affect the South African youth and other organs of social anatomy. Using Anelisa Thengimfene’s two selected isiXhosa poems (Imfundo and Iziyobisi) , issues concerning education and drug abuse are critiqued in terms of content or subject matter in order to unmask their interfacing meanings. Textual analysis alongside qualitative research methodology is appointed to operate in a synergetic relationship. The principal objective of this article is to exhibit that education and drug addiction are social problems that continue to sabotage the lives of many young men and women in South Africa and elsewhere. The findings and discussions underscore that isiXhosa modern literature should be employed for the fact that it contests contemporary issues that are valuable and worth theoretical and practical debates. As a direct consequence of that, the closing remarks recommend a maintained scrutinisation of isiXhosa modern poetry. The contribution of this intellectual discourse can be pinned on the fact that Anelisa Thengimfene is an emerging isiXhosa literary writer, and therefore, new insights can be enacted from her literary art.
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Watson, Wendy, Sandra Faulkner i Charlie Stelle. "WHAT I KNOW NOW THAT I WISH I HAD KNOWN WHEN I WAS YOUNGER: OLDER WOMEN’S RELATIONSHIP ADVICE AS SKINNY POETRY". Innovation in Aging 6, Supplement_1 (1.11.2022): 837. http://dx.doi.org/10.1093/geroni/igac059.3003.
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Abstract Research has demonstrated that relationships are important in the lives of older women. Eighteen women between the ages of 64–84 participated in interviews about their lives and relationships across the life course. As a final question, the women were asked, “What do you know now about relationships that you wish you’d known when you were young?” Responses to that question were examined using a skinny poem. The Skinny poem is a short poetry form that portrays a vivid image in 11 “skinny” lines. It is a type of lyric poem that uses condensed images, expressions of personal feelings, and demonstrations of emotional context in musical lines. Skinnys were written by one author and analyzed by a second author. This poster will present the 18 skinny poems and the analysis of the poems. In these skinnys, one can see the relationship experiences the women had throughout their lives. There is a connection to wisdom, a recognition that they have grown and learned about relationships over time and have advice they wished their younger selves had known. Emotions range from anger and anxiety to trepidation and regret. Most of the women reflect on things they would have done differently, from how they treated others to how they felt about themselves. They recognize that relationships take work and that as older women, they still do not know everything about relationships. They also learned about themselves as individuals and wished they had not searched for their identity and self-worth in their connection to others.
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Finley, Susan. "“Freedom’s Just Another Word for Nothin’ Left to Lose”: The Power of Poetry for Young, Nomadic Women of the Streets". Cultural Studies ↔ Critical Methodologies 10, nr 1 (11.11.2009): 58–63. http://dx.doi.org/10.1177/1532708609351158.
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Hayati, Dewi Lutfiana, i Daris Syafaah. "Sosok Perempuan Dalam Puisi “Asyhadu An Lâ Imra’ata Illâ Anti” Karya Nizar Qabbani". Tsaqofiya : Jurnal Pendidikan Bahasa dan Sastra Arab 4, nr 1 (31.01.2022): 55–74. http://dx.doi.org/10.21154/tsaqofiya.v4i1.84.
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Abstract
Poetry research with the title "I witness that there is no woman Apart From You" by Nizar Qabbani. Poetry has beautiful words that describe social conditions even to the point of economic and political. The purpose of this study was to find out the meaning contained in the poem "I witness There Is No Woman Besides You and to know the aspects of the signified and the aspect of the signifier. The form of the formulation of the problem contained in this poem are: 1) What are the characteristics of women in the poem "I bear witness that there is no woman but you"? 2) How does the female figure compare the poet to the poem?. The method used in this study uses qualitative methods. And this research was studied using semiotic analysis. Semiotics is the study of signs and meanings contained in literary works. The findings of this study are that there are aspects of signifier and signified . the characteristics of women described in the verses of the poem "I witness there is no woman but you". While the results of the research in this poem explain the figure of a woman, namely the most loved wife, who is able to nurture and care for her patiently which is like taking care of her young child, tough, affectionate, patient and able to accompany the poet in times of joy and sorrow.
Keywords: Poetry, I Witness There Is No Woman Apart From You, Semiotics
Asbtrak
Penelitian puisi dengan judul “ Asyhadu An La> Imra’ ata Illa< Anti ” karya Nizar Qabbani. Puisi memiliki kata-kata yang indah yang menggambarkan keadaan sosial bahkan sampai ekonomi dan politik. Tujuan penelitian ini untuk mengetahui makna yang terkandung dalam puisi “Aku Bersaksi Tiada Perempuan Selain Engkau, dan mengetahui aspek petanda dan paspek penanda. Bentuk rumusan masalah yang terdapat dalam puisi ini yaitu: 1) Bagaimana sifat-sifat wanita yang terdapat dalam puisi “Aku Bersaksi Tiada Perempuan Selain Engkau”? 2) Bagaimana sosok wanita tersebut mengumpamakan sang penyair pada puisi tersebut?. Adapun metode yang digunakan dalam penelitian ini menggunakan metode kualitatif. Dan penelitian ini dikaji menggunakan analisis semiotika. Semiotika adalah ilmu yang mengkaji tentang tanda dan makna yang terdapat dalam karya sastra. Adapun temuan dari penelitian ini yaitu terdapat aspek petanda dan penanda, sifat-sifat wanita yang dijelaskan pada bait-bait puisi “Aku Bersaksi Tiada Perempuan Selain Engkau”. Sedangkan hasil penelitian dalam puisi ini menjelaskan sosok wanita yaitu istri yang paling dicintai, yang mampu mengayomi serta merawat dengan telaten yang diibaratkan seperti merawat anaknya yang masih kecil, tangguh, kasih sayang, penyabar dan mampu mendampingi sang penyair dalam keadaan suka maupun duka.
Kata Kunci: Puisi, Aku Bersaksi Tiada Perempuan Selain Engkau, Semiotika
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Abdi, Ali. "Bachah-bāzī: A Socio-Erotic Tradition". Afghanistan 5, nr 2 (październik 2022): 153–71. http://dx.doi.org/10.3366/afg.2022.0091.
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This article looks into the tradition of bachah-bāzī, namely, showing interest for or having liaison with beardless young males, and contextualizes it within Afghan society and culture (and beyond). Complicating some widely held accounts of bachah-bāzī, the article suggests that the “unavailability of females” alone cannot adequately account for the persistence of the tradition in Afghanistan, and that bachahs (beardless young males) are not necessarily “underage boys” but have historically been perceived as distinct gender figures in addition to women and men. More broadly, the article reveals that studying the practice of bachah-bāzī will open up discussions on a range of related subjects, from male friendships and power play among men to gender and family relations and the construction of male desire and (homo)sexuality in Afghanistan. Studying bachah-bāzī may also lead to conversations about the aesthetics of male dance-forms, regional folk songs, music and musical creativity, Sufism and (homoerotic) poetry, histories of war and militarism, and state-building and development and reconstruction projects.
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Ranaware, Ravindra. "Feministic Analysis of Shauna Singh Baldwin’s selected stories in English Lessons and Other Stories". Feminist Research 4, nr 1 (11.05.2020): 1–5. http://dx.doi.org/10.21523/gcj2.19010102.
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The present paper aims at exploration of Shauna Singh Baldwin’s specific technique implemented to present women predicament in selected stories from feministic point of view. The feministic point of view has developed out of a movement for equal rights and chances for women society. The present search is based on analytical and interpretative methods. Shauna Singh Baldwin is a writer of short fiction, poetry, novels and essays. Her ‘English Lessons and Other Stories’ explores the predicament of earlier neglected women of Sikh community by putting them in the context of globalization, immigration to West and consumerism at Indian modern society. “Montreal 1962” presents a Sikh wife’s attachment, love, determination, struggles and readiness to do anything for survival in Canada where her husband is threatened to remove his turban and cut his hair short to get the job. “Simran” presents the story of sacrifice of individual desire by a young Sikh girl because of her mother’s fundamentalist attitude. The title of story “English Lessons” presents injustice to an Indian woman who has married to an American, who compels her to become a prostitute and a source of his earnings in the States. The fourth selected story “Jassie” tells us about the timely need of religious tolerance in the file of an Indian immigrant old woman. Being a feminist writer, though Baldwin has never claimed directly to be, she has very skillfully presented the issues of feminism through her own technique of presentation. She has used technique of presenting absence or opposite to highlight it indirectly. Thus, true to her technique, though not explicitly declared, Baldwin is one of the feminist writers who skillfully deals with feminine concerns.
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Najim Abid Al-Khafaji, Saad. "Motherhood in Wordsworth: A Psychoanalytic Study of his Poetics". Al-Adab Journal 1, nr 127 (5.12.2018): 30–39. http://dx.doi.org/10.31973/aj.v1i127.198.
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By definition, the Romantic ego is a male; the creator of language which helps him to establish “rites of passage toward poetic creativity and toward masculine empowerment.”1 The outlet for a male quest of self – possession in Romantic poetry is women. For the Romantic poets , the “true woman was emotional, dependent and gentle –a born flower”2 and “the Ideal mother was expected to be strong , self- reliant , protective and efficient caretaker in relation to children and home.”4 With emphasis on the individual in Romantic literature and ideology, mothers are depicted as good when they are natural or unnaturally bad. In the Romantic period then, women’s maternal function equals the “foundation of her social identity and of her sexual desire.”5 Consequently, “convinced that within the individual and autonomous and forceful agent makes creation possible”, the Romantic poets “struggle to control that agent and manipulate its energy.”6
In a number of William Wordsworth’s (1770-1850) poems, this creative agent who possesses the powers of creation and imagination becomes a female character who is also often a mother. Nonetheless, when critics examine mothers in Wordsworth’s poetry, they also explore the child/poet’s relationship. Events in Wordsworth’s life surely influenced his attention to mothers. From a psycho-analytic perspective this interest might be an unconscious desire to resurrect the spirit of his dead mother Ann Wordsworth who died when the poet was almost eight. Thus in his poetry, the mother is the counterpart of the genuine faculty of the imagination of the poet and has a strong and felt presence within the poet’s poetic system.
In The Prelude, Wordsworth acknowledges his mother’s deep influence on him. He associates her death with the break within his own poetic development; a sign that the poet relies upon in his creative power .It is through her that the young poet came first in contact with the genial current of the natural world. Nevertheless, without his mother, the male child’s connection to nature not only stands, it grows stronger:
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Bonthuys, Marni. "’n Interseksionele ondersoek: Godsdiens, feminisme, identiteit en behoort in geselekteerde digbundels". Tydskrif vir Letterkunde 61, nr 1 (26.06.2024): 66–80. http://dx.doi.org/10.17159/tl.v61i1.16403.
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Religion is a common theme in Afrikaans literature. Religious references are used in many ways—during the anti-apartheid struggle it was (for instance) employed to protest the actions of the government in literary texts such as poetry. Similarly, women poets use religion, which is usually associated with patriarchy, as a metaphor for struggles with identity and belonging. Spirituality and organised religion are also shown to be differing concepts with organised religion being the product of society which influences the position of different genders within its stuctures. Spirituality refers to something inherently human related to the individual’s personal belief system. In this article, religious reflections in poetry by three very different female poets will be explored as musings on how religion and belonging to a religious tradition are experienced. This will be done from the perspective of postsecular feminism, which does not revert to binary oppositions when discussing religion, but grapples with it in an intersectional way, as argued by Nandini Deo. An intersectional feminist approach will therefore be utilised to analyse selected poems of Lynthia Julius in Uit die kroes (From the kroes) (2020), of Corné Coetzee in nou, hier (now, here) (2017) and of Radna Fabias in Habitus (2018). Julius, a young black woman, and Coetzee, an older white woman, are Afrikaans poets whose work can be viewed as containing feminist ideas while also exploring the role of religion. Fabias, a black Dutch poet from Curaçao, represents a transnational example where similar themes are explored as in the work of the two Afrikaans poets, albeit from a very different intersectional position. In this article, intersections of, not just gender and race, but also culture, language, politics, nationality, age, ethnicity and identity are considered when understanding a woman’s sense of belonging to a religion.
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Ålund, Aleksandra. "Bok, bröd och minnessten - kontinuitet och förändring genom och bortom det etniska minnet". Tidskrift för genusvetenskap 17, nr 3-4 (20.06.2022): 52–68. http://dx.doi.org/10.55870/tgv.v17i3-4.4708.
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Young people from multi-ethnic communities live in close and constant contact with multi-cultural aspects of everyday life. Diverse eultural elements clash, intersect and mingle och new identities are created. Behind the individual life stories of three young women retold in this artiele there is a common pattern. To a great extent young people with an immigrant background seem to strive towards a recreating and identifying a place of origin and to estahlish a connection between then and now which is closely related to the need for a sense of belonging. Recurring themes in their life stories are attempts to "go home" and to "make home from home" to qnote Phil Cohen. First there is usually what Boelhower calls a "catastrophic act of topological dislocation," then the journey, the lost home, a new start etc. Then comes a sort of deconstruction, often in connection with tension and friction between members of different generations. The third step includes some kind of reconcilitation; continutity and change through reconstruction. Does this mean the dissolution of everything which is specific in an ethnic sense? This artide argues that instead a sort of life poetry of continuity appears. The reconstruction of the ethnic memory och the revised recreaction are intertwined, thns emphasizing the great potential of as well as the great need for a transcultural society.
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Patricia Chiquillo, Raquel. "Madness, the Grotesque and Female Identity in “Exquisita ama de casa” and “El juego de la demencia” by Krisma Mancía". Latin American Literary Review 49, nr 97 (17.11.2021): 50–58. http://dx.doi.org/10.26824/lalr.221.
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Krisma Mancía (1980, El Salvador) is one of the most promising members of the postwar generation of young Salvadoran poets. Like Jacinta Escudos, Claudia Hernández and Vanessa Núñez Handal in prose, Krisma Mancía breaks free of the taboos still found within Salvadoran society that have kept women’s issues out of literary discourse longer than in other Latin American countries, and brings them to the forefront in her poetry. In this study, I focus on analyzing the poems “Exquisita ama de casa” and “El juego de la demencia,” both from the collection La era del llanto (2004) and showing how difficult it is for the female subjects to break free from patriarchal order and create an independent, strong female identity. Krisma Mancía delves deeply into the contradictions inherent in Salvadoran society to give us a harrowing look at two repressive expectations still placed upon Salvadoran women today: that of the traditional housewife and of the obedient and lady-like daughter. Through grotesque, often surrealistic images, and multiple voices within the poems, Mancía shows us how these societal expectations result in women becoming monstrous, becoming chimeras that can only find freedom in a descent into madness and rage.
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Saragih, Eliyansen. "Teologi Tentang Berpacaran Menurut Amsal 30:18-19". BIA': Jurnal Teologi dan Pendidikan Kristen Kontekstual 1, nr 2 (30.12.2018): 164–78. http://dx.doi.org/10.34307/b.v1i2.40.
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Dating is an irresistible phenomenon in today's youth life. Actually, dating is a way that brings youth in two directions, towards a good or bad life. Therefore all parties in the community must be wise to anticipate. Proverbs 30: 18-19 can be a theological basis for the phenomenon of dating. Interestingly, numerical poetry in this text can give direction about relationships between young men and women. In this text, we can see that poems direct all audiences through observing the movements of objects in nature, can observe the essence of the formation of relations between men and women. Practically, this text can be applied to equip young people in anticipating the phenomenon of dating. Every young couple who is committed to dating must be equipped with this theological basis, so that their lives can be constantly built physically, mentally and spiritually. To apply the text of the Proverbs 30: 18-19 is an attempt to answer it.Abstrak: Bepacaran adalah fenomena yang tak tertahankan dalam kehidupan remaja saat ini. Berpacaran adalah cara yang membawa kehidupan remaja ke dua arah, menuju kehidupan yang baik atau buruk. Semua pihak dalam masyarakat harus bijak mengantisipasinya. Amsal 30:18-19 dapat menjadi dasar teologis untuk fenomena berpacaran. Menariknya, sejumlah puisi dalam teks ini memberikan arahan tentang hubungan antara pria dan wanita. Dalam teks ini dapat dilihat bahwa penyair mengarahkan pembaca dengan mengamati pergerakan benda-benda di alam yang dapat menjadi dasar dari pembentukan hubungan antara pria dan wanita. Secara praktis, teks ini dapat diterapkan untuk memperlengkapi kaum muda dalam mengantisipasi fenomena berpacaran. Setiap pasangan remaja yang berkomitmen untuk berpacaran harus dilengkapi dengan dasar teologis ini, sehingga kehidupan mereka dapat terus dibangun secara fisik, mental dan spiritual. Menerapkan teks Amsal 30:18-19 merupakan upaya untuk menjawabnya.
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Blaisdell, Caralyn, Fatmata K. Daramy i Pavithra Sarma. "The Impact of the Covid-19 Pandemic on Children of Colour in Scotland". Amicus Curiae 5, nr 3 (1.07.2024): 399–428. http://dx.doi.org/10.14296/ac.v5i3.5704.
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In this article, we offer methodological and ethical reflections from our research project, “The Impact of the Covid-19 Pandemic on Children of Colour in Scotland: Visions for Change”. The project was conducted from January to July 2021, largely under Covid lockdown conditions. Our reflections take the form of creative writing, spoken-word poetry, images and reflective writing. Particularly, we highlight the ongoing, enmeshed and entangled nature of researcher and researched and how this relates to extractive practices, ethical care and navigations of systemic racism in children’s rights research with children of colour. We do so by positioning ourselves and our personal narratives, at times, as axles within this piece of work using Unarchigal (உணர்ச்சிகள்)—Modalities of Resistance, which is an embodiment resistance approach created within postcolonial radical feminist autoethnography. We suggest that researchers might consider similar reflexivity around these issues in their own children’s rights research. A note for readers: in keeping with the enmeshed nature of researcher and researched, particularly as two researchers are women of colour, we use swearing in one section via spoken-word poetry. Swearing is framed as a coping mechanism and response to narratives witnessed in the project, alongside the navigation of systemic racism and the colonial edifice that children and young people of colour and their families are forced to navigate. There will be usage of Pavi’s mother tongue, Tamizh (Tamil), via phrases and a few sentences alongside translations, capturing these intimate reflections. Keywords: children’s rights; anti-racism; ethics; auto-ethnography.
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Batsleer, Janet. "Three Spirits: Breakdowns Present, Past and Yet to Come". Journal of Working-Class Studies 4, nr 2 (1.12.2019): 102–10. http://dx.doi.org/10.13001/jwcs.v4i2.6233.
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This paper is a meditation on processes of social abjection within working-class life, on how they have changed and yet how they remain haunted by the possibility of an otherwise, especially in relation to bodily and mental and emotional pain and distress, anguish and torment, otherwise classified as depression, or nymphomania, or hypersexualisation, or anxiety, or paranoia and so on. Social abjection is a process of rendering certain lives and life experiences as unreadable except as social detritus. Working-class pain is abject, individualised and still often shamed. And the process of abjection is itself painful and not without the marks of struggle. Usually the role of women is to offer comfort and strength, often through classed practices of care and mothering (Crean,2018). But what happens when it is the women whose pain is abject? The haunting I am writing about here therefore is the haunting possibility of a return to a more collective approach to such distress, a return to a sense of future possibility as yet unfulfilled. In order to bring this possibility more fully to mind, I consider Martin Parr’s photographs recently in an exhibition at Manchester Art Gallery and Alisha’s poetry which was posted as part of her work with The Agency, (a creative project with young people). These rather different art works open up the question of how ‘mental health’ emerges as a threshold at which both capital-based violences and a resistant working-class affect can be found.
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MARKI, Khadija. "THE AMAZIGH FEMINIST NOVEL IN MOROCCO". International Journal of Humanities and Educational Research 5, nr 1 (1.02.2023): 191–203. http://dx.doi.org/10.47832/2757-5403.18.11.
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Amazigh literature has noticed a notable development in recent years, in diverse creative genres such as poetry, story, theatre, short story, and novel... Genres in which Amazigh writers have excelled significantly, whether on the level of topic or form. In this research, I will focus on novels written by women, which appeared and reserved late compared to the rest of the Amazigh literary genres, but it was a strong difference in the Amazigh literary creativity. Even in the old novel format. Despite this delay, novelist women were able to be creative and gather a significant production in the genre of the novel. From the beginnings in 2005 until 2020, we find about 23 Amazigh novels of different styles, aesthetics, and form, as well as themes and structures, written by women. It is noticeable in the modern topics of the Amazigh feminist novel, its adoption of the fantasy theme as a new reference in perception and creativity after the feminine concern and identities dominated the feminist writings. For example, we find the young novelist Fadima Firas, who published five different novels, as she is considered one of the writers for whom productive criticism played an essential role in the language and topics of her writing. So it became a bright face in what is called the reference to the rebellion and the fantasy of the novel, as well as its adoption of the reference to magical realism. This is what we noticed in our study of her publications, and I will single out as an example her novel tifilla n tmagust, a field of my analysis and study.
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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II". Dance Research 30, nr 1 (maj 2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.
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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene – an architect of the American ballet with a sensitive ‘vernacular ear,’ a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
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Parker, Sarah. "Reframing Amy Levy: Photography, Celebrity, and Posthumous Representation". Victoriographies 12, nr 1 (marzec 2022): 52–77. http://dx.doi.org/10.3366/vic.2022.0447.
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This article examines the representation of the poet and novelist Amy Levy (1861–89) after her death, focusing on how her photographic portrait becomes the foundation for her posthumous celebrity. Following her suicide at the age of twenty-seven, Levy's life became surrounded by rumour, as commentators sought to explain why a talented young writer would take her life. While reviewers and memoirists interpret her poetry autobiographically, they also turn to her face as key to her character, following theories of physiognomy. In the process, Levy's image, enshrined in a frontispiece photograph by Montabone, becomes a battleground for various ideological interpretations, as writers including Harry Quilter, Katharine Tynan, and Grant Allen set to work reanimating Levy in order to support their own ideas about female education, genius and ‘madness’, degeneration, and Jewish identity. Allen in particular draws on eugenic theories to transform Levy into a damaging fictional portrait in Under Sealed Orders (1894). This novel, combined with various poetic elegies, co-opts Levy's image in ways that resonate with long-standing notions of doomed Romantic genius and the tragic ‘poetess’, a legacy that has implications not only for Levy's enduring reputation, but also for other late-nineteenth- and twentieth-century women poets that followed in her wake.
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Abdullahi, Nasir Umar. "Contemporary Northern Nigerian Literature and the Poverty Discourse: A Critique of Aliyu Kamal’s Hausa Boy". European Journal of English Language and Literature Studies 11, nr 5 (15.05.2023): 76–90. http://dx.doi.org/10.37745/ejells.2013/vol11n57690.
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Literature plays numerous roles in the society: the cultural, the political, the religious, the economical, the social and the scientific (therapeutic). From the classical epochs to 21st century, writers have written and have been writing plays, poetry, novels, as well as short stories to educate, enlighten, persuade, warn and entertain their community, and sometimes the world at large. However, owing to the incessant changes in times, writers have to explore emerging themes such as migration, regional disputes, Aids, tribalism, terrorism, ethnic and religious violence, gender politics, institutionalized corruption and poverty for example. The aim of this paper is to explore the theme of poverty, as one of the contemporary thematic preoccupations in African literature in the 2I century, as portrayed in one of Aliyu Kamal‘s latest novellas, Hausa Boy. Set in the Northern part of Nigeria, Kamal ‘s prime concern is to demonstrate how some families in the country feel the deep and painful bite of abject poverty, which not only forces them to live from hand to mouth, but also makes it thorny for them to send their children to school. The end result is the children; particularly the young girls become street hawkers, a trade which endangers their life in the long run. The paper also wants to unveil that of the handful of the under-privileged children that have been to school, a significant number of them shamelessly drop out, owing to their parents’ inability to pay for their school fees. This further leads to the rising wave of the unemployment rate in the country. The paper reveals how poverty profoundly affects young men-women courtship, as it deters the former from fulfilling their cultural obligation of giving out some money token to their girl-friends and fiancées in each visit they pay to them as a sign of love. Yet, it is also a cultural practice, which causes the young men to suffer in Northern Nigeria’s contemporary reality.
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Dr. Ratnesh Baranwal. "Existentialism in Anita Nair’s Ladies Coupe". Creative Launcher 6, nr 3 (30.08.2021): 44–48. http://dx.doi.org/10.53032/tcl.2021.6.3.09.
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This paper is an attempt to explore the fragrance of existentialism in Anita Nair’s Ladies Coupe. She was born on 26th Jan., 1966. She has penned down three very famous novels; The Better Man (1999), Ladies Coupe (2001) and Mistress (2005). She happens to be a multi-talented literary figure, holding her authority not only in the field of fiction but also that of poetry. She is better known as a competent modern woman-novelist in the realm of Indian English literature of the modern age. Currently she lives in Bangalore. Ladies Coupe is basically a novel of the “feminine sensibility” but it remains unsuited to the category of the female-writing that represented women as “battered, bartered and abandoned” on the shoals of low self-worth. It rides triumphantly against the tide giving us a glimpse of the innate strength that a woman has to rebuild up her life. This is why Nair has called her novel a story revealing about “ordinary women with indomitable spirit”. Unlike her first novel – ‘The Better Man’, having a male protagonist, Nair’s ‘Ladies Coupe’, rotates around the 45 year old bachelor Akhila or Akhilendeswari, being a pen pusher in the Income Tax Department. She has gone fed up with the lone provider in her family. One day, she happens to get a ticket booked for Kanyakumari to explore certain answers for herself, mainly to the question if a woman is able to make her survival alone, being away from her family. There are five other women accompanying her for the overnight journey. They are Janaki, married with Margaret, a forty year old young Chemistry-teacher, Prabha Devi, very close to Akhila’s age, the fifteen year old Sheela and Mariakonthu, a woman who is obviously different from the rest of them. All these women connect their life-stories to Akhila, helping the latter to gain her full potential woman and struggle with the response to the questions she has been searching out so long. Thus this paper analyses the search-operation of Akhila as she arrives by degrees as to how she should live her life freely and maintain her own identity in this patriarchal society. Anita Nair has paid emphasis on the fact that it is not the response to the question which has been alluding Akhila so long, but the search for exploring it which is more pleasant to the protagonist. The central character Akhila’s responsibility has been considerably exposed. She has found the potential to come out more afresh from the prison-house of her old-self as symbolized by the stiffness of the cotton saris she always used to put on while working. She can at least switch back to her previous life where perhaps nothing could have changed on the surface but on a mental plane a sure process of development has occurred.
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Schottenius Cullhed, Sigrid. "Persefone, missbrukare eller missbrukad?" Tidskrift för litteraturvetenskap 47, nr 1 (1.01.2017): 21–33. http://dx.doi.org/10.54797/tfl.v47i1.8440.
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Persephone, Abuser or Abused
This article addresses the mystifying reinterpretations of sexual violence that we often encounter in the Nachleben of ancient mythology. In the Homeric Hymn to Demeter, Hades’ abduction of his niece Persephone is described with language reminiscent of sex slavery in the Iliad. The maiden continued to be represented as a victim of male and divine violence in Ancient and Early Modern retellings of the myth, but in Romantic and Decadent portrayals her innocence faded. The poppy, which is associated with Demeter in Ovid’s Fasti, now came to dominate representations of her. In Algernon Charles Swinburne’s ”The Garden of Proserpine” (1866) and other creative receptions from this period, she is depicted as a queen of opium and a femme fatale. This process transformed the rape of Persephone. The aggression of Hades and Zeus is blurred as Persephone becomes not abused but an abuser, both victim and perpetrator. The change can be related to actual drug use among women of this period. The neutralization of Hades continued and increased during the twentieth century, as the blame was even shifted to Demeter. In psychoanalysis as well as in contemporary poetry, music and novels, Persephone prefers following Hades to the underworld over staying under the protection of her smothering mother. The article connects this retelling of the ancient myth to another modern myth: a daughter must allegedly break the bonds with her mother in order to become an independent individual. Empirical studies on daughter-mother relationships, however, suggest that this view is mistaken. It is more common that young women feel that a good relationship to their mothers improves their chances of achieving independence.
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Bové, Carol Mastrangelo. "Introduction: Kristeva and Race". Journal of French and Francophone Philosophy 26, nr 2 (7.12.2018): 1–5. http://dx.doi.org/10.5195/jffp.2018.852.
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The Kristeva Circle Conference of 2017 in Pittsburgh confirmed that writers throughout the world have been engaging with Julia Kristeva’s thought in large numbers and in ways relevant to “an ethics of inclusion,” the topic of the Conference. The question of race arguably came to a head at the conference when one of the founders of the Kristeva Circle, Fanny Söderbäck, commented on the paper just delivered by Kristeva via Skype, “The Psychic Life--A Life in Time: Psychoanalysis and Culture.” According to Söderbäck, we run the risk of reinforcing Islamophobic views that equate terrorism with Islam if we focus on young women intent on jihad without simultaneously addressing the behavior of white men bent on white supremacist violence and terrorism. Kristeva did not directly address the issue of her lecture’s reinforcement of Islamophobic views in her response. Instead, she spoke at some length about a patient whose confrontation with Arabic poetry led to improvement in her psychic health. I introduce the following papers in part as a dialogue with Kristeva on race and as a response to Söderbäck’s comments. The essays all make reference to questions of race and ethnicity in Kristeva’s work. They do so in ways that provoke thought on the contributions of psychoanalytic writing, appreciated and also criticized for its universalizing tendencies, which may in part explain its vulnerability to charges of racism.
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Krynicka, Tatiana. "Maturam frugem flore manente ferens: pochwała starości w poezjach Auzoniusza". Vox Patrum 56 (15.12.2011): 169–83. http://dx.doi.org/10.31743/vp.4214.
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Decimus Ausonius Magnus (ca 310-394) was a rhetorician, a teacher, a tutor of young Gratian and a highly-ranked, influential official, as well as one of the most famous poets of the late Roman Empire. In his poems, he frequently described the small world he belonged to, the daily routine of his own, of his relatives, professional colleagues and friends. As the poet reached his old age, he made it a subject of his poetry. Ausonius considers old age to be a blessing, a time which permits a wise, generous person to gather fruit of his good deeds and fulfilled duties, to watch children and grandchildren grow and achieve successes, to share one’s wisdom with younger persons. Ausonius shows his grandfather and his grandmother, his aunts, but first of all his father, Ausonius senior, as the examples of happy old persons, loving and loved, respected and needed by the people who surrounded them. He notices that old persons can be joyful, healthy and beautiful. Writing about old age, he mentions illness only once, while expressing his joy of having recovered and being able to send greetings to the grandson who celebrates his birthday. In spite of his age, Ausonius still loves his wife Sabina, who died many years before, the same way as he loved her when he was a young husband. He is deeply attached to Bissula, the charming German girl captured and given to him by the Emperor Valentinian I probably circa 368. Besides, he really enjoys spending time with his friends and with the Muses. In his epigrams, most of which don’t have personal, but rather literary character, the poet translates, quotes, paraphrases and imitates Greek and Latin epigrams which deal with the theme of old age. Although in Ausonius’ poems exists an obvious resemblance to their models, he grants himself much freedom in his remouldings. Not only he alters circumstantial details, expands or abbreviates the original, bur also uses them as mere starting points of his reflexion. It becomes more important for him to ponder over quickly passing youth or over a lover’s feelings towards a woman who rejected him when she was young, but whom he still admires, than to play a literary game. Ausonius never parodies nor even portrays women trying to attire men in their old age, even though he may mock old men pretending to look younger than they are. Neither he complains about pains and sorrows of old age. In all that, he remains a true Roman and a true gentleman.