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Li, Xiaorong. "Woman Writing about Women: Li Shuyi's (1817-?) Project on One Hundred Beauties in Chinese History." NAN NÜ 13, no. 1 (2011): 52–110. http://dx.doi.org/10.1163/156852611x559349.
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AbstractThis article examines the woman poet Li Shuyi's (1817-?) poetry collection Shuyinglou mingshu baiyong (One hundred poems on famous women from Shying Tower). Through a reconstruction of Li Shuyi's life, a reading of her self-preface, and an analysis of her poems, this study aims to demonstrate how a woman author's perception of her own ill fate leads to her becoming a conscious writing subject, and how this self-realization motivates her to produce a gendered writing project. It argues that Li Shuyi articulates in her project her intervention into representations of women's images from her individual perspective on women's history, and her aims for immortality through writing.
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Krivokapić, Marija. "Reclaiming Home in Indigenous Women Poetry of North America." American Studies in Scandinavia 53, no. 1 (2021): 65–94. http://dx.doi.org/10.22439/asca.v53i1.6226.
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The tendency of reclaiming home in Indigenous women poetry of North America is seen as a part of a multilayered decolonizing project, which aims at disclosing, reconstructing, and removing the effects of the colonial policy for self-determination and betterment of the Indigenous peoples. A precondition of reclaiming home is resurrecting tribal knowledge of belonging which situates the Indigenous subject within family and tribe and close connection to natural surroundings. This paper extends the boundaries of the concept of home from a physical space, such as house and homeland, to a representational one, such as community or cultural articulation, in which one finds comfortable identification (cf. Lefebvre 1991). This assumption supports the expansion of Indigenous agency to the realization of home on the global level. The paper takes a multidisciplinary approach and gathers a vast corpus of poetry, coming from different nations Indigenous to North America, and, therefore, from different locations and writing styles. While using the concept of the Indigenous to refer to Native Americans, Alaskans, First Nations, and Chicana/o, I will also briefly introduce the authors’ tribal affiliations to underline the collective pattern of suffering among the diverse groups.
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Sandler, Stephanie. "Scared into Selfhood: The Poetry of Inna Lisnianskaia, Elena Shvarts, Ol´ga Sedakova." Slavic Review 60, no. 3 (2001): 473–90. http://dx.doi.org/10.2307/2696811.
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Sandler analyzes the poetry of three contemporary Russian women poets, focusing on one poem by each poet from the late Soviet period. Using psychoanalytical theory and philosophical theories of the sublime, she assesses how fear creates a sense of self for each poet. In all the texts examined, the poet's self is shattered in order to be built up again. Poetic identity means a writer's identity, particularly to Sedakova and Lisnianskaia, and all three poets find a sense of self by resisting some conventional notions of the woman poet.
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Sahrish, Fatima, and Dr Amna Shamim. "In Her Own Voice: Charmayne D'Souza." SMART MOVES JOURNAL IJELLH 8, no. 2 (2020): 11. http://dx.doi.org/10.24113/ijellh.v8i2.10401.
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The present paper aims to study Charmayne D'Souza's one and only volume of poetry, A Spelling Guide to Woman. Her poetry shows texture of western feminism where she expresses the radical self of a reformist kind with the strong belief of an iconoclast. Poetry is a two-way process for D'Souza. She uses poetry for not only verbalizing 'personal as political' but also for making the public as personal and as a medium to resist codification of patriarchal discourses. Simone de Beauvoir in The Second Sex has stated that each consciousness defines itself as subject by defining the other consciousness as object. A woman is a paragon of oppressed consciousness, an object in the male psyche. Patriarchy controls the lives of women. Germaine Greer, in this context, has said that patriarchy makes women eunuch. It castrates women making them deprived of subjection and treat them as a mere object.
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Oumlil, Kenza. "Alternative media, self-representation and Arab-American women." Journal of Alternative & Community Media 1, no. 1 (2016): 41–55. http://dx.doi.org/10.1386/joacm_00017_1.
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Arab-American women often find themselves represented in the mainstream media as oppressed victims in need of saving, but what sometimes gets less attention are the ways in which Arab-American women themselves are adding to the media landscape, through poetry, film and other forms. This article offers a textual analysis of artistic interventions circulated by Arab-American women in the media sphere, and supplements the analysis of the content and context of these interventions with individual interviews with the artists involved. It focuses on the poetry of Suheir Hammad and the cinematic interventions of Annemarie Jacir, which I situate as alternative media. I conceptualise alternative media as media content that challenges dominant assumptions and offers stylistic innovations for the purpose of inspiring social change. In addition, I argue that alternative media consist of transforming the existing stock of material into ones own language in order to promote social justice. The article concludes with remarks regarding the opportunities and the limitations of alternative media in effecting social transformation.
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Mwai, Wangari, Margaret Mwenje, and John Kirimi M’Raiji. "The Construction of Feminine Psychology in Swahili Women’s Nuptial Poetry-Unyago." Journal of Educational and Developmental Psychology 7, no. 1 (2017): 241. http://dx.doi.org/10.5539/jedp.v7n1p241.
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This article examines the construction of feminine psychology in Swahili women nuptial poetry-unyago. Unyago poetry is composed and performed by Swahili women. Swahili is a community located along the coastal region of Kenya. This article, therefore, focuses on intersections between psychology and poetry in analyzing and describing how unyago poetry reveals the mindsets and emotions of Swahili women. Data for analysis in article is derived from research carried out among women of Swahili decent living at Kisumu using observation and in-depth interviews as data collection methods. Unyago poetry is viewed as confessions and revelations of the female self, the marriage institution and that of the marital partner. Worth noting is the fact that the women, whose ancestors originated from the coastal region of Kenya, have preserved the nuptial rituals and teachings therein across time and space. Through unyago, the women socialize their girls from children to women and is a deeply rooted practice in their philosophy, psychology, and culture of the Swahili people. Thus, this article contends that unyago is both a reflection of group and individual psychological reactions to cultural expression through poetry.
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Syeed, Syed Aamir, and Master Showkat Ali. "Feminine Angst in the Poetry of Sylvia Plath." Journal of English Language and Literature 4, no. 2 (2015): 386–89. http://dx.doi.org/10.17722/jell.v4i2.108.
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 Women have been struggling to liberate themselves from subjugation by their male counterparts from times immemorial. The various factors responsible for their suppression were misogyny, romantic glorification and patriarchy. Illogically romanticized, they are not permitted to play a significant role as independent, self-assured individuals and this was compounded by other unfair social, political and biological factors. As a result, they did not enjoy a contented position in society. History inclined to link man to wisdom and biological dominance and women were associated with confined concerns of household chores and childcare.
 
 This provoked some prominent women in America and England to launch a movement called feminism demanding equivalent rights and equal status for themselves. They also resisted the menacing power of the literature that portrayed a woman as a subordinate to patriarchy. To end this suppression and exploitation they set out to create a literature of their own. As such, most of the feminists got entangled in a twofold approach. On the one hand, they wanted an authentic voice to assert its sovereignty, and, on the other, to make their mark felt along gender defined lines, so as to mend laws governing their social, psychological and biological behaviour. Still, some of the women writers felt the brunt of male dominance and oppression so enormously that they developed the feelings of resentment and vengeance against them. In this, Sylvia Plath, a vigorous and highly competitive and self-centered woman of the fifties was no exception. The aim of the paper is to highlight that Sylvia Plath who at first relished the domination of her male counterparts, at the later stage of her life became a sworn enemy of male dominance and aggressively challenged the patriarchy. Her feminine angst transformed her from a lamb to a lioness hunting for men’s head.
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Gong, Heng Xing. "Li Qingzhao and A. P. Bunina: difficult fates of women’s poetry." Litera, no. 8 (August 2021): 81–96. http://dx.doi.org/10.25136/2409-8698.2021.8.36313.
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Despite the fact that Li Qingzhao and Anna Petrovna Bunina were bound by neither geographical affiliation or time, their contemporaries called them the Chinese and Russian Sappho. This is substantiated by the consonance of their poems with the lyrics of the Ancient Greek poetess, sensuality of their poems, as well as their independent position atypical for the women of their eras. This article draws parallels between the biographies of the two prominent poetesses, each of whom is considered the founder of women's poetry in their homeland. Although both poetesses are widely known and considered the pioneers of women's literature, their works are compared virtually for the first time. Besides the high social status and good education, the poetesses are interrelated by the fact that their fates transgressed the traditional canon of women's behavior: instead of patriarchal family life, they have chosen creative self-realization. The uniqueness of their position, which placed them in the focus of public attention, and in a way made them pariahs, on the other hand gave them the freedom in choosing problematic and literary language. This allowed them to become the founders of women's poetry and develop their own literary style. Namely this circumstance typologically apposes the works of the two poetesses, which are eight centuries apart from each other. The theme of their poetry is remarkably similar; however, the imagery differs significantly, since it is justified by the literary tradition of their country.
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Park, Seonah. "Muriel Rukeyser’s Motherhood Poetry: Lyric Poetry and Publicness." Institute of British and American Studies 58 (June 30, 2023): 3–26. http://dx.doi.org/10.25093/ibas.2023.58.3.
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This paper attempts to redefine motherhood as a female experience through the motherhood poetry of a modernist American poet, Muriel Rukeyser. In contemporary terms, motherhood tends to be defined as a feminine experience in which the relationship between mother and child is created, whereas Rukeyser's motherhood poetry emphasizes the intersection of such motherhood with the public values of society and the expansiveness of lyric poetry. Living in a time of upheaval and chaos in the war-driven world order, Rukeyser needed to keep a keen eye on the world as the space in which she and her child lived and would live, and thus it was inevitable for her to discuss motherhood in public discourse. Thus, the environment of motherhood brought about an ongoing search for her own place in the public sphere, and if this search can be seen as self-creative in nature, then motherhood poetry, which poetizes this search can be understood as a work that poetizes ongoing social participation. Through a reading of Rukeyser's work that expands the lyrical subject of the poems from the self to the public space, this paper examines how the individual specificity of the maternal experience expands into the universal experience of women and what that means for our reading of the poems today.
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Bonasera, Carmen. "Bodies and self-disclosure in American female confessional poetry." European Journal of Life Writing 10 (July 9, 2021): SV33—SV56. http://dx.doi.org/10.21827/ejlw.10.37638.
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Far from being a mere thematic device, the body plays a crucial role in poetry, especially for modern women poets. The inward turn to an intimate autobiographical dimension, which is commonly seen as characteristic of female writing, usually complies with the requests of feminist theorists, urging writers to reconquer their identity through the assertion of their bodies. However, inscribing the body in verse is often problematic, since it frequently emerges from a complicated interaction between positive self-redefinition, life writing, and the confession of trauma. This is especially true for authors writing under the influence of the American confessional trend, whose biographies were often scarred by mental illness and self-destructive inclinations. This paper assesses the role of the body in the representation of the self in a selection of texts by American women poets—namely Sylvia Plath, Anne Sexton, Elizabeth Bishop, Adrienne Rich, and Louise Glück—where the body and its disclosure act as vehicles for a heterogeneous redefinition of the female identity.
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Malakhevich, Daria E. "Feminine Imagery in Chinese Lyrics of the Six Dynasties." RUDN Journal of Studies in Literature and Journalism 27, no. 1 (2022): 86–93. http://dx.doi.org/10.22363/2312-9220-2022-27-1-86-93.
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This article deals with the specifics of female imagery in Chinese poetry of the Six Dynasties period ( Liuchao ). The aim is to characterize female imagery in the works of the poets of this period and find out what changes these images underwent in comparison with previous epochs, and how the structure of these images differs in female and male poetry. The aim is to analyze the women topic in the works of the leading poets of the Six Dynasties period. The conclusion is made that in mens poetry of the mentioned period the female image remains idealized, unified and narcissistic. Male poets used a standard set of artistic means to portray female images. The woman was presented as an object of aesthetic pleasure, and appeared to the reader in an inseparable connection with her surroundings and boudoir objects. In this regard, the thesis of the emergence of the image of a beautiful lady in Luchao poetry is put forward. Nevertheless, in both womens and mens lyrics more individualized images began to appear and a departure from traditional gender stereotypes is obvious; the main change in Six Dynasties poetry is the development of self-awareness in female and male poems, both in life and poetry, and the increasing understanding of their own subjectivity. The female characters of the Luchao era turn out to be endowed with reflexivity and psychologism. Lyrics on womens themes developed both quantitatively and qualitatively.
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Gorelov, Oleg. "The structure of revolutionary feminist surrealism in the poetic practice of Galina Rymbu." Litera, no. 5 (May 2021): 152–64. http://dx.doi.org/10.25136/2409-8698.2021.5.32797.
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The object of this research is the surrealistic code of Russian contemporary poetry. The subject of this research is the authorial version of revolutionary surrealism and the techniques of its realization in the poetry of Galina Rymbu. The article examines such aspects of the topic as female optics, feminist writing, gender issues, as well as the interaction of aesthetic and political, imagery and empirical, subjective and objective. Special attention is given to the consequences of the divergence of surrealistic development trends – aesthetic and revolutionary surrealism in the poetic practice of G. Rymbu, as well as to the increase of anti-surrealistic tendencies in her poetry. The research methodology is based on the comparative approach, within the framework of which the philological analysis of the text is conducted with the use of narratological, motivic, phenomenological, and elements of hermeneutic methods. The scientific novelty of this work consists in interpretation of the contemporary left-wing poetry and namely feminist poetics of G. Rymbu through the prism of surrealistic code. The position of women in surrealist history and theory is deconstructed by the new realizations of revolutionary surrealism, associated with the feminist project and gender problematic. Emphasis is placed on the analysis of the concepts of transformation and childhood alongside the frequency narrative instance (surrealistic type woman – child) in the poetic texts of Galina Rymbu.
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Sonya, Feby, Slamet Triyadi, and Imam Muhtarom. "Citra Perempuan dalam Antologi Puisi Rahi(i)m Karya Kedung Darma Romansha serta Implikasinya terhadap Pembelajaran Bahasa Indonesia di Sekolah." Jurnal Kajian Bahasa, Sastra dan Pengajaran (KIBASP) 5, no. 1 (2021): 30–50. http://dx.doi.org/10.31539/kibasp.v5i1.2523.
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This study aims to describe the image of women in the poems of the writer Kedung Darma Romansha and describe the results of the description of the meaning of the image of women by learning the Indonesian language, namely the subject of poetry appreciation in high school class X. The research method used is a descriptive qualitative method in the form of paradigms in word descriptions. -words to describe and analyze facts naturally and then interpret them appropriately. The results showed that: (1) the image of women, consisting of self-image and social image; 2) the image of women in the anthology of poetry entitled Rahi(i)m by Kedung Rama Romansha can be used as implications for learning Indonesian at school. Conclusions, (1) there is an image of women in the poem in the anthology entitled Rahi(i)m by Kedung Darma Romansha; 2) the implications of Rahi(i)m's poetry anthology with learning Indonesian at school is as a reference in the subject of poetry appreciation in high school class X.
 Keywords: Image of Women, Rahi(i)m, Indonesian Language Learning
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YoungMin Park. "Chinese poetry of women writers, the intense sexuality and self-conscious." DONG-BANG KOREAN CHINESE LIEARATURE ll, no. 33 (2007): 165–96. http://dx.doi.org/10.17293/dbkcls.2007..33.165.
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KUMYSHEVA, L. Ch, and Z. A. KUCHUKOVA. "WOMEN-DZHIGITS OR GENDER DIMENSION OF FAUSAT BALKAROVA’S POETRY." Kavkazologiya, no. 1 (2021): 208–27. http://dx.doi.org/10.31143/2542-212x-2021-1-208-227.
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On the basis of lyric and epic works, the authors of the article investigate the specific features of the gender picture of the world of the classic of Kabardian literature Fousat Balkarova. The structuring of the holistic material into 5 interrelated sections allows the authors to consistently, close-up consider the thematic, personal, linguistic, chronological and conflict-prone aspects of the poetess' ethnogender consciousness. The historically conditioned process of transformation of social constructs «masculine» and «feminine» of the Adyghe patriarchal society under the pressure of factors of civilization and modernization is shown. The analysis made it possible to reveal in the poetry of F. Balkarova and identify the ontological metacode «woman-dzhigit», marking the dominance of masculine traits in the image of a new, self-sufficient woman of the post-war years. The article also examines a complex of issues related to the accelerated pace of life, the «double repertoire» of women, gender asymmetry, the conflict of two generations, artistic ethnography.
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Armalina, Armalina, and Yenni Hayati. "Gambaran Biologi Perempuan dalam Kumpulan Puisi Catatan-Catatan dari Bulan Karya Rieke Saraswati." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, no. 2 (2022): 489–510. http://dx.doi.org/10.30872/diglosia.v5i2.422.
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This study aims to describe the biological aspects of women contained in the poetry collection of "Catatan-Catatan dari Bulan" by Rieke Saraswati. This study uses a qualitative approach with a gynocritic approach that produces descriptive data in the form of written words. The author uses this biological aspect in his poetry to convey the mindset of resistance, dissatisfaction, and suppression experienced by women in society regardless of age. Based on the data analysis, 34 data about the biological aspects of women were found in the poetry collection of "Catatan-Catatan dari Bulan" by Rieke Saraswati. The biological aspects found in Rieke Saraswati's poetry collection of "Catatan-Catatan dari Bulan" using a gynocritic approach include four aspects, namely (1) female self-identity, which includes puberty, menstruation, pregnancy, childbirth, and breastfeeding; (2) women's sexual expression, in this aspect the author breaks the tradition in Indonesia which considers women's sexuality to be something that must be strictly controlled; (3) resistance to patriarchy, the author voices protest and opposition in response to things that befell women; and (4) the issue of gender inequality, this aspect is found chiefly in the poetry collection of "Catatan-Catatan dari Bulan", the author voices the injustices that women often experience. The aspect of celebrating women's biology is not found in Rieke Saraswati's poetry collection of "Catatan-Catatan dari Bulan". In this collection of poems, the author reveals the deprivation of women's rights in society.
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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, no. 1 (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, no. 226(1) (September 1, 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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Anjum, Dr Tasneem. "The Confltct between Self and Society." SMART MOVES JOURNAL IJELLH 7, no. 11 (2019): 10. http://dx.doi.org/10.24113/ijellh.v7i11.10145.
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Sylvia Plath’s attractive personality, academic achievements and rigid mental makeup did not allow her to compromise and take failures. Self imposed restraint, both in her life and in poetry as well leads to despair. The wonderful years of her life with Ted which she writes and tells her mother, could not find a place in any of her poems. This camouflage forces her to lead double role in life, psychologically, a split personality. In art, this can lead to silence but in real life to suicide. She comes to stage where death and birth mean one and the same. She wanted to go back to the womb in exposition of “lost self”. This strain runs throughout her poems and gives a feeling that she might have died to give authenticity to her poetry. She could neither live with the mask on nor was prepared to expose her real self to the society in which she was an alien and here comes the breaking point. Kamala Das too fought with the society which looks upon women as sexual objects. She was a rebel and does not make any attempts to hide it. She fought with herself to become a unique person and articulated it through poetry.
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Amal, Robancy. "Feministic Approach in Kamala Das’s My Story." Shanlax International Journal of English 9, no. 3 (2021): 54–56. http://dx.doi.org/10.34293/english.v9i3.3882.
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The role of the readers in reading a novel or a poem is to look through the eye of the author and to enjoy the beauty of the literary works. Kamala Das’s poetry, novels and short stories have always carried self-transformation and women empowerment asserting her rights freedom and desire to liberate her from the clutches of traditions and cultures which suppress women in the Indian society. This paper tries to analyze the outspoken and controversial autobiography and an unheard cry for freedom of many Indian women and depicts how revealing the inner self of a woman free her from the oppression of Caste, class, race and sex. It has become a cult classic in the 20th century. It attempts to see the feministic approach of the novel.
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Najar, Esmaeil. "Iraj Mirzā: Women and Their Representation in His Poetry." International Journal of Persian Literature 8 (September 1, 2023): 2–21. http://dx.doi.org/10.5325/intejperslite.8.0002.
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Abstract Iraj Mirzā has a reputation for excessive sexual content in his poetic oeuvre. His “forbidden literature,” so to speak, and to quote Paul Sprachman, has suffered unjustly from charges of frivolity, and while vanity and profanity do indeed feature prominently, these allegations disregard the artistic high-mindedness that is ever-present in the prince’s extensive canon. Recent scholarship has attempted to rehabilitate his reputation by highlighting the formalistic aspects of his poetry as well as by emphasizing the striking intricacies of his particular poetic perspective. In this article, I will delineate Iraj’s line of poetic maturity—especially when interlaced with thoroughgoing thoughts of Constitutional Revolution—and will discuss how, juxtaposing the stylistic decorum of classical Persian poetry with interlocution and colloquialism, he could impact the upcoming movement of new poetry (she‘r-e no) in Iran. More emphatically, I will illuminate how Iraj Mirza’s attitude toward women is self-contradictory—though in some places he seems sympathetic toward women, criticizing the restrictions placed on them in Qajar Iran, he ultimately betrays them by degrading them to the status of sex objects as in ‘Ārefnāmeh, where he depicts the veil as an obstacle to women’s and the country’s progress and he contaminates women’s chastity by justifying his (character’s) raping. Iraj’s boldness in addressing female genitalia and sexual intercourse pushed the boundaries of literature in transitional Qajar era; however, seen from a feminist perspective, his poetry equates the Persian literary woman to the fictionalized demimonde who wished to be sexually abused.
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Smalls, Kamari. "Embodied Knowledge: Poetry in Motion." Visual Arts Research 47, no. 1 (2021): 73–78. http://dx.doi.org/10.5406/visuartsrese.47.1.0073.
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Abstract This essay explores feelings conjured through the poetic works of June Jordan, Sonia Sanchez, Carolyn M. Rodgers, and Audre Lorde performed through dance. In an effort to stray away from dance as representation, movement in the form of dance manifests the inner feelings and memories that poetry prompts. I argue for vulnerability and the intentional giving of the self that makes this process possible and felt by the viewer. The process entails an embodied knowledge that centers the knowing of Black women, girls, and femmes: a knowing that is experiential and rooted in the body.
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Lipenga, Ken Junior, and Asante Lucy Mtenje. "Black Women and Self-Care: A Black Feminist Reading of Upile Chisala’s Poetry." Tulsa Studies in Women's Literature 42, no. 2 (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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Havryliuk, Nadiia. "THE IMAGE OF A WOMAN IN MODERN UKRAINIAN POETRY (COLLECTION OF MARIA MASH «TODAY DEFINITELY NOT»)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, no. 26-27 (2022): 39–45. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-39-45.
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The article examines the features of the image of a woman in the debut collection of Maria Mash from Lviv, «Today Definitely Not». It was found that this image does not fit into the thematic scheme: a lonely woman / a woman in love / a beloved woman. Because loneliness for the lyrical heroine is not the absence of a loved one, but the lack of understanding with him. Hence the need to find the exact word to describe feelings in order to form a common language of love. The image of a woman in M. Mash's collection is, at first glance, quite traditional (family welfare is in her hands, she rejoices in her husband's success and feels created for his happiness, and in her husband she sees her protection and partner for the «dance of life»). At the same time, this female image is individualized in the expression of emotions (for example, there are at least 14 types of love). Despite the fact that the woman in M. Mash's poetry is deeply feminine (she aspires to romance, has a chivalrous attitude towards herself, beauty and an ideal), she can only be called a romantic woman. Harmony in relationships is very important for the lyrical heroine, but no less weighty – the harmony of daily existence (so «today» is a whole life), a sense of inner balance and creative realization. Although the lyrical heroine of Maria Mash's debut collection invites her husband to dance, she does not allow him to control her thoughts and emotions. The woman from Maria Mash's poetry reveals herself to be self-sufficient, single-handedly changing the world for the better. The analysis of the image of a woman in the collection «Today Definitely Not» by Maria Mash proved the fundamental falsity of the binary opposition: «traditional/self-sufficient woman», which is common in feminist and gender studies.
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Wissman, Kelly. "Reading and Becoming Living Authors: Urban Girls Pursuing a Poetry of Self-Definition." English Journal 98, no. 3 (2009): 39–45. http://dx.doi.org/10.58680/ej20086911.
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Delgado-Norris, Evelyne. "Voices of Resistance in the Poetry of Kiné Kirama Fall and Coumba N’Dèye Diakhaté." Hawliyat 13 (November 4, 2018): 21–39. http://dx.doi.org/10.31377/haw.v13i0.207.
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The paper aims to highlight the works of two Senegalese women poets as representative of African women 's effort to offer alternative texts inform, language, and ideology to many of the dominant patriarchal texts in vigor. Senegalese women 's poetry presents unique perspectives of female subjects who not only reveal to be agents Of resistance and societal transformation, but also set out to offer different conceptions of self community, nation, and human relations in a genre that continues in many ways women 's oral tradition of the Word.
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Davis, Amira Millicent. "Emancipatory Acts." International Review of Qualitative Research 2, no. 4 (2010): 475–97. http://dx.doi.org/10.1525/irqr.2010.2.4.475.
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Emancipatory Acts is a performance piece that explores the experiences of racialized mothering, social memory and collective agency from my situatedness as a Black woman and mother in the United States. Emancipatory Acts suggests that the historic trauma inflicted upon Africa signifies the rapability and violability of her daughters whose reproductive labors were impressed into the service of Empire. Emancipatory Acts challenges the selectivity of social memory, the mythologizing of iconic figures and the literature of deviance that incarcerates Black female reproduction. It argues that, ultimately, Black women self-emancipate through remembering, reconstituting and redefining their existences through motherline stories that trace back to elder-women, through the ancestral world to the metaphysical Mother. Through movement, poetry, narrative, rhythm, and visual texts, this piece explores the material, socio-political, cultural and spiritual domains of Black woman-motherhood in the United States and seeks to resurrect traditions of hope, survival and self-actualized living.
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Wang, Yanning. "Qing Women's Poetry on Roaming as a Female Transcendent." NAN NÜ 12, no. 1 (2010): 65–102. http://dx.doi.org/10.1163/156852610x518200.
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AbstractYouxian shi (poetry on roaming as a transcendent) has long been a conventional poetic genre in Chinese literature. It has been the common conception that youxian poetry was most popular from the Wei dynasty (220-265) through the Tang dynasty (618-907), and up until now, scholarly studies on the genre seemed to focus exclusively on Tang and pre-Tang periods. This gives the impression that after the Tang nothing of interest was written in this particular genre. Consequently, very little scholarly attention has been given to the youxian poems composed in post-Tang periods. This article examines youxian poems by Qing (1644-1911) women, specifically those poems entitled Nü youxian (roaming as a female transcendent). With the increasing consciousness of "self," the rise of groups of women writers, and the popularity of women's culture in late imperial China, youxian poems provided a unique literary space for women's poetic and autobiographical voices, certainly deserving more scholarly attention. I argue that by presenting female transcendents or women pursuing transcendence at the center of a poem and re-inscribing the traditional literary images, the poets created a stronger female subjectivity that reflected women's desires in their intellectual and spiritual lives. I also propose that nü youxian was a new subgenre of youxian poetry, emerging only in the context of the efflorescence of women's poetry.
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Rusu, Iris. "Echoes of Sapphic Gods and Goddesses, Immortality, Eros and Thanatos in the Work of Modernist Women Poets." East-West Cultural Passage 20, no. 1 (2020): 84–109. http://dx.doi.org/10.2478/ewcp-2020-0005.
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Abstract In the context of Modernism’s constant return to the past that results in self-knowledge and innovation, certain women writers found Sappho’s writings relevant for their own poetic endeavours. My article will mainly focus on the mythological aspects of both Sappho’s and the modernist women’s poetry. Invocations of and allusions to gods and goddesses and other mythical figures, which involve introspection and expressing certain erotic concerns in stylised ways, will be discussed in order to show how all these women poets innovated. and, in many different ways, significantly enriched the literature of their times. Critics have mainly focused on H.-D.’s poetry in relation to Sappho’s, most likely because the modernist poet had also translated (or adapted, according to most scholars) a number of Sappho’s poems. As regards other modernist women poets, such as, for instance, Amy Lowell or Marianne Moore, critics have refrained, for various reasons, from analysing their work in relation to Sappho’s. There are very few critical accounts of Sappho’s influence on their (and even H.-D.’s) poetry, and this article will, perforce, draw on these, but aims, all the while, to provide new and relevant insights.
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Arpita Sawhney. "The Role of Self-discovery in Alice Walker’s The Color Purple." Think India 22, no. 3 (2019): 2218–24. http://dx.doi.org/10.26643/think-india.v22i3.8695.
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Alice Walker was an American writer whose novels, short stories, and poems are noted for their insightful treatment of African American culture. Her novels, most notably The Color Purple (1982), are focused on the struggles of black people, particularly women, and their lives in a racist, sexist, and violent society. Walker’s Pulitzer prize and American Book award-winning novel, The Color Purple, marks the apex of her career. It gained international prominence, as the writer did herself. Her novels, short stories, poetry and essays are all about a search for truth. The Color Purple is unique in its pre-occupation with spiritual survival and with exploring the oppressions, insanities and triumphs of black women.
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Pratt, Lloyd. "Early American Literature and Its Exclusions." PMLA/Publications of the Modern Language Association of America 128, no. 4 (2013): 983–88. http://dx.doi.org/10.1632/pmla.2013.128.4.983.
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James Allen, the author of an “epic poem” entitled “Bunker Hill,” of which but a few fragments have been published, lived in the same period. The world lost nothing by “his neglect of fame.”—Rufus Griswold, The Poets and Poetry of AmericaAcross several of his influential anthologies of american literature, rufus griswold—nineteenth-century anthologist, poet, and erstwhile editor of Edgar Allan Poe—offers conflicting measures of what we now call early American literature. In The Prose Writers of America, for example, which first appeared in 1847 and later went into multiple editions, Griswold offers a familiar and currently derided set of parameters for this corpus of writing. In his prefatory remarks, dated May 1847, he explains that he has chosen not to include “the merely successful writers” who precede him. Although success might appear a high enough bar to warrant inclusion, he emphasizes that he has focused on writers who “have evinced unusual powers in controlling the national mind, or in forming the national character …” (5). This emphasis on what has been nationally consequential echoes other moments in Prose Writers, as well as paratextual material in his earlier The Poets and Poetry of America (1842) and his Female Poets of America (1848). In his several miniature screeds condemning the lack of international copyright, as well as the consequent flooding of the American market with cheap reprints, Griswold explains the “difficulties and dangers” this lack poses to “American literature”: “Injurious as it is to the foreign author, it is more so to the American [people,] whom it deprives of that nationality of feeling which is among the first and most powerful incentives to every feat of greatness” (Prose Writers 6). In The Poets and Poetry of America, he similarly complains that America's “national tastes and feelings are fashioned by the subject of kings; and they will continue so to be, until [there is] an honest and political system of reciprocalcopyright …” (v). Even in The Female Poets of America, the subject of which one might think would change the nature of this conversation, Griswold returns to the national project, examining the significance of women writers for it. He cites the fact that several of the poets included in this volume have written from lives that were “no holydays of leisure” but defined rather by everything from “practical duties” to the experience of slavery. He also responds to those carping “foreign critics” who propose that “our citizens are too much devoted to business and politics to feel interest in pursuits which adorn but do not profit”; these home-laboring women writers, he argues, may end up being the source of that which is most genuinely American and most correctly poetic: “Those who cherish a belief that the progress of society in this country is destined to develop a school of art, original and special, will perhaps find more decided indications of the infusion of our domestic spirit and temper in literature, in the poetry of our female authors, than in that of our men” (8). As it turns out, even women poets are held to the standard of national self-expression and national self-realization; the surprise lies only in the fact that they live up to this standard.
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Mozumder, Subrata Chandra. "Marital Suffering in Sylvia Plath’s Poetry: A Feminist Reading." American, British and Canadian Studies 34, no. 1 (2020): 124–46. http://dx.doi.org/10.2478/abcsj-2020-0008.
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AbstractThis article discusses marital suffering, as portrayed by Sylvia Plath from a feminist viewpoint, and claims that her delineation of marital afflictions is a tool of protest against patriarchal oppression. In a convention-ridden patriarchal society, a woman usually cannot express her voice and remains suffocated by her personal agony and ache. However, Plath tries to break the conventions in her poetry, by representing the unjust institution of patriarchal marriage, which treats women as commodities. Many critics have noted that Plath’s marital sufferings are responsible for her suicidal death, which is a means of protest against, and resistance to, patriarchy. Since her poetry represents both her psycho-social suffering and her fight against the margins set by patriarchal society, one may consider her poetry to be a weapon of setting her “self,” as well as other women’s, free from male-dominated psychological imprisonment. The article explores how Plath’s poetic persona emerges as the Phoenix, the libertarian spirit, by deliberately exposing her marital sufferings, psycho-sexual torture, husband’s infidelity, and the ultimate death resulting from conjugal unhappiness, which is interpreted as a protest against all kinds of patriarchal discriminations.
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Byrne, Paula Jane. "Tracing a Female Mind in Late Nineteenth Century Australia: Rose Selwyn." Genealogy 7, no. 2 (2023): 30. http://dx.doi.org/10.3390/genealogy7020030.
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Rose Selwyn (1824–1905) was a first wave Australian feminist and public speaker. The poetry, art, and scraps of writing Rose left in her archive allow the reader to piece together an intellectual history, a genealogy of the making of self. Rose attained her way of being through several contemporary influences—the mysticism of Tractarianism, a concern with death and its meanings, an interest in the literary edges of the world, a concern with the suffering body, and a passion for women and a woman-centred world. From these tangled contemporary concerns, she made a feminism for all non-Aboriginal women apparent in her speeches. Her role as a colonising woman in a violent landscape created a complex relationship with Aboriginal people where she may be seen to be criticising her elite landholding (squatter) peers and introducing concepts such as an Aboriginal parliament.
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Liu, Lu. "“You Are Not There Yet to Think Creatively”." Departures in Critical Qualitative Research 13, no. 1 (2024): 22–48. http://dx.doi.org/10.1525/dcqr.2024.13.1.22.
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This critical autoethnographic research explores the lived educational experiences of an Asian woman in a mid-South urban university in the U.S. The stories of the self-empowerment for women of color connect personal encounters to larger sociocultural and political phenomena. The study employs creative analytic practice as a way of representing autoethnographic data through narratives and poetry, an innovative approach to critiquing and deconstructing academic realities, while illuminating the power relations between faculty and students. The study suggests that race- and gender-based inequities in academia may be negotiated through promoting minoritized discourses, thereby opening pathways toward education equity and social justice.
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Yuen, Felice. "Kicking and Screaming." International Review of Qualitative Research 2, no. 4 (2010): 429–32. http://dx.doi.org/10.1525/irqr.2010.2.4.429.
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In this paper, poetry, as a form of creative analytic practice, is used to articulate my transformation from a constructivist to a critical theorist during my research with Aboriginal women in prison. I was first kicking and screaming against the very thought of working so closely with women in prison, and eventually I was kicking and screaming with incarcerated women and for incarcerated women. Creative analytic practice embraces the complexity of lived experiences and allows for transformational process of self-creation. In my poem, I illustrate my intense, emotional, and life-changing journey as I re-discovered a world based on hierarchical structures of power.
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Doyle, Betty. "End of the line: An exploration into the creation and challenges of infertility poetry." Performing Ethos: International Journal of Ethics in Theatre & Performance 13, no. 1 (2023): 31–40. http://dx.doi.org/10.1386/peet_00052_1.
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Infertility is an aspect of motherhood that is ‘Other’ and is broadly met with silence by the wider western society and its pronatalist culture. The silence surrounding infertility impacts our individual, mutual and cultural understandings of motherhood, as this silence arises from its taboo nature. Speaking up about any aspect of motherhood that is not typical is still treated as taboo, and the experiences of ‘atypical’ mothers, such as those who have experienced infertility, are still side-lined. The taboo nature of infertility, coupled with the grief and absence that define it, all contribute to the silence that surrounds it. This article is in the form of a lyric essay that combines my own poetry about infertility and Polycystic Ovary Syndrome (PCOS) with a broader critical analysis about the challenges of writing about infertility. I intersperse my own infertility poetry with a close textual analysis of infertility poetry composed by contemporary western women poets, such as Kerry Priest, Gerrie Fellows and Julia Copus. This close reading highlights the poetics employed by these writers that recreate, reformulate and reinvent writing about infertility, and motherhood more broadly. Alongside my own poetry, I include a self-reflection that highlights how my poems challenge and resist the conventional approaches to performing maternity. This self-reflection also details how I utilized poetics to both present and represent the silence and absence of infertility’s ‘non-event’, and give it presence and language.
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Ryan, P. D. "Producing subjectivities, taking risks: New directions for teaching women?s poetry in South Africa." Literator 23, no. 3 (2002): 117–38. http://dx.doi.org/10.4102/lit.v23i3.346.
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This paper is based on five years experience of teaching an innovative poetry course at third-year level at a distance education institution. Conceived at a time when universities across the country were in the throes of academic and institutional transformation, the course departed radically from the so-called knowledge-as-accumulated-capital ethos and pointed toward assumptions initiated by Paulo Freire that knowledge can meaningfully emerge from the interaction of students from different backgrounds and asymmetrical social positions, especially when such knowledge is situated within a context which allows for creativity, self-reflexivity and critique. Most significantly, this course made available for students a forum for expressing subjectivity without the accompanying anxiety that they would be penalised for doing so. Questions are raised as to the value of presumed “objectivity” as a criterion for academic discourse, and theoretical considerations concerning the privileging of certain epistemologically suspect procedures are aired. Finally, I describe my particular contribution to the course as teacher of gender theory and show how students react to new, even revolutionary, ideas about the intersections of race and gender in relation to reading and writing about poetry.
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Hodge, Lisa, and Lia Bryant. "Masking the self: Understanding the link between eating disorders and child sexual abuse." Qualitative Social Work 18, no. 2 (2017): 247–64. http://dx.doi.org/10.1177/1473325017714532.
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The discourses of child sexual abuse and eating disorders are inextricably shaped by gender politics. Medical discourses conceptualise abuse as resulting in permanent damage to the personality and continue to draw on the notion of hysteria when explaining anorexia. Yet the circulation of such pathologising discourses masks aspects of female subjectivity and leave other explanations unexplored. We argue that women make decisions and experience eating disorders beyond these privileged understandings. Indepth interviews, artwork and poetry are obtained from seven women and a feminist application of Bakhtin’s sociological linguistics is used to gain deeper insights into meanings and emotions. Our argument will unfold in three sections: Masking Emotions; The Mask Representing Powerlessness; and Revising the Self. Collectively the data reveals how gendered discourses dominate the women’s narratives when making claims about the self. Although these women’s voices are largely marginalised in society they nevertheless disrupt authoritative discourses on child sexual abuse and eating disorders.
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Trubnikova, Nadezhda N. "Incarnated Bodhisattva: A Record of the Commemoration of Princess Sonshi." Study of Religion, no. 2 (2019): 66–76. http://dx.doi.org/10.22250/2072-8662.2019.2.66-76.
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The article describes one of the examples of the ganmon genre in Japanese Buddhist literature: the text of Yoshishige-no Yasutane (933–1002), compiled in 985 for the commemoration rite of Princess Sonshi (addressee of Sanbō ekotoba) and included into the Honchō Monzui collection. In this ganmon, a noble woman appears as the incarnation of bodhisattva: although in childhood and youth the princess was a priestess of Kamo shrine, then became the sovereign's wife and only became a nun shortly before her death, her life choice is described as moving along the path of the Buddha to the rebirth in Pure Land. Like other compilers of gammon texts, Yasutane combines references to Buddhist scriptures with motifs from Chinese secular poetry. The rite of commemoration, of which he speaks, is indicative from point of view of the selection of Buddhist sutras presented to the temple – those that were most popular in Japan and were considered especially useful for women. Among the Japanese texts about Kannon (Avalokiteśvara), this gammon is interesting by the sense in which the fate of a woman, in her life and after death, can be considered the realization of the Bodhisattva's merciful practice. The article is accompanied by translation of the Yasutane’s ganmon
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Zou, Luwei, and Maria V. Mikhaylova. "The Phenomenon of “Podakhmatovki”: Akhmatova’s Discourse in Women’s Poetry of the First Third of the 20th Century." Studia Litterarum 6, no. 4 (2021): 198–223. http://dx.doi.org/10.22455/2500-4247-2021-6-4-198-223.
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The article mainly deals with the role of Akhmatova’s discourse in women’s poetry of the first third of the 20th century. After the publication of Akhmatova’s first collections of poems characterized by “the superior simplicity,” women’s poetry got access to the new opportunities for self-presentation. There emerged such phenomenon as “podakhmatovki” (e.g. female poets influenced by Akhmatova), the list of which, however, varies in different studies. We argue that the most representative “podakhmatovki” were L.F. Kopylova, N.G. L’vova, and V.M. Inber. For the first time, the article proposes a specific analysis of the poems by these three female poets which allows us to discover their ways of absorbing and developing Akhmatova’s insights from a psychological stand. We claim that Kopylova almost duplicates Akhmatova’s methods of comprehending the inner world of women being, to a certain extent, an imitator; L’vova is trying to combine the image of Akhmatova’s female characters and futuristic poetics; and Inber prefers a dialogue and exhibits “rivalry” of a kind with Akhmatova in her poetry.
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Das, Arunav, and Rajeshwar Mittapalli. "The Contribution of Akka Mahadevi and Mirabai to Bhakti Literature: A Comparative Study from the 21st-Century Perspective." International Journal of Language, Literature and Culture 3, no. 6 (2023): 1–6. http://dx.doi.org/10.22161/ijllc.3.6.1.
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This study aims to demonstrate the contribution of Akka Mahadevi and Mirabai to the Bhakti literature. This paper will explore the contribution of two classical female Hindu poet-saints by analyzing their selected poetry, a comparative analysis of Mahadevi’s devotion to Lord Shiva, and Mirabai’s devotion to Lord Krishna. These two famous women poets in the Middle Ages acted like social reformers and radical change makers in society; breaking the patriarchal norms, and erasing the distinction of caste, class, and language barriers to democratize spirituality through their artistic emotion of devotion and lyrical composition. The only possibility of self-expression available to women in a patriarchal society remained through spirituality. The spiritual imagery used in rebel saints' music reflects their societal estrangement. The argument in this study is divided into two parts, while Akka Mahadevi is aimed to define and describe the nature of devotion to Siva; and Mirabai is concerned with a woman’s ability to speak authoritatively by the nature of devotion to Lord Krishna. This study will emphasize how these two poets overcame the caste, class, and social disparity women faced in the Middle Ages by contextualizing the history and literary point of view by analyzing their poetry.
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MARTÍN MARTÍNEZ, MACARENA. "CORPOREAL ACTIVISM IN ELIZABETH ACEVEDO’S THE POET X: TOWARDS A SELF-APPROPRIATION OF US AFRO-LATINAS’ BODIES." Revista de Estudios Norteamericanos, no. 25 (2021): 1–23. http://dx.doi.org/10.12795/ren.2021.i25.01.
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Scholars have typically studied Chicanas/Latinas in the US and African American women separately. However, this paper explores both the cultural appropriation of Afro-Latinas’ bodies in the US and the strategies they employed to reclaim their bodies and agencies through Elizabeth Acevedo’s novel, The Poet X. The protagonist’s body is simultaneously and paradoxically hyper-sexualized by racist discourses, and called to chastity by the patriarchal Catholic doctrine presiding over her Dominican community. Nevertheless, I argue that the protagonist makes her body a site of activism as she re-appropriates the agency over her body by moving from a self-imposed invisibility and silence in order to try to avoid the hyper-sexualization of her incipient curves, to a non-objectified visible position through her sexual desire, self-representative embodied narrative, and performance of her slam poetry.
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Pawlik, Sabina. "Twórczość artystyczna jako sposób urzeczywistniania paradygmatu emancypacyjnego." Interdyscyplinarne Konteksty Pedagogiki Specjalnej, no. 16 (September 9, 2018): 129–42. http://dx.doi.org/10.14746/ikps.2017.16.08.
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The article relates to artistic creation of intellectually disabled people as an example of possible means of their emancipation. In this paper I claim that artistic creation of intellectually disabled people may constitute a tool of self-expression, and as a result be a way to realize the emancipatory paradigm in special education. I have illustrated my hypothesis with some poetry written by two women affected by Down syndrome whose creation is a conscious act of formulating an autonomous artistic message.
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Mai, Anne-Marie. "Märta Tikkanen’s gender and alcohol saga." Nordic Studies on Alcohol and Drugs 34, no. 4 (2017): 289–98. http://dx.doi.org/10.1177/1455072517720100.
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Märta Tikkanen’s poetry collection Århundradets kärlekssaga ( The love story of the century, 1978) is a confessional book on life in a family where the husband and father is an alcohol abuser. It is also a love story about a married couple who love one another despite the terrible challenges posed to the relationship by alcoholism. The poetry collection became one of the most influential books in contemporary Nordic fiction, its themes on gender roles and alcohol abuse setting the trend in the Nordic discussion of women’s liberation. Märta Tikkanen’s courage to tell her own private story inspired other women to confess their gender equality problems to the public. The alcohol abuse of Märta Tikkanen’s husband Henrik Tikkanen was seen as an allegory for the more general problems in the relation between men and women. My essay introduces Märta Tikkanen’s poetry collection and discusses how the poems develop the theme of gender and alcohol. I will also compare her description of their marriage with Henrik Tikkanen’s self-portrait in his autobiographical novella Mariegatan 26, Kronohagen (1977). The analysis refers to contemporary research on gender and alcohol abuse and discusses how the poems contribute to a public recognition of the relationship between gender and alcohol abuse. The essay discusses the reception of Märta Tikkanen’s influential poems and explores her treatment of alcohol and gender in relation to other Nordic confessional or fictional books on alcohol abuse.
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Kannan .D and Narasimhamurthy S V. "Feminine Sensibility and Self-Affirmation of Woman in Shashi Deshpande’s “The Dark Holds No Terrors”." Shanlax International Journal of English 12, S1-Dec (2023): 380–85. http://dx.doi.org/10.34293/rtdh.v12is1-dec.122.
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Shashi Deshpande’s novel “The Dark Holds No Terrors” explores themes related to feminine sensibility and self-affirmation in the context of a woman’s life.Fictional works by Shashi Deshpande depict the struggles of Indian women and build a world from the perspective of feminists. Her story presentations in That Long Silence are very real, thanks to the emotional identification and validation of self-anguishing via their difficulties. She stands in for the feminist longing for India’s rich cultural heritage and traditional practices that these women feel. She admits her fictitious art world was lacking strength and significance due to a lack of understanding of Indian women’s inner lives. Deshpande disrupts the typical matrix of ‘home and homelessness’ in the galaxy of feminist fiction by creating different narrative patterns that give her feminist protagonists adequate freedom to show their repressed sense for their motherland. Aside from the characters’ sentimentality, she promotes local sensibility via poetry, performances, ethics, and ethnic arts. In her narrative work, she has come to terms with the paradigms and commitments.
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Mahdi, Inst Dr Yasir Ammar. "Emotional Disorder In the poetry of Badr Shaker Al Sayab Inst. Dr. Yasir Ammar Mahdi." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 227, no. 1 (2018): 241–58. http://dx.doi.org/10.36473/ujhss.v227i1.693.
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The emotional turmoil is evident in the poetry of Sayab, as the poet felt the decline and turmoil about the nature of the sensitive feelings of pent-up feelings were an obstacle to the continuation of his relationship with the emotional love of women who were inspired by poetry, was a mirror of the truth of the suffering of the grief and concerns remained locked The walls of his heart and his memory burdened with thousands of pictures, as well as his finite sense of deprivation of those who love and love, and released the groans, and shed tears on the desperate love finds no place in the circle of living reality.
 So Sayab was bleeding from his wounds, and he despaired of his cold, self-effacing unity, which was not unbroken by pain, pain and sorrowful memories, painted by symbols and names of his loved ones in the verses of his poems, an expression of his turbulent discontent and his disillusionment with these Sweeties
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Dubey, Prachi, and Dr Charu Chitra. "Study of Identity Crises of Kamala das in her Autobiography “My Story”." SMART MOVES JOURNAL IJELLH 7, no. 11 (2019): 8. http://dx.doi.org/10.24113/ijellh.v7i11.10136.
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It is true that only a language is a universally recognized means of speech through which an author strives to pour in the rich pearls of his imagination and the great struggle to find compromise through uncompromising wilderness, making the real tale of true identity literature ,Kamala Das protested against the society's prevailing systems. Her insulted feminine self went on emotional wanderings seeking to discover an identity and liberation expressly for her own and for the entire tradition of women in general. Her compassionate interpretation and description of the Indian woman's problem generally naturally turn her into a feminist. The world of "vacant ecstasy" and sterility was vividly visualized by Kamala Das through numerous functional images and symbols in her poetry. She finds herself catapulted into a series of situations where in the hands of male dominance she became merely a puppet.Being bold, through the medium of poetry and writing, she protested and expressed her frustrations, rancor and loneliness. Her poems epitomize the dilemma of modern Indian women trying to liberate her from the role bondage that patriarchal society sanctioned her sexually and domestically Therefore, Kamala Das's voice to seek her own identity is women's voice to fight for better living conditions and equal human rights.
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Ashraf, Dr Rumana. "Representation of Kashmiri Women in Naseem Shifaee’s Selected Poems." SMART MOVES JOURNAL IJELLH 9, no. 1 (2021): 123–35. http://dx.doi.org/10.24113/ijellh.v9i1.10885.
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The paper undertakes examination of selected poems of Naseem Shifaee’s translated in English by Neerja Mattoo by focusing on female identity . Literature looks at humanity with a questioning as well as affirmative gaze, disapproving and approving at the same time, reaffirming stereotypes as well as breaking them. Throughout ages narratives in Kashmir have revealed the inbuilt discrimination and biases against women. Cultural space for women is highly restricted in Kashmir. In spite of their marginalized position Kashmiri women made themselves heard ,undeterred by established womanly restraints interrogated the patriarchal practices and refused to live in a culture of silence . Naseem Shifaee is a powerful women voice acclaimed internationally with the publication of her first poetry collection Darichi Matsrith (windows thrown open) highlighted the existing reality of women in contemporary Kashmir. The paper will explore the incongruity between the societal image of female poetic persona and her own instincts about her true nature .It will be argued how poetic persona is trapped in male allotted and confined space, persuaded to look at herself continually in terms of social conventions according to which women are denigrated by patriarchal supremacy .The bewildered state of mind leads her to undertake the obsessive search for her authentic self identity. She questions what if roles were reversed? In other two poems Naseem questions patriarchal traditions Naseem Shifaee assume the role of the medium in establishing female non being into self-realized person.
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Najim Abid Al-Khafaji, Saad. "Motherhood in Wordsworth: A Psychoanalytic Study of his Poetics." Al-Adab Journal 1, no. 127 (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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Zsadányi, Edit. "Impersonal Narration in the Prose of Margit Kaffka, Emma Ritoók and Jolán Földes." Hungarian Cultural Studies 4 (January 1, 2011): 171–89. http://dx.doi.org/10.5195/ahea.2011.41.
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In this paper, I examine the ways in which women writers have contributed to literary modernity, and discuss approaches and rhetoric tropes that are able to convey the peculiarities of femininity. To this purpose, I have chosen to discuss a range of gendered prose poetry methods used by women writers of the first half of the 20th century that articulate the peculiarities of women’s identities. Inspired by feminist researchers Griselda Pollock and Rita Felski, I also examine instances and possible interpretations of gendered impersonal narration, such as the rhetoric of enumeration, overlapping cultural and fictional narratives, and the projection of feminine subjectivity onto objects. I also emphasize that we must take into account not only to the voice, language and personality of a character or narrator when examining constructs of their (feminine) self-image, but also other signs emerging elsewhere in the text.