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

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

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

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

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Ce mémoire porte sur la représentation littéraire de la honte entrevue comme un affect productif et étroitement lié à l’identité queer. Cette interprétation de la honte s’appuie sur la recherche d’Eve Kosofsky Sedgwick qui suggère que l’affect inaugure un pouvoir inextinguible de transformation. Il devient ainsi possible d’appréhender l’articulation entre la honte et l’identité, l’intime et le social, la répression et l’expression dans le roman Autobiography of Red (1998) d’Anne Carson et les recueils de poésie The Dream of a Common Language (1978) et A Wild Patience Has Taken Me This Far (1981) d’Adrienne Rich. Dans le roman, le protagoniste Geryon, un monstre queer inspiré d’un mythe grec ancien, tente de saisir la signification de son existence dans le monde. Au fil du récit, il construit son « autobiographie » pour mieux façonner son identité. Son apparence monstrueuse empreinte d’affects et une relation amoureuse queer se trouvent au cœur de sa production artistique. En ce qui a trait aux recueils de poésie, Rich projette de créer un langage commun pour enfin représenter les femmes (lesbiennes). Elle promet de leur bâtir un espace affectif en réécrivant l’histoire lesbienne par le biais de sa poésie. Celle-ci permet d’éclaircir le lien entre la honte et l’identité ainsi que d’énoncer les possibilités politiques que cette relation provoque. Ce mémoire développe donc deux manifestations distinctes de la honte chez le sujet queer. D’un côté, il étudie son expérience hautement intime et personnelle, enchevêtrée dans le processus de la constitution de soi. De l’autre, il analyse la façon dont le traitement de la honte par Rich conduit à la création, autant artistique que politique. / This master’s thesis engages with the literary representation of shame as a productive affect that is closely tied to queer identity. This interpretation of shame draws on the research of Eve Kosofsky Sedgwick, who argues that this affect inaugurates the place of identity and “a near-inexhaustible source of transformational energy.” In doing so, it enables a comprehension of the nexus between shame and identity, the intimate and the social, repression and expression in Anne Carson’s novel Autobiography of Red (1998) and Adrienne Rich’s poetry collections The Dream of a Common Language (1978) and A Wild Patience Has Taken Me This Far (1981). In the novel, the protagonist Geryon, a queer monster derived from an ancient Greek myth, attempts to grasp the meaning of his existence in the world. As the story unfolds, he constructs his “autobiography” to better construct his identity. His monstrous appearance, marked by affect, and a queer love story are at the heart of his artistic production. Concerning the poetry collections, Rich launches the project of creating a common language to at last represent (lesbian) women. She vows to shape an affective space for them by rewriting history through her poetry. It allows us to clarify the connection between shame and lesbian identity, and articulate the political possibilities that this relationship provokes. This master’s thesis therefore develops two distinct manifestations of shame within the queer subject. On the one hand, it examines the highly intimate and personal experience of shame as it is entangled in the process of self-constitution. On the other, it analyzes the ways in which Rich’s treatment of shame leads to sociability and to creation, both artistic and political.

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No description available.

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

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