Global ETD Search

11	Poetics of the document and documentary poetics : documentary poetry by women, 1938-2015 Burk, Chelsea D. 01 May 2019 (has links) This project reconceives the methods critics use to define and analyze the critical field of documentary poetry. Although scholarship on documentary in the visual arts abounds, literary criticism that explores poetry through a documentary lens is sparse. Documentary poetics criticism focuses almost exclusively on socioeconomic class within the poems and on defining the genre. Critics have not attended to the ways that the category “document” inflects this poetic arena. I argue that documentary poetics includes engagement with specific documents and with the power they hold within a given historical moment. This requires attending to what I call document culture: a document’s visual and stylistic norms, in addition to the customs of its subject matter and material/medium. In addition to contributing to critical theory, this project traces documents’ shift from the twentieth century into the twenty-first from wood pulp to strings of code. I focus on representative collections of poetry that foreground the effects particular documents, like congressional hearings, dictionaries, and social media posts, have on people based on their position within the society in which they live. These documentary poems function differently than other poems that engage documents. A second category, poem-documents, interrogate the historical genre of English-language poetry in the nominally postcolonial US, with special focus on the African and Jewish diasporas, and experiences of indigenous people in the colonizing nation. These poems confront the genre’s social position and critically-imposed limitations to demonstrate poetry’s potential to act as a document that names and remembers injustices. My project emphasizes poetry by women, particularly women of color, in order to revise documentary poetics criticism’s interest in class and style to include textual resonances of race, gender, sexuality and nation. Just as the collections documentary poets offer are interdisciplinary in ethos, so is this project, with roots in documentary studies, media studies, feminist criticism, queer studies, and critical race studies in addition to literary criticism. Each chapter of this project follows the slippage between poem-documents and documentary poems. Chapter one grounds documentary culture in Muriel Rukeyser’s The Book of the Dead (1938), widely considered to be the first American documentary poem. I juxtapose Rukeyser’s interest in document cultures and theory of poetry’s ethical possibilities in The Life of Poetry (1949) with, in Chapter two, Irena Klepfisz’s A Few Words in the Mother Tongue: Poems Selected and New 1971-1990, a collection that reframes lyric poetry as mode of documentation. Chapter three places Harryette Mullen’s critique of English-language reference texts and the accumulations of connotative meaning, Sleeping with the Dictionary (2002), in conversation with M. NourbeSe Philip’s Zong! (2008), which re-documents African women’s experiences of the trans-Atlantic slave trade. The final chapter addresses Citizen (2014), in which Claudia Rankine re-envisions the archive of anti-black racism to include speech and Conflict Resolution for Holy Beings (2015), Joy Harjo’s polyvocal and iconoclastic collection that uses poetry to redefine the archive’s temporality in a way that might counter the erasure of indigenous peoples in the Americas. The nuanced ruminations these poets offer illustrate that, as an area of study with its own investments, interests, and modes of inquiry, critical documentary poetics has just begun. American literature documentary poetics document culture feminist poetry poetry women's poetry English Language and Literature
12	Backward to your sources, sacred rivers: a transatlanitic feminist tradition of mythic revision House, Veronica Leigh 28 August 2008 (has links) Not available / text Feminist poetry--History and criticism Feminism and literature
13	"Rebellion pioneered among our lives" : four radical women poets of the 1930s and the American lyric / Lisella, Julia. January 1900 (has links) Thesis (Ph.D.)--Tufts University, 2001. / Adviser: Elizabeth Ammons. Submitted to the Dept. of English. Includes bibliographical references (leaves 268-289). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
14	Still House Edwards, Stephanie Lorraine 05 1900 (has links) Still House is a poetry manuscript that explores the relationship between traditional gender roles and traditional poetic forms. The poems in this collections seek to revise the role of the homemaker and interrogate whether it is okay to take comfort and pleasure in tasks that are often labeled as feminine (i.e. cooking, baking, decorating, organizing, shopping, choosing outfits) while rejecting other parts of the homemaker archetype, such as subservience to and dependence upon men. Limited gender roles, patriarchy, sexist comments, capitalism, toxic masculinity, the cis-hetero-white-male gaze, trauma, physical pain, illness—these all can make it feel like we are not fully in control and ownership of our bodies, like something is encroaching. The poems in Still House are invested in using the poetics of embodiment (a poetics centered around telling stories about the body through immersive sensory details) to reclaim the body from trauma, patriarchy, and chronic pain and illness. feminist poetry poetics formal poetry trauma studies chronic pain chronic illness feminism contemporary poetry
15	Wandering: Dreams, Memory, and Language in Poetry Kramer, Emily Marie 28 June 2018 (has links) No description available. Spirituality Medieval Literature Literature Language poetry poems dreams Old English The Wanderer feminist poetry memory time
16	Navalhanaliga = a poética feminista de Alice Ruiz / Navalhanaliga : the feminist poetics of Alice Ruiz Murgel, Ana Carolina Arruda de Toledo 16 August 2018 (has links) Orientador: Luzia Margareth Rago / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-16T14:52:43Z (GMT). No. of bitstreams: 1 Murgel_AnaCarolinaArrudadeToledo_D.pdf: 2219053 bytes, checksum: c9fbf64042901c7f9af7533dd0171f5b (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa focaliza o trabalho artístico da poeta e compositora Alice Ruiz, buscando compreender como se dá a construção de sua subjetividade através de sua experiência e práticas estéticas. A proposta é fazer o levantamento e análise histórica dos textos feministas da poeta, assim como de seus poemas e letras de canções utilizando as categorias gênero, estéticas da existência, subjetividade e poética feminista. O trabalho se norteia metodologicamente pelas concepções da filosofia da diferença, em especial no pensamento de Michel Foucault e nos debates de gênero. / Abstract: This research focuses on the artistic work held by the poet and composer Alice Ruiz, trying to comprehend the ways of construction of her subjectivity through her self aesthetics practices and experience. I aim at investigating and analyzing of the poet's feminist writings, as also her poems and music lyrics, using such categories as gender, aesthetics of existence, subjectivity and feminist poetic. The work is methodologically guided by the conceptions of the philosophy of difference, in special on the thoughts of Michel Foucault and in the debates on gender. / Doutorado / Historia Cultural / Doutor em História Ruiz, Alice, 1946- Poesia feminista brasileira Música brasileira Contracultura Estética Subjetividade Feminist poetry, brazilian Brazilian music Counterculture Aesthetics Subjectivity
17	Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change Kyser, Tiffany S. 19 July 2010 (has links) Indiana University-Purdue University Indianapolis (IUPUI) / My thesis examines the ways in which female performance poets deliver their messages and how those messages inspire, affirm, and encourage their audiences. From the traditions of outsider art—Beat poetry, feminist poetry, jazz, folk, punk, and rap—feminist performance poets choose the public sphere as a platform to witness to social injustices. In naming inequality, these poets challenge patriarchal foundations of gender roles, question academia’s criteria as to what constitutes “good” poetry, and expose social injustices. In this thesis, I examine the work of feminist performance poets Ani Difranco, Alix Olson, Andrea Gibson, Ursula Rucker, and Jessica Care Moore as examples of a new way of reading. Their work is significant in that they continue the tradition of feminist poetry by challenging the patriarchal status quo through a re-socializing and accessible style. Their work allows audiences to commune together in shared experience and promotes social change by demystifying cultural norms and gender codes in order to expose the exclusivity in patriarchal ideologies. These poets draw on a woman-centered spirituality, subvert misogynistic feminine archetypes, pay homage to ancestors and foremothers, and address issues of the body—naming oppression yet making room for pleasure. Rhetoric -- Political aspects Social movements in literature Social justice in literature Feminist poetry
18	Poetics of the other, five feminist writers from English Canada and Quebec Carrière, Marie J. January 1999 (has links) (PDF) No description available. Feminist poetry, Canadian History and criticism Canadian poetry Women authors History and criticism Canadian poetry History and criticism Poésie féministe canadienne Histoire et critique Écrits de femmes canadiens Histoire et critique Poésie canadienne Histoire et critique
19	Folked, funked, punked how feminist performance poetry creates havens for activism and change / Kyser, Tiffany S. January 2010 (has links) Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
20	Encountering maternal silence: writing strategies for negotiating margins of mother/ing in contemporary Canadian prairie women's poetry Hiebert, Luann E. 11 April 2016 (has links) Contemporary Canadian prairie women poets write about the mother figure to counter maternal suppression and the homogenization of maternal representations in literature. Critics, like Marianne Hirsch and Andrea O’Reilly, insist that mothers tell their own stories, yet many mothers are unable to. Daughter and mother stories, Jo Malin argues, overlap. The mother “becomes a subject, or rather an ‘intersubject’” in the text (2). Literary depictions of daughter-mother or mother-child intersubjectivities, however, are not confined to auto/biographical or fictional narratives. As a genre and potential site for representing maternal subjectivities, poetry continues to reside on the margins of motherhood studies and literary criticism. In the following chapters, I examine the writing strategies of selected poets and their representations of mothers specific to three transformative occasions: mourning mother-loss, becoming a mother, and reclaiming a maternal lineage. Several daughter-poets adapt the elegy to remember their deceased mothers and to maintain a connection with them. In accord with Tanis MacDonald and Priscila Uppal, these poets resist closure and interrogate the past. Moreover, they counter maternal absence and preserve her subjectivity in their texts. Similarly, a number of mother-poets begin constructing their mother-child (self-other) relationship prior to childbirth. Drawing on Lisa Guenther’s notions of “birth as a gift of the feminine other” and welcoming the stranger (49), as well as Emily Jeremiah’s link between “‘maternal’ mutuality” and writing and reading practices (“Trouble” 13), I investigate poetic strategies for negotiating and engaging with the “other,” the unborn/newborn and the reader. Other poets explore and interweave bits of stories, memories, dreams and inklings into their own motherlines, an identification with their matrilineage. Poetic discourse(s) reveal the limits of language, but also attest to the benefits of extra-linguistic qualities that poetry provides. The poets I study here make room for the interplay of language and what lies beyond language, engaging the reader and augmenting perceptions of the maternal subject. They offer new ways of signifying maternal subjectivities and relationships, and therefore contribute to the ongoing research into the ever-changing relations among maternal and cultural ideologies, mothering and feminisms, and regional women’s literatures. / May 2016 Elegiac poetry Motherhood Maternity poetry Canadian poetry Women authors Poetics Maternal subjectivity Maternal theory Feminist poetry Prairie poetry Pregnancy Childbirth Mourning mother loss Mourning child loss Maternal lineage Mother poets Prairie women's poetry 21st century poetry Ariel Gordon Barbara Langhorst Canadian literature (English) Charlene Diehl-Jones Claire Harris Cultural transmission Cultural violence Culture and motherhood Domestic violence Elegy Hospitality and responsibility Jennifer Still Lisa Martin-DeMoor Literary criticism Louise Bernice Halfe Maternal discourse Maternal aesthetics Maternal inheritance Maternal silence Maternal writing Méira Cook Erín Moure Melanie Dennis Unrau Mother myths Postcolonial writing Motherhood studies Motherhood and feminism Prairie women poets Regional literature Rita Bouvier Sally Ito Sarah Klassen Su Croll Subjectivity Writing and motherhood Writing the other

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