This research explores the role of al-Hakkamat rural women poets in the context of armed conflict in Darfur, from 1980s to 2006. Utilising QSR NVivo7 software, the study analyses and interprets qualitatively collected data in the light of the posed research questions. Processes and attributes leading to the identification of al-Hakkamah, such as her singing and composing talents, are explored - from identifying and nurturing to fully constructing her role as a folk singer and agitator as well as a powerful social actor. Her nurtured personal and social identities reconstruct for her gender roles that are found to be both feared and revered by the community and appropriated by the government. She is found to respond effectively to situations ranging from gallantry (lauding), solidarity (lobbying) to downright belligerency (inciting). These roles exhibit robust and proactive gender roles and power relations in Darfur that enable women, not without historical precedence, to exercise their own identity, agency and political influence in an otherwise overwhelmingly patriarchal society. The study also reveals that the conflict of Darfur is rooted in the history of the neopatrimonial domestic politics pursued by the riverine ruling elites, marked by systemic failure to manage resource issues equitably between tribal and ethnic entities in Darfur. In such circumstances, al-Hakkamat agency is either volunteered or enlisted in the attempt to secure an advantage. In either case her agency is verifiably seen to bolster the hypothesis that rural women in Darfur exercise more power than their counterparts in rural northern Sudan.

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

In this essay, the author analyzes the Gothic of Christina Rossetti in such poems as A Coast Nightmare, Shut Out, but also the well-known Goblin Market and the Prince's Progress. Interested in what the imagery of these poems convey, and intent on declaring Rossetti as a prominent example of Gothic poets, the author makes a strong case for the including of Rossetti among the great Gothics.

Poetry by Russian women which has been published since the fall of the Soviet Union reveals that the quest to explore female identity and experience is no longer inviolable in Russian literature. This thesis examines female personae, gender and cultural identity in the work of Russian poets Nina Iskrenko (1951--1994), Tatiana Voltskaia (b. 1960), and Iuliia Kunina (b. 1966). Although the poetics of these writers' texts are broad-ranging, all of their work takes up the subjects of gender and cultural identity. Their poems explore identity as a discursive practice, rather than a fixed construct within the strictures of authoritative metanarratives' binary oppositions (male/female, feminine/masculine, Russian/non-Russian). This lends their poetry to postmodern analysis, an approach that heretofore has rarely been applied to poetry by Russian women. Within this theoretical framework, Judith Butler's formulation of "performativity" and Mikhail Epstein's theory of "transculturalism" are particularly well-suited to the task, as each entails non-essentialist conceptions of identity. Donna Haraway's formulation of "woman" as cyborg" is also a fitting theoretical complement, as it suggests the hybridization of identity, as well as the increasing role of the Internet in contemporary and future developments in Russian literature. The rapid changes in the late- and post-Soviet cultural landscape have engendered in contemporary poetry by Russian women powerful, new expressions of gender and cultural identity, which are resulting in startling subversions of authoritative discourses while at the same time forging coalitional "transmodern" identities.

Thesis (M.A.)--Victoria University of Wellington, 2006. / Includes bibliographical references.

No description available.

Italian poet Vera Gherarducci published her second book, Giorno Unico (A Single Day), in 1970. This project consists of translations of 24 of these poems, a translation of the book’s introduction by Pier Paolo Pasolini, and a critical translator’s introduction. The critical introduction positions the work within the context of post-war Italian women’s poetry; explores the legacy of mental health in literature and its ties with diary writing and gender; and discusses specific translation strategies related to these issues. Giorno Unico deals extensively with themes of mental health, focusing on struggles with depression, suicidal thoughts, marital problems, and maternal anxieties. Such topics place the work in conversation with many other post-war women writers in Italy grappling with new conceptions of womanhood and the burgeoning Italian feminist movement. Themes of mental health are also expressed by the poems being written in the form of an intimate diary, though the temporal mapping is complicated by flashback and circular narration. As the title suggests, these poems come to resemble one long, never-ending day, manifesting in the recurrence of words and phrases, frequent mental health metaphors of being trapped inside, and the repetition of monotonous household work. After contextualizing the work’s primary characteristics, I then frame my own translation approach that looks to foreground the presence of mental health and preserve the characteristics of the diary form. This approach was influenced by feminist translation theorists such as Sherry Simon and Barbara Godard who challenge the monolithic nature of both source and target texts, and endorse the recovery of forgotten women writers through translation. In my principal theoretical assertion, I push against Lawrence Venuti’s discussion of the inherent violence enacted in translation, and conceive of what I term a non-lobotomizing translation approach to Giorno Unico. This framework rejects a masking of mental health in the collection, instead underscoring such taboo themes. In some cases, I choose more clinical translations of terminology to directly reference mental health discourse; in others I select more dated terms, such as “madness,” to gesture to a different framing of mental illness during the writing of Giorno Unico.

No description available.

[pt] A dissertação apresenta uma incursão pelos poemas de duas poetas da diáspora negra, Carol Dall Farra, do Brasil, e Porsha Olayiwola, dos Estados Unidos, numa investigação sobre processos do sentimento de não pertencimento na constituição de subjetividades de mulheres negras a partir de reflexões acerca de elementos de diferenciação, como raça, gênero, classe, religião e orientação sexual. Em formato de ensaios, pretende-se discutir economia onomástica, assim como a influência da cultura negra nas línguas coloniais, a heterossexualidade compulsória e outras experiências relacionadas à diáspora negra, cuja resistência, aqui, desponta nas performances poéticas das autoras no slam poetry, que, nesse sentido, funciona como uma ferramenta de construção de identidades e da partilha do sensível, formulação de Jacques Rancière, em que os interlocutores dos poemas são muitas vezes as mulheres negras, que, assim como as poetas, constroem suas subjetividades com os poemas declamados. Sob a luz dos escritos de intelectuais como bell hooks, Audre Lorde e Lélia Gonzalez, discute-se as disputas que as poetas escolhidas escolhem travar para forjar subjetividades e criar vínculos. / [en] The dissertation presents an excursion into the poems of two poets from the African diaspora: Carol Dall Farra, from Brazil, and Porsha Olayiwola, from the United States, in an investigation into processes of the feeling of non-belonging in the constitution of subjectivities of black women upon reflections on elements of differentiation, such as race, gender, class, religion and sexual orientation. These essays discuss onomastic economics, as well as the influence of Black culture on colonial languages, compulsory heterosexuality and various experiences related to the African diaspora, whose resistance, in this case, emerges in the poetic performances of the authors in slam poetry , which, in this sense, function as tools for building identities and partage du sensible, formulation by Jacques Rancière, in which the interlocutors of the poems are often black women, who, such as the poets, assemble their identities in virtue of the recited poems. In the light of the writings of intellectuals such as bell hooks, Audre Lorde and Lélia Gonzalez, the disputes that these poets choose to wage to forge subjectivities and create bonds are discussed.

Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time--from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined. The focus narrows from the world to the city in section II. The theme of shelter is important to these poems, as is the act of being a flâneur. The search for shelter, physical and spiritual, is explored. The third section of Five Kingdoms narrows further to the individual. Political themes recur, as do ekphrastic elements, in the examination of individual lives and the search for physical and metaphysical shelter. The title poem "Five Kingdoms," was written on the 60th anniversary of the atomic bombing of Hiroshima on August 6, 1945. This non-narrative poem is composed of a series of questions for the reader regarding personal and national security. It is a political poem that uses a language of fear and superstition to question what we are willing to sacrifice to be safe and what "safety" means. The poem ends with a call to action: "Before you break in two, categorize/the five kingdoms, count all the living things." The poems in this manuscript are a kind of counting that pays attention to the things of the world through praise and elegy. The poems in Five Kingdoms are indebted to my reading of many poets, in particular Michael Burkard, Carolyn Forché, Brenda Hillman, Tony Hoagland, Kenneth Koch, Philip Levine, Denise Levertov, Jane Mead, W.S. Merwin, Pablo Neruda, Frank O'Hara, Mary Oliver, Adrienne Rich, and Mark Strand.