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. / Gordon Memorial College Trust Fund

Thesis (PhD)-- Stellenbosch University, 2005. / ENGLISH ABSTRACT: A study of poetry by six contemporary women in the Afrikaans and Dutch-speaking worlds points toward a multi-focal approach. While texts by poets of a marked diversity are presented as aesthetic objects, the scope of my research has been determined by considerations of gender, language and culture. The central line of investigation concerns the interplay between the poem as an artefact and the changing socio-cultural contexts by which the respective poets have been informed. My dissertation was inspired by Pierre Bourdieu's argument in favour of a fusion between the close reading practices of the New Critics (and in this case, their Dutch counterparts, the Merlinists) and the contextual approach advocated by literature sociologists. Concomitantly the art philosophical standpoint of Marcia Eaton and the views on the écriture féminine or "women's style of writing" held by Helene Cixous are applied to poetry. By incorporating insights from adjacent disciplines and thereby decentering the relative autonomy of the poetic text, I hope to demonstrate how the study of literature could acquire new relevance, either by expanding its own parameters, or by enriching the field of cultural and gender studies. In conclusion I regard the poetry written by contemporary women as a polyphonic discourse voicing women's newly-found position as subjects and challenging notions such as a monolithic "female identity" and the marginalization of "women's poetry". From this perspective, the aesthetic value of the poetic genre is paralleled by its function as a source of knowledge and a cultural agency. / AFRIKAANSE OPSOMMING: 'n Ondersoek na die poësie van ses eietydse vroue in die Afrikaanse en Nederlandse taalgebiede veronderstel reeds 'n multifokale invalshoek. Nie alleen word tekste van uiteenlopende digters as estetiese objekte aan die orde gestel nie, maar staan oorwegings soos geslag, taal en kultuur sentraal by die afbakening van die ondersoeksterrein. Daarby vorm die wisselwerking tussen die gedig as artefak en die veranderende sosio-kulturele konteks die riglyn van die betoog. Pierre Bourdieu se aandrang op 'n fusie tussen die stipleesmetode van die New Critics (in Nederland nagevolg deur die Merlinisten) en die kontekstuele benadering van literatuur wat deur literatuursosioloë voorgestaan word, het as aanset tot hierdie studie gedien. Terselfdertyd word die kunsfilosofiese standpunte van Marcia Eaton en die siening van Héléne Cixous omtrent die écriture féminine ("vroulike skryfwyse") op die poësie betrek. Deur insigte uit naasliggende dissiplines te betrek en die outonomie van die poësieteks te relativeer, wil die ondersoek aantoon dat literatuurstudie 'n nuwe relevansie verkry wanneer die parameters van die vakgebied versit, of kultuur- en genderstudies daardeur verryk word. Uiteindelik beskou ek die digkuns van eietydse vroue as In polifoniese diskoers waarin vroue op uiteenlopende wyses stem gee aan hul nuutverworwe subjekposisie, en wat daarmee die nosie van In monolitiese "vroulike identiteit" en dié van "damespoësie" as afsonderlike en gemarginaliseerde kategorie dekonstrueer. Naas die estetiese waarde daarvan, verkry die poësie uit hierdie perspektief ook In nuts- of instrumentele waarde as 'n alternatiewe bron van kennis en In kultuurskeppende agens.

Because of its importance in the history of the verse novel and the history of women’s writing, Elizabeth Barrett Browning’s Aurora Leigh (1856) has overshadowed the works of other female verse novelists in Victorian studies scholarship. By focusing on non-canonical works by four understudied women poets writing in the late nineteenth century— Augusta Webster’s “Lota” (1867), Violet Fane’s Denzil Place: A Story in Verse (1875), Emily Pfeiffer’s The Rhyme of the Lady of the Rock, and How It Grew (1884), and Emily Hickey’s “Michael Villiers, Idealist” (1891)—this dissertation expands our understanding of both women’s poetry and the verse novel in the Victorian period. It demonstrates that the genre was taken up in multiple ways after Aurora Leigh by women poets who, like EBB, addressed urgent and controversial social and political issues—such as parliamentary enfranchisement, adultery, marital rape, political sovereignty and land use in the Scottish Highlands, as well as socialism and the Irish Question— through inventive and complex generic combinations. This dissertation does not outline a teleological development of genre but, rather, recovers works through case studies that offer microhistories of verse novels at particular historical moments in order to expand the canon and definition of the Victorian verse novel. / Graduate / 2020-04-25

No description available.

This thesis discusses the relationship between the experiences particular to the female body, namely pregnancy and childbirth, and the language employed to voice these experiences. This thesis is set up to reflect the physical cycle of pregnancy and birth. It is divided into three chapters. The first chapter discusses the desire for and the conception of a new use of language, a language equipped to carry the messages, creations, and voices of women. The conception of an expansion of language and the physical conception of a child are paralleled. In this chapter, poetry about wanting to write, wanting to become pregnant, and conception are used as examples of the emergence of the expanded language. In Chapter Two, the incubation of this new language is discussed, its many components and characteristics are described, and the discussion of the possible existence of a womens language is continued, by again analyzing a selection of poetry written by women. In this chapter, poetry about pregnancy and childbirth are used to exemplify the use of this language. The discussion of the gestation and birth of the expanded language with the physical gestation and birth of a child are paralleled. In Chapter Three, this notion of a womens language is further discussed, using poetry about new motherhood to demonstrate the effectiveness and existence of new ways to employ our given language. The discussion of what comes after the birth of a new, expanded language is paralleled with the experiences of a mother after the birth of her child. The ultimate conclusion of this thesis is that there is no one language that women do or should employ when writing, but a movement toward writing through the body when writing about the body, about experiences solely experienced by women.

This thesis discusses the relationship between the experiences particular to the female body, namely pregnancy and childbirth, and the language employed to voice these experiences. This thesis is set up to reflect the physical cycle of pregnancy and birth. It is divided into three chapters. The first chapter discusses the desire for and the conception of a new use of language, a language equipped to carry the messages, creations, and voices of women. The conception of an expansion of language and the physical conception of a child are paralleled. In this chapter, poetry about wanting to write, wanting to become pregnant, and conception are used as examples of the emergence of the expanded language. In Chapter Two, the incubation of this new language is discussed, its many components and characteristics are described, and the discussion of the possible existence of a womens language is continued, by again analyzing a selection of poetry written by women. In this chapter, poetry about pregnancy and childbirth are used to exemplify the use of this language. The discussion of the gestation and birth of the expanded language with the physical gestation and birth of a child are paralleled. In Chapter Three, this notion of a womens language is further discussed, using poetry about new motherhood to demonstrate the effectiveness and existence of new ways to employ our given language. The discussion of what comes after the birth of a new, expanded language is paralleled with the experiences of a mother after the birth of her child. The ultimate conclusion of this thesis is that there is no one language that women do or should employ when writing, but a movement toward writing through the body when writing about the body, about experiences solely experienced by women.

My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.

This study investigates how selected Zimbabwean poets use their poetry to re-imagine and rewrite Zimbabwean history to create new identities. It seeks to achieve this by analyzing the poetry of Musaemura Zimunya, Chenjerai Hove, Dambudzo Marechera, Philip Zhuwao, Freedom Nyamubaya and some other women poets from the anthology A Woman’s Plea and John Eppel’s poetry. The study argues that history and identity are unstable concepts whose meanings and usages are influenced by a variety of factors. It further contends that while the significations of history are generally split between how it is regarded in the academic discipline of history and its meanings outside the academic discipline, the controversies surrounding history are about the ways of representing the past. The study builds its central arguments around this existence of multiple ways of ordering the past, and asserts that poetry is also a form of representing history which utilizes its own rhetoric to authorize its versions of the past and construct identities in its own unique ways. These arguments are raised in Chapter One. The analysis of the selected poets’ texts in Chapters Two, Three, Four, Five and Six links them to the arguments raised in Chapter One. It critiques the versions of histories and the nature of identities that are represented differently by different poets. The study in these chapters reveals that poetic narratives are unstable accounts of both the past and identity, but it is this instability that allows poetry to interrogate narrow concepts of what is ‘real’ in history. There are both similar and dissimilar trends that abound in the selected poets’ texts which reveal that even within the poetic mode of representation, there are layers of understanding of the metaphorical symbols which we use to fix the meanings of Zimbabwean history and identities. The study applies different theoretical approaches to the work of each poet in order to show how each has different contribution to make towards the recovery of Zimbabwe’s past and how it speaks to our present. / Thesis (DLitt)--University of Pretoria, 2011. / English / unrestricted

As a teacher of American literature in high school, I have become conscious of the importance of teaching students of that age level the lore and poetry of their native state. Poems of nature or local color in their own country will hold their interest when material from more distant points seems dull and uninteresting. Through my teaching I have become interested in the poetry of the Southwest and have enjoyed reading the poetry and knowing the poets through personal interview or correspondence.

馮慧心. / "2004年7月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 495-520). / 附中英文摘要. / "2004 nian 7 yue". / Feng Huixin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 495-520). / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章 --- 結論 --- p.4 / Chapter 第一節 --- 古代女性文學研究回顧 --- p.4 / Chapter 一、 --- 女性文學史的發展 --- p.4 / Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8 / Chapter 三、 --- 明清女性文學的研究 --- p.10 / Chapter 四、 --- 女性詞作的研究 --- p.12 / Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13 / Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15 / Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20 / Chapter 一、 --- 研究意義 --- p.20 / Chapter 二、 --- 研究範關及方法 --- p.22 / Chapter 三、 --- 女性主義的啟示及應用 --- p.24 / Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34 / Chapter 第一節 --- 明末以來女性解放思潮 --- p.34 / Chapter 第二節 --- 出版業及郵政業的發達 --- p.38 / Chapter 第三節 --- 明清女性文學的發展 --- p.42 / Chapter 第四節 --- 明清女性選集的繁榮 --- p.46 / Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48 / Chapter 第六節 --- 明清易代的離亂感慨 --- p.52 / Chapter 第三章 --- 《眾香詞》述介 --- p.55 / Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55 / Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55 / Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58 / Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62 / Chapter 四、 --- 1996年鄭競重校本 --- p.63 / Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65 / Chapter 第三節 --- 《眾香詞》末善之處 --- p.68 / Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73 / Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73 / Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75 / Chapter 第四章 --- 《眾香詞》之編輯集團：清廷權貴與遺民幕客 --- p.80 / Chapter 第一節 --- 編輯集團成員 --- p.80 / Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83 / Chapter 第三節 --- 編輯集團的地域 --- p.88 / Chapter 第四節 --- 成書的分期與編輯集團 --- p.90 / Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93 / Chapter 第六節 --- 清廷權貴與明室遺民：編輯集團的組合 --- p.98 / Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103 / Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114 / Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110 / Chapter 第三節 --- 六卷之內容特色 --- p.115 / Chapter 第四節 --- 六卷之相互連繫 --- p.120 / Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124 / Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124 / Chapter 第二節 --- 尊崇名門閨秀 --- p.128 / Chapter 第三節 --- 稱賞青樓歌妓 --- p.130 / Chapter 第四節 --- 務實可信：傳奇詞人、女鬼、女仙不載 --- p.134 / Chapter 第五節 --- 「姑存其人以廣大意」：爲女詞人留名寫史 --- p.137 / Chapter 第六節 --- 選錄遺民意識之作：明清易代的女性感受 --- p.140 / Chapter 第七節 --- 爲秦淮名妓立傳：《數集》與晚明的「文化懷舊」 --- p.151 / Chapter 第八節 --- 「不敢謾加評語」 ：不作圈點，意欲客觀 --- p.155 / Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157 / Chapter 第十節 --- 女性文人的傳統形象：迴文機巧、自憐身世、才女薄命 --- p.160 / Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165 / Chapter 第七章 --- 眾香詞人及其詞作分析：私域女性(private women)´ؤ´ؤ閨秀 --- p.171 / Chapter 第一節 --- 身份背景：名門望族、閨秀圈子、儒家教育 --- p.172 / Chapter 第二節 --- 閨秀詞作分析 --- p.178 / Chapter 一、 --- 詞調形式 --- p.178 / Chapter 二、 --- 主題內容 --- p.182 / Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182 / Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190 / Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197 / Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201 / Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205 / Chapter 6. --- 生活體驗´ؤ´ؤ居家性（domesticity)與日常性(dailiness) --- p.209 / Chapter 7. --- 述懷自許´ؤ´ؤ自我建構（self-construction)、主體性(subjectivity) 的呈現 --- p.213 / Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217 / Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222 / Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226 / Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230 / Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230 / Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232 / Chapter 3. --- 女性關懷：嫦娥、七夕、女性歷史人物 --- p.236 / Chapter 第八章 --- 眾香詞人及其詞作分析：「公眾女性」（Public women)´ؤ歌妓 --- p.241 / Chapter 第一節 --- 身份背景：歌舞技藝、社交自由、國家興亡的符碼 --- p.241 / Chapter 第二節 --- 歌妓詞作分析 --- p.246 / Chapter 一、 --- 詞調形式 --- p.246 / Chapter 二、 --- 主題內容 --- p.246 / Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247 / Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250 / Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254 / Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256 / Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258 / Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」（dailiness)及「瑣屑性」 (fragmentary) --- p.260 / Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262 / Chapter 1. --- 率性自然、熱情放浪：擺脫道德束縛的感情書寫 --- p.262 / Chapter 2. --- 預設對象、直呼對象：以「私密性」抗衡「公眾性」 --- p.264 / Chapter 3. --- 語言淺白、口語化：真率直接的書寫筆法 --- p.266 / Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270 / Chapter 1. --- 題材 --- p.270 / Chapter 2. --- 語言風格 --- p.271 / Chapter 3. --- 情感表達、筆法書寫 --- p.272 / Chapter 第九章 --- 結論 --- p.273 / Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273 / Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274 / Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274 / Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275 / 附錄 / 附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277 / 附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292 / 附錄三 眾香詞人之字號、籍貫、作品集 --- p.304 / 附錄四 眾香詞人的家世背景 --- p.316 / 附錄五 眾香詞人之女性家族成員 --- p.331 / 附錄六 眾香詞人之生活年代 --- p.336 / 附錄七 眾香詞編輯集團成員資料 --- p.348 / 附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365 / 附錄九 其他選本所見眾香詞人詞作數目 --- p.378 / 附錄十 選本中所見六集比例 --- p.390 / 附錄十一明末清初女性選集之編集體例及特點 --- p.392 / 附錄十二 《眾香詞》各集所用詞牌統計 --- p.401 / 附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411 / 附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413 / 附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466 / 附錄十六眾香詞人之唱酬關係表 --- p.480 / 參考書目 --- p.491