Portrayal of Free Spirit in Adrienne Rich’s Aunt Jennifer’s Tiger and Alice Walker’s Meridian

The works of women writers of USA have become increasingly visible in the academy especially since 1970s because of their active involvement in contemporary women’s movement. Writers like Toni Morrison and Alice Walker and poets like Maya Angelou and Adrienne Rich and others have been strongly greeted for their ideologies. Undoubtedly, their works echo strong resistance against racism, patriarchism and militarism. The present paper highlights the remedy of the various maladies like male dominance, subordinated identity and submissive life. It is said that ‘every action has reaction’ and these writers believe that ‘”FORTUNE FAVOURS THE BRAVE”. So they have depicted the undaunted spirits among their female protagonists who fought bravely against the odds and eventually emerged victorious.

THE PENELOPIAD: A VOZ FEMININA E O REVISIONISMO CRÍTICO DA TRADIÇÃO

O presente artigo objetiva analisar brevemente como The Penelopiad (2005) da escritora canadense Margaret Atwood, dialoga e revisa a Odisseia de Homero. Buscar-se-á apontar de que forma Atwood ressignifica os episódios, desarticulando a figura do herói épico e re-visando, na perspectiva de Adrienne Rich (1972), as imagens cristalizadas em torno do feminino criadas pela tradição literária ocidental. Através de duas vozes narrativas, que põem em xeque, ao mesmo tempo, a benevolência de Penélope e o episódio do enforcamento das doze escravas, The Penelopiad traz a tomada da pena pela mulher não apenas como possibilidade da construção da identidade e experiência feminina, mas também, enquanto uma problematização da própria categoria “mulher”. As manifestações literárias, enquanto práticas sociais, estão conectadas com o momento histórico da sua emergência. A dupla narração na obra de Atwood, desempenha um papel na constituição da estrutura da narrativa e se relaciona com a multiplicidade do ser mulher na contemporaneidade. O externo se torna interno, como dispõe Antonio Candido (2011).

3. Convention and idiosyncrasy

“Convention and idiosyncrasy” shows how the successful use of recognizable artistic conventions can help a poet to enter a literature and a culture that seeks to exclude them. It can moderate skepticism, even hostility, and sanction an outsider’s admittance into a community. At the same time, respect for poetic convention hardly reigns uncontested in American literary culture. With several notable exceptions, American poetry and, even more so, its scholarly discussions value a different quality. American poets and readers alike often appreciate idiosyncrasy and the associated values of disruption, originality, innovation, strangeness, and surprise. Poets as different Phillis Wheatley, Emily Dickinson, Adrienne Rich, Charles Bernstein, and Maggie Smith consider the competing imperatives of convention and idiosyncrasy.

Personagens lésbicas de Natalia Polesso

O presente artigo discute onde se situa o discurso da lesbianidade e as maneiras de fazê-lo na literatura de Natalia Borges Polesso. A partir dos conceitos de “outro lugar” e “space-off” de Tereza da Lauretis (1994), de “continuum lésbico”, de Adrienne Rich (2010) e de “subalternidade”, de Gayatri Spivak, (2010) procuramos elucidar os espaços de onde emergem os textos da lesbianidade em meio ao discurso hegemônico, essencialmente heteronormativo e patriarcal. Para isso, debruçamo-nos sobre os contos “Flor, flores, ferro retorcido” e “As tias” da escritora brasileira Natalia Polesso, analisando a maneira com a qual a autora rompe esse discurso hegemônico, através da revisão de estereótipos e do pensar o estar-no-mundo das personagens.

Muerte y luto en Mourning picture: conversaciones entre un pintor y su hija

En 1890, Edwin Romanzo Elmer pinta Mourning picture. Setenta y cinco años más tarde, la poeta Adrienne Rich escribe un poema acerca de la pintura. Ambos textos presentan acercamientos muy distintos a la vivencia de la muerte y el duelo, los cuales serán analizados en este ensayo. Para el análisis comparativo de los textos propuestos, se utilizará como marco conceptual la écfrasis, entendida como la representación verbal de una representación visual. Se analizaron ambos textos por separado iniciando con el objeto plástico como composición pictórica. El poema que Rich escribe a partir de esta pintura se analiza con herramientas propias del análisis literario, tales como los recursos estructurales y estilísticos presentes en la construcción del poema, en la relación dialógica que este establece con la pintura.

"Si hubiera sobrevivido en Praga, Ámsterdam o Lodz..." Las políticas de localización en el pensamiento de Adrienne Rich

En este artículo reflexionamos sobre el concepto "políticas de localización" de Adrienne Rich, que consideramos muy fructífero para pensar la identidad. Partimos del concepto de experiencia de Rich con sumo cuidado de evitar caer en discursos esencialistas de la identidad y teniendo en todo momento presente la importancia del lenguaje y de la narración en la construcción de la identidad. Las políticas de localización nos permiten ver nuestra identidad como una intersección de múltiples hilos que construye la trama cambiante, rica y en ocasiones confusa de nuestra identidad. Tomar conciencia de esto puede ser de ayuda para entablar el diálogo, construir expe2riencias compartidas y establecer alianzas entre las diferentes corrientes del feminismo.

PARA UMA “RE-VISÃO” DA CRÍTICA LITERÁRIA DA LITERATURA DE AUTORIA FEMININA: O SUBLIME FEMINISTA NO CONTO “AMOR”, DE CLARICE LISPECTOR

Neste artigo pretendemos desenvolver uma análise do conto “Amor”, de Clarice Lispector, que compõe a coletânea Laços de Família (1960), intentando contribuir para a reflexão acerca da crítica literária feminista. Ancorada pela noção de sublime feminino, proposta por Barbara Freeman e retomado por Rosana Cássia Kamita nos termos de um sublime feminista, buscamos compreender como, partindo deste conto em particular, Clarice Lispector trabalha nos limites da representação e propõe desafios à crítica, apontando, nos termos de Adrienne Rich, para a necessidade de uma “re-visão” dos moldes literários canônicos, considerados androcêntricos, e apontando, consequentemente, para uma desestabilização da crítica literária tradicional e para a necessidade de construir um outro olhar para a leitura e compreensão da literatura de autoria feminina.

You Can Never Be Sure

If you had to name the genre of The Selected Letters of John Berryman, how many different answers could you give? This essay considers a handful of approaches to reading poets’ correspondence and to the particularly disordered case of Berryman’s letters. After reading the letters the predominant way we approach modern poets’ correspondence today—as an assemblage of documentary evidence that stands alongside but not in place of a biography—this essay proposes a fruitful alternative: to focus less on their sender and more on their addressees. In that broader light, The Selected Letters is the best book ever assembled on what John Berryman needed from, and could provide for, anyone who wasn’t John Berryman. The remainder of the essay surveys what Berryman offered several generations of poets, from peers like Elizabeth Bishop, to near-contemporaries like Adrienne Rich, to poets working today. What many contemporary poets have found most useful—and most objectionable—in his work may be a permission-granting hostility, which they have wrested away and turned back on Berryman himself. After speculating about lessons we could take from Berryman’s example, this essay concludes on a central question raised by his tumultuous reception: how can you ever be sure?

Searching for A Feminist Rights: A Postmodernist Analysis of Selected Poems by Sylvia Plath

Sylvia Plath is one of those American poets who left their thumbprints on early postmodernist writings in America. Though, she lived a short life concluded by a horrible suicide, she produced a large body of poetry whose importance could have competed with later postmodernist poetry such as that written by Adrienne Rich, Maya Angelo and Harriet Mullen. The form and content of Plath's poetry demonstrated a new way of writing in comparison to the modernist poetry that preceded her time. When postmodernism meant the ultimate end of previous metanarratives and philosophies of form and content of writing and when postmodernism advocated selfgeneration over self-understanding, Plath appeared as a newly generated poet with a feminist message. Her appeal for a feminist position found support in the rapidly developing public sphere, which America witnessed during 1960s, as well as in the artistic and literary postmodernist sphere that accompanied it. To make an account for Sylvia Plath's achievement in this respect, the researcher divides the present paper into an introduction, three sections and a conclusion: The introduction of the paper sets the background of Sylvia Plath's literary rise and significance in her posthumous literary American scene. Section One discusses Plath's fight for a feminist role as it started early inside her family. The researcher selects a couple of poems to define the different sides of this internal struggle. Section Two moves out to the larger social scene which Plath choses to confirm her feminist demand on an external level. Here, she re-introduces the images of the 'bee' and the 'spider' to support her feminist stand. Section Three sheds light upon the theme of suicide and how it allures Plath as a means to define her feminist self. The Conclusion sums up the findings of the paper.

„Egy Érzés Archívuma”: A Modern Leszbikus Narratíva Felemelkedése

A tanulmányfő állítása, hogy a modern leszbikus narratívák a huszadik század elejétől kezdődően ellennarratívaként jelentek meg, válaszként a tizenkilencedik századi szexológia állításaira, amely a leszbikust természetellenesnek és erkölcstelennek definiálta. Az elemzés három leszbikus regényt elemez, A magány kútját Radclyffe Halltól, a Tavaszi Tűzet Vin Packertől, és A Só Árát Patricia Highsmithtől. Ezek a szövegek a Richard von Krafft-Ebing és Havelock Ellis által kialakított terminológia újra értelmezései, szubverzív intertextuális láncolatot hoztak létre a leszbikus láthatóság érdekében. Az elemzés a narratívákban visszatérő témákra fókuszál, melyek a leszbikus vágyat egy másik nőhöz való vonzódásként és a heteroszexualitás elvárásaitól szükséges eltávolodásként gondolják el. Tamsin Wilton, Adrienne Rich és Julia Abraham gondolatait követve, a leszbikusság társadalmi pozicionáltságként értelmeződik, amely megkérdőjelezi a korabeli, Krafft-Ebing és Ellis által képviselt heteronormatív kánon fennhatóságát.