Whoso List to Find?

Seeing what Englishwomen saw in the early modern period brings them into view in a variety of new ways, many of them managed and enhanced by the machinery of cheap print. In contrast with Petrarchan poetry, which imagined women with fear and described love as plague, print established other models of health and wellness, and other ways of registering women’s powers. Women known as searchers who were charged to enter houses and locate plague rather than flee from it shared their findings with town officials who printed up statistics in weekly Bills of Mortality. The searcher was both a ‘harbinger of disaster’ and a tool of recovery, and popular ballads of the time frequently deploy her example along with her abilities to avoid ruin and register signs of life. These ballads supply alternatives to Petrarchan demographics, and I examine the ways early modern female poets draw upon their methodology, too.

POETRY OF RUSSIAN AND CHINESE FEMALE POETS A.P. BUNINA AND LI QINGZHAO: CONVERGENCES AND DIFFERENCES

This article is devoted to the analysis of typological similarities and differences in the works of Russian and Chinese poetesses using the example of Anna Bunina and Li Qingzhao. These poetesses weren’t contemporaries, their lives fell on different historical eras, but the work of both became the starting point for women's literature in their countries, and this is the first feature that unites them. The article gives a brief description of the creativity of both poetesses, identifies a range of similar topics and common features of their artistic approaches. It is noted that both poetesses for the first time made an attempt to comprehend the essence of women's poetry and the essence of poetry in general, and their conclusions turn out to be surprisingly similar, despite the difference in cultures and historical eras to which they belonged.

‘She Showed the World a Beacon of Female Worth’ : Vittoria Colonna in Arcadia

The Accademia dell’Arcadia (founded 1690) deserves to play a leading role in any account of Vittoria Colonna’s posthumous influence. The author of the first ‘critical’ edition of Colonna’s verse, Ercole Visconti, was an Arcadian, as was Giovan Maria Crescimbeni, who presented Colonna’s work in his Istoria della volgar poesia as an ‘inexhaustible mine of the finest gold’. The many female poets of the Academy also recognised and paid tribute to Colonna’s inspiration. This chapter investigates Colonna’s role as literary model within the Academy, covering all the key phases, from the early eighteenth to the nineteenth century, and examining the ways in which gender inflected the practices and stylistic ideals of this powerful cultural institution.

Black Feminism Interpretation in Maya Angelo's Poems with Figurative Language and Imaginary Analysis

Poetry is one type of literary work that has characteristics and characteristics makes it different from other literary works. Currently there are many poems written using the experience of discrimination as an object due to various conditions appearing in society. Besides that, there are also many female poets who writing poetry using a feminist approach. The purpose of this study is to identify the types of figurative language and images related to Maya Angelou in black feminism in her poetry. It also analyzes the influence of Maya Angelou's black feminist thought reflected in her poetry through figurative words and images. In this qualitative study, the authors use a descriptive method through several steps, preparation, data collection, and data analysis. The focus of this research is the analysis of figurative language, types of images, and black feminism in Maya Angelo's poems. The figurative language and imagination used in the poems are diverse, such as metaphor, personification, paradox, symbol, irony, irony, visual imagery, and auditory imagery. In this analysis it can be concluded that black feminism movement are courageous, brave and outspoken.

Poems by Polish Female Poets and the Burning Issue of Religion

The aim of this paper is to show the presence of religion and the particular evolution of lyrical matrixes connected to religion in the Polish poems of female poets. There is a particular presence of women in the roots of the Polish literary and lyrical traditions. For centuries, the image of a woman with a pen in her hand was one of the most important imponderabilia. Until the 19th century, Polish female poets continued to be rare. Where female poets do appear in the historical record, they are linked to institutions such as monasteries, where female intellectuals were able to find relative liberty and a refuge. Many of the poetic forms they used in the 16th, late 17th, and 18th centuries were typically male in origin and followed established models. In the 19th century, the specific image of the mother as a link to the religious portrait of the Madonna and the Mother of God (the first Polish poem presents Bogurodzica, the Virgin Mary, the Mother of Jesus) reinforces women’s new presence. From Adam Mickiewicz’s poem Do matki Polki (To Polish Mother), the term “Polish mother” becomes a separate literary, epistemological, and sociological category. Throughout the 20th century (with some exceptions), the impact of Romanticism and its poetical and religious models remained alive, even if they underwent some modifications. The period of communism, as during the Period of Partitions and the Second World War, privileged established models of lyric, where the image of women reproduced Romantic schema in poetics from the 19th-century canons, which are linked to religion. Religious poetry is the domain of few female author-poets who look for inner freedom and religious engagement (Anna Kamieńska) or for whom religion becomes a form of therapy in a bodily illness (Joanna Pollakówna). This, however, does not constitute an otherness or specificity of the “feminine” in relation to male models. Poets not interested in reproducing the established roles reach for the second type of lyrical expression: replacing the “mother” with the “lover” and “the priestess of love” (the Sappho model) present in the poetry of Maria Pawlikowska-Jasnorzewska. In the 20th century, the “religion” of love in women’s work distances them from the problems of the poetry engaged in social and religious disputes and constitutes a return to pagan rituals (Hymn idolatrous of Halina Poświatowska) or to the carnality of the body, not necessarily overcoming previous aesthetic ideals (Anna Świrszczyńska). It is only since the 21st century that the lyrical forms of Polish female poets have significantly changed. They are linked to the new place of the Catholic Church in Poland and the new roles of Polish women in society. Four particular models are analysed in this study, which are shown through examples of the poetry of Genowefa Jakubowska-Fijałkowska, Justyna Bargielska, Anna Augustyniak, and Malina Prześluga with the Witches’ Choir.

A Feminist Scheme Conveyed through Catherine Jemmat’s The Rural Lass

This study analyses The Rural Lass by Catherine Jemmat (1714-66); the poem will shine a new light on a feminist agenda conveyed through Jemmat’s views through the persona of the rural lass by linking the lass’ own experience with marriage. Challenges in a patriarchal society among female poets in the early ages and before the twenty-first century deserve appreciation for their contributions to early feminist literature. The author will illustrate how Jemmat negotiated her ambitions despite the cultural restrictions that were placed upon her during the 18th century through a rural persona. Jemmat skillfully creates a light-hearted poem, but also one that reflects the determined voice of a speaker who refuses to allow others to dictate her life. Jemmat seems to achieve this in The Rural Lass, as she subtly challenges the parental and societal objections that could often, as in Jemmat’s case, prevent the marriage of a loving couple. This article will study through the feminist literary criticism, that closer analysis of the variations within the metrical composition and of the poetic features in The Rural Lass shows that a deeper level of meaning can be achieved. The structured reasoning ensures that the rural lass appears rational and justly defiant. This paper also explores how a close study of the text allows for the emergence of the admirable spirit of the figure of the rural lass that expresses challenges in a patriarchal society, an eighteenth-century British feminist that has been criticized by her community.

A Feminist Scheme Conveyed through Catherine Jemmat’s The Rural Lass

This study analyses The Rural Lass by Catherine Jemmat (1714-66); the poem will shine a new light on a feminist agenda conveyed through Jemmat’s views through the persona of the rural lass by linking the lass’ own experience with marriage. Challenges in a patriarchal society among female poets in the early ages and before the twenty-first century deserve appreciation for their contributions to early feminist literature. The author will illustrate how Jemmat negotiated her ambitions despite the cultural restrictions that were placed upon her during the 18th century through a rural persona. Jemmat skillfully creates a light-hearted poem, but also one that reflects the determined voice of a speaker who refuses to allow others to dictate her life. Jemmat seems to achieve this in The Rural Lass, as she subtly challenges the parental and societal objections that could often, as in Jemmat’s case, prevent the marriage of a loving couple. This article will study through the feminist literary criticism, that closer analysis of the variations within the metrical composition and of the poetic features in The Rural Lass shows that a deeper level of meaning can be achieved. The structured reasoning ensures that the rural lass appears rational and justly defiant. This paper also explores how a close study of the text allows for the emergence of the admirable spirit of the figure of the rural lass that expresses challenges in a patriarchal society, an eighteenth-century British feminist that has been criticized by her community.

VARRO AND POMPEY: SOME MORE (MULTIPLE) HEBDOMADS?

This article argues that a group of fourteen female statues seen in the Theatre of Pompey in Rome by Tatian belonged to Greek female poets. This group, along with the statues representing the fourteen nationes vanquished by Pompey, and certain groups of statues in the Forum of Augustus should all be ascribed to the influence of the Hebdomades of Pompey's familiaris Varro.

Aproximaciones a las poetas francesas de la Belle Époque en España: traducciones actuales de la obra de Anna de Noailles

In recent years, there has been a renewed interest for French female poets as it has been proved by the translations workflow in Spain. The aim of this study is to define the Belle Époque translations as well as the main channels of reception emphasizing on Anna de Noailles’ translations. Some of the work of this wellknown poet was translated by famous Spanish authors such as Fortún, Marquina or Maristany. Nowadays, two poetry books have been published: Las pasiones y las tumbas, translated by Mireia Alonso Ribeiro (2011 [2020]), and El honor de sufrir, by Julio Pollino Tamayo (2018). By means of a diachronic study of Noailles’ translations, we will analyse the reception of her poetry throughout a study of some of her poems from a translation studies point of view