GÉNERO Y ANTOLOGÍAS: LA REVISIÓN DEL CANON EN LA ERA DE LA CIBERCULTURA Y EL PROYECTO CIEN DE CIEN (2015-2016)

En este artículo se estudia la importancia que Internet ha tenido en los últimos años en la recepción de las poetas españolas contemporáneas. Para ello, se recurre tanto a la teoría literaria feminista y al ciberfeminismo como a algunas de las contribuciones clave en el estudio de los procesos de canonicidad, específicamente, a la sociología de Pierre Bourdieu y a la teoría de los polisistemas de Itamar Even-Zohar. Desde este marco teórico, se analiza la antología virtual Cien de cien de Elena Medel, una selección que permite repensar las relaciones entre autoridad, cánones y cibercultura en el siglo XXI. Abstract: This article aims to study the importance that the Internet has had in the reception of Spanish women poets in the last few years. For that purpose, feminist literary criticism and cyberfeminism will be used, as well as some of the key contributors to the study of canon, particularly Pierre Bourdieu’s sociology and Itamar Even-Zohar’s theory of polysystems. With this theoretical framework, attention will be paid to the digital anthology Cien de cien by Elena Medel, which enables us to rethink the relationship between authority, literary canons and cyberculture in the 21st Century.

Gender and Verse: Religion in New Zealand Women's Poetry, 1970-2019

<p>This thesis explores the remarkable, surprising and enduring presence of religion within the writings of New Zealand women poets since the 1970s. Analysing a comprehensive range of poems, I argue that religion is a dynamic and compelling feature of women’s poetry, emerging in a number of distinctive forms and tones. Using a thematic analysis, I explore religion in relation to domesticities, body and flesh, and whenua/land. I show that women poets deploy and rework religious ideas in ways that illuminate their gendered perspectives and experiences. Arguing that religion should be brought back into the centre of the scholarly analysis of New Zealand literature, I advance a fresh approach to the concept of religion. This framework acknowledges the interdependence and mutual imbrication of ‘religion’ and the ‘secular’, and also facilitates attention to ‘spirituality’. This expansive framework affords careful investigation into the interrelationships between all three of these modern categories. Having shown that religion permeates New Zealand women’s poetry and that attending to religion’s presence is vital for interpretation, I argue for a bona fide cross- disciplinary conversation between religious studies and literary studies; a revitalised investigation on ‘religion and literature’ will be productive for both fields.</p>

Gender and Verse: Religion in New Zealand Women's Poetry, 1970-2019

<p>This thesis explores the remarkable, surprising and enduring presence of religion within the writings of New Zealand women poets since the 1970s. Analysing a comprehensive range of poems, I argue that religion is a dynamic and compelling feature of women’s poetry, emerging in a number of distinctive forms and tones. Using a thematic analysis, I explore religion in relation to domesticities, body and flesh, and whenua/land. I show that women poets deploy and rework religious ideas in ways that illuminate their gendered perspectives and experiences. Arguing that religion should be brought back into the centre of the scholarly analysis of New Zealand literature, I advance a fresh approach to the concept of religion. This framework acknowledges the interdependence and mutual imbrication of ‘religion’ and the ‘secular’, and also facilitates attention to ‘spirituality’. This expansive framework affords careful investigation into the interrelationships between all three of these modern categories. Having shown that religion permeates New Zealand women’s poetry and that attending to religion’s presence is vital for interpretation, I argue for a bona fide cross- disciplinary conversation between religious studies and literary studies; a revitalised investigation on ‘religion and literature’ will be productive for both fields.</p>

Wāhine: antologia annotata di poetesse neozelandesi contemporanee in traduzione italiana

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>

Wāhine: antologia annotata di poetesse neozelandesi contemporanee in traduzione italiana

<p>This thesis is a case study in literary translation. It consists of a creative component (60%) — an anthology of contemporary New Zealand women poetry translated into Italian — and a critical component (40%) — an interdisciplinary commentary outlining the historical, linguistic, cultural, literary and translational aspects underpinning my work as editor, literary translator and scholar. My interest in New Zealand literature began with my Master’s thesis, when reading Keri Hulme’s 1985 Booker Prize winning novel the bone people exposed me to the linguistic and cultural specificities of literary works produced in Aotearoa/New Zealand. This interest was further ignited by reading Marinella Rocca Longo’s pioneering study of New Zealand poetry, La poesia neozelandese dalle origini inglesi ai contemporanei, published in 1977. To this day, Hulme’s novel remains untranslated in Italian and Rocca Longo’s monograph is the only comprehensive study about New Zealand poetry for an Italian-speaking readership, one with which I have engaged constructively and critically in the course of my studies. This doctoral thesis thus combines translation and poetry. More specifically, it asks itself what it means to translate contemporary New Zealand women poets into Italian. This choice is motivated by three aims, which complement the wider ambition to make New Zealand writing better known to Italian readers: to better reflect the ethnic richness of New Zealand literature; to highlight the major role played by women in developing and expanding New Zealand poetry; to discuss translation theory from a post-colonial and feminist viewpoint. These factors are reflected in the structure and contents of this thesis. A historical overview of New Zealand literature in general and of New Zealand poetry in particular as an example of post-colonial literature is followed by a discussion on which theories and practices of translation are ethically as well as aesthetically the most appropriate for the translation of post-colonial poetry written by women. The comprehensive anthology I have compiled and the commentary that accompanies it bring this discussion to life, celebrating not only the creative and scholarly contribution of the translator as an intercultural negotiator, but also the ethical responsibility underscoring this task. The opportunity to undertake this research in Aotearoa/New Zealand has made this study particularly intense as well as personal, as I negotiated and renegotiated the space between theory and practice, pushing myself to expand and deepen the choices a translator is called to make as a reader, as an interpreter, as a critic, and as a writer. I hope that this goal has been achieved in the negotiation between the theoretical, scholarly and creative parts of this project that are embodied in the outcome of this thesis.</p>

Can Female Speak? Anna Laetitia Barbauld, a Legacy for Women Poets

In Romanticism the poet was considered as a prophet, an unknown illustrative speaking for the whole of humanity; however, woman poets were marginalized. The existent study accompaniments implication as the consequences can shade sunnier on why women poets as vigorous and operative supporters of Romanticism period futile to overcome their defensible place among the main poets of the time in spitefulness of their positive community planetary. Females wanted to be documented and acknowledged as human beings in general and poets indefinite. By providing a thorough investigation of Anna Laetitia Barbauld, this study has explored how she possesses her faultless feminine image while she trails a profession outside of the domestic domain. Anna Laetitia Barbauld transfers the absorbing visionary image of a new woman and competes with the male-oriented concept that women could not and should not engage in poetry writing.

“The World Was Given Us to Fix It”

This article explores the ecopoetry written by three women poets who also identify themselves as Jewish poets: Alicia Ostriker, Marge Piercy and Naomi Ruth Lowinsky. It examines whether they employ any or some/all of the “emancipatory strategies” characteristic of the ecofeminist re-imagination of nature and human relationships with the natural world, seeking to answer several questions: How far can these poems be considered part of eco-Judaism? Does the fact that their authors are women also make them ecofeminist works? Does the poets’ Jewish feminist identity contribute to their ecopoetic call for ecological change?

Social and Literary Constraints On Women Writers In New Zealand 1945-1970

<p>This study explores the reasons why so few women writers in Aotearoa New Zealand were seen as prominent figures in the literary scene from the end of World War Two up to the time when the feminist movement gained momentum, in the late 1960s and early 1970s. Using feminist methodology, I examine whether women writers were deliberately under-represented and their work trivialised by the male writers, critics and publishers of the time. What were the factors accounting for this under-representation? I also discuss to what extent there were successes and achievements, either literary or commercial, for the women writers of the time despite their real and/or perceived exclusion from the canon. Literary writers by definition create public documents, including manuscripts, working papers, and letters. The existence of such records means that perhaps more so than for many groups, we have evidence regarding attitudes, intentions, motives and responses to situations of the individual women writers of this period with which to answer these questions. The Georgians vs Modernists debate is examined. The starting date of 1945 for this thesis is significant for it was in that year that Allen Curnow's anthology A Book of New Zealand Verse was published. One of the striking things about the collection is that only two of the sixteen poets represented are women: Ursula Bethell and Robin Hyde. He did invite and encourage Eileen Duggan to contribute but she declined. Curnow‘s book went into a second edition in 1951 with twenty three poets, three of whom were women, Ruth Dallas being the third. In 1953 a book titled POEMS: Anthology of New Zealand Women Writers was published. This could be seen as an attempt to make up for Curnow's omissions. As evidence, I look to women writers of the time to see what restrictions on writing and publishing existed. In 1957 the literary magazine numbers published a letter by Willow Macky in which she criticises the critics of the New Zealand literary scene for their unfavourable reviews of the latest book by the poet Ruth Gilbert, The Sunlit Hour. Macky's letter was both a plea to her male colleagues and an indictment against them for their treatment of their female counterparts. She states: 'Most women, if they wish for success, will try to conform, monkey-like, to the masculine pattern; others, by remaining true to their feminine insight, risk opposition and failure in male-dominated fields' (Macky, 1957: 26). Was this the case and if so why? The 1970 cut-off date for this thesis coincides approximately with the development of the feminist movement in New Zealand. However, according to lesbian-feminist poet Heather McPherson, prejudice continued. McPherson had poems published in Landfall and had approached Leo Bensemann, then Caxton Press and Landfall editor, with a collection of poems. She mentioned to him that she had become a feminist. His reply was that Rita Cook (Rita Angus) had become a feminist 'but it didn‘t do her any good either' (McPherson, 2007: 116). These two examples illustrate some of the difficulties and antipathies that existed between the male and female literary figures, like Curnow and Macky, of the period which inform this thesis. To answer the questions posed above, I explore the social and historical context for women in this period, including the impact of the Second World War, and cover the careers of women poets and novelists, including some detailed case studies. I also examine the particular issues facing Māori and lesbian writers. I conclude that a supportive and encouraging environment was rarely available for women writers from 1945 to 1970, that most struggled to be published and appreciated, and that only later, if at all, were many of these important writers properly recognised.</p>

Social and Literary Constraints On Women Writers In New Zealand 1945-1970

<p>This study explores the reasons why so few women writers in Aotearoa New Zealand were seen as prominent figures in the literary scene from the end of World War Two up to the time when the feminist movement gained momentum, in the late 1960s and early 1970s. Using feminist methodology, I examine whether women writers were deliberately under-represented and their work trivialised by the male writers, critics and publishers of the time. What were the factors accounting for this under-representation? I also discuss to what extent there were successes and achievements, either literary or commercial, for the women writers of the time despite their real and/or perceived exclusion from the canon. Literary writers by definition create public documents, including manuscripts, working papers, and letters. The existence of such records means that perhaps more so than for many groups, we have evidence regarding attitudes, intentions, motives and responses to situations of the individual women writers of this period with which to answer these questions. The Georgians vs Modernists debate is examined. The starting date of 1945 for this thesis is significant for it was in that year that Allen Curnow's anthology A Book of New Zealand Verse was published. One of the striking things about the collection is that only two of the sixteen poets represented are women: Ursula Bethell and Robin Hyde. He did invite and encourage Eileen Duggan to contribute but she declined. Curnow‘s book went into a second edition in 1951 with twenty three poets, three of whom were women, Ruth Dallas being the third. In 1953 a book titled POEMS: Anthology of New Zealand Women Writers was published. This could be seen as an attempt to make up for Curnow's omissions. As evidence, I look to women writers of the time to see what restrictions on writing and publishing existed. In 1957 the literary magazine numbers published a letter by Willow Macky in which she criticises the critics of the New Zealand literary scene for their unfavourable reviews of the latest book by the poet Ruth Gilbert, The Sunlit Hour. Macky's letter was both a plea to her male colleagues and an indictment against them for their treatment of their female counterparts. She states: 'Most women, if they wish for success, will try to conform, monkey-like, to the masculine pattern; others, by remaining true to their feminine insight, risk opposition and failure in male-dominated fields' (Macky, 1957: 26). Was this the case and if so why? The 1970 cut-off date for this thesis coincides approximately with the development of the feminist movement in New Zealand. However, according to lesbian-feminist poet Heather McPherson, prejudice continued. McPherson had poems published in Landfall and had approached Leo Bensemann, then Caxton Press and Landfall editor, with a collection of poems. She mentioned to him that she had become a feminist. His reply was that Rita Cook (Rita Angus) had become a feminist 'but it didn‘t do her any good either' (McPherson, 2007: 116). These two examples illustrate some of the difficulties and antipathies that existed between the male and female literary figures, like Curnow and Macky, of the period which inform this thesis. To answer the questions posed above, I explore the social and historical context for women in this period, including the impact of the Second World War, and cover the careers of women poets and novelists, including some detailed case studies. I also examine the particular issues facing Māori and lesbian writers. I conclude that a supportive and encouraging environment was rarely available for women writers from 1945 to 1970, that most struggled to be published and appreciated, and that only later, if at all, were many of these important writers properly recognised.</p>

Calling the Taniwha: Mana Wahine Maori and the Poetry of Roma Potiki

<p>This thesis aims to explore the implications of reading the poetry of Roma Potiki with some of the critical writing about Mana Wahine Maori. At the intersections between the creative and the critical writings, I produce a grouping of literature that I name 'Mana Wahine Maori poetry in English'. Specifically, I contend that combining the kaupapa of Mana Wahine Maori scholarship with the poetry of Roma Potiki, and other Maori women poets, results in new readings of all the texts involved that are rich in complexities and multiplicities. In Chapter One I explain the choice of Roma Potiki's poetry as poutokomanawa for this thesis and briefly introduce some of the issues surrounding genre, canon-making and naming for Mana Wahine Maori poetry in English. Chapter Two illustrates the whakapapa of Mana Wahine Maori critical writings and explores the implications of the 'Mana' in Mana Wahine Maori poetry in English. Chapter Three considers the 'Wahine Maori' of Mana Wahine Maori poetry in English, both by examination of 'Wahine' in its New Zealand context, and by reference to a selection of Black American, Native American and First Nations, Australian Aboriginal and feminist literary critical writings. Chapter Four supports the pluralist nature of Mana Wahine Maori poetry in English by specific reference to Iwi/Hapu/Whanau contexts, urban wahine Maori contexts and wahine takatapui contexts. Finally, Chapter Five examines whether Mana Wahine Maori poetry in English is still a productive grouping when reading the works of not only other wahine Maori poets, but other wahine Maori writers generally, and I use the writings of Keri Hulme to investigate this. Therefore, I argue that naming this diverse collection of writing 'Mana Wahine Maori poetry in English' enables new kinds of readings that admit and debate the multiplicities inherent in all of these works.</p>