Omissions are Not Accidents: Gender in the Art of Marianne MooreWayne State University Press, 1992 - 195 стор. "Feminist literary criticism has been able to discuss the significance of a woman writer's gender to her literary production most propitiously by analyzing its representation of gender and of gender issues. But for women writers, such as Marianne Moore, who refuse to make gender a central subject of their writing, this approach offers limited insight. And yet, gender is a crucial determination of Moore's poetic production, and much of her poetry, especially her earlier poetry, was a creative, and feminist, response to that determination." "Omissions Are Not Accidents argues that the aesthetic achievement of Moore's poetry can better be appreciated and judged by considering how gender structures her work. The difficulty of Moore's poetry is elucidated precisely by realizing the paradoxical nature of her poetic quest: to give expression to a transcendent art and also to herself as a woman. Refusing to write as a member of the "second sex," even to disclaim her second-rate status, Moore instead produced a poetry that is subversive of existing meanings - a richly ambiguous and multivalent art. By attending to Moore's position as a woman within her culture and within language, Heuving has established a comprehensive explanation of the chronological development of her innovative writing." "Through an exploratory discussion of feminist critical theory, Heuving establishes Moore's poetry as a profound response to a poetic tradition that relies on a singular figure of Woman for its coherence, closure, and vicissitudes. Writing an initial poetry of "understatement," Moore staged the dilemma of her subjectivity. Indeed, Moore's much noted "reserve" is shown to be a strategic response to her gender that enabled Moore to produce a poetry of her own will and desire. Only later, in a poetry of "overstatement," did Moore give up her paradoxical quest, capitulating to dominant forms of meaning." "From her earliest poetry written while she was a student at Bryn Mawr, Moore worked to create the poetic possibilities for her own creativity. Omissions Are Not Accidents augments its discussion of Moore's evolving poetry through extensive reference to Moore's unpublished letters, notebooks, and prose."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
Зміст
Acknowledgments | 9 |
A COMPARISION WITH | 30 |
FROM BRYN MAWR | 49 |
A SUSTAINED ACHIEVEMENT | 111 |
6 | 140 |
AFTERWORD | 165 |
193 | |
Загальні терміни та фрази
Adam aesthetic agreeing difference Alfred Prufrock Alicia Ostriker Bryn Mawr Complete Prose concludes consciousness contrariety conventions Costello critical culture earlier poems earlier poetry Elfride Elizabeth Bishop establish expression Ezra Pound fantastic female feminine feminist forms Frigate Pelican gender Homans Hugh Kenner identity imaginary Irigaray Jerboa lady Land Unicorns language later poems literal literary tradition Luce Irigaray lyric Macherey male peers Marianne Moore Marriage masculine Mauberly meanings meditation mirror Modernist Molesworth Molière Moore's earlier Moore's poem Moore's poetry Mount Tacoma Octopus Paper Nautilus People's Surroundings perspective Plumet Basilisk poem's poems of blame poetic poets Portrait position praises Prufrock refuses representation Romantic Rosenbach Savage's Romance Scofield Thayer Sea Unicorns Selected Poems sense silence simply singular Slatin speaker specular stance stanza Stapleton steam roller suggests swan symbolic T. S. Eliot thing tion Unicorns and Land unity University Press Various Scalpels vision William Carlos Williams Williams woman Yeats York
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