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From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.
American women have created an especially vigorous and innovative poetry, beginning in 1632 when Anne Bradstreet set aside her needle and picked up her "poet's pen." The topics of American women poets have been various, their images their own, and their modes of expression original. Emily Stipes Watts does not imply that the work of American men and that of American women are two different kinds of poetry, although they have been treated as such in the past. It is her aim, rather, to delineate and define the poetic tradition of women as crucial to the understanding of American poetry as a whole. By 1850, American women of all colors, religions, and social classes were writing and publishing poetry. Within the critical category of "female poetry," developed from 1800 to 1850, these women experimented boldly and prepared the way for the achievement of such women as Emily Dickinson in the second half of the nineteenth century. Indeed at times—for example from 1860 through 1910—it was women who were at the outer edge of prosodic experimentation and innovation in American poetry. Moving chronologically, Professor Watts broadly characterizes the state of American poetry for each period, citing the dominant male poets; she then focuses on women contemporaries, singling out and analyzing their best work. This volume not only brings to light several important women poets but also represents the discovery of a tradition of women writers. This is a unique and invaluable contribution to the history of American literature.
Biographies supplemented by selections of poetry of over seventy American women poets, including Sarah Josepha Hale, Lydia Sigourney, and Mary E. Hewitt.
The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.
Discusses the poetry of Emily Dickinson, Marianne Moore, Denise Levertov, Sylvia Plath, Anne Sexton, Gwendolyn Brooks, Nikki Giovanni, and Adrienne Rich.
This book includes everything you want to know about the core competencies of songwriting, elements of music, and lyrics.
Poets, teachers, and musicologists fusing studies of form, scansion, and musical creation to redefine the place of the American bard
Proven techniques for songwriting success This friendly, hands-on guide tackles the new face of the recording industry, guiding you through the shift from traditional sales to downloads and mobile music, as well as how you can harness social media networks to get your music "out there." You get basic songwriting concepts, insider tips and advice, and inspiration for writing — and selling — meaningful, timeless songs. Songwriting 101 — get a grip on everything you need to know to write a song, from learning to listen to your "inner voice" to creating a "mood" and everything in between Jaunt around the genres — discover the variety of musical genres and find your fit, whether it's rock, pop, R&B, gospel, country, or more Let the lyrics out — master the art of writing lyrics, from finding your own voice to penning the actual words to using hooks, verses, choruses, and bridges Make beautiful music — find your rhythm, make melodies, and use chords to put the finishing touches on your song Work the Web — harness online marketing and social networks like Facebook, Twitter, and others to get your music heard by a whole new audience Open the book and find: What you need to know before you write a single note Tips on finding inspiration Ways to use poetic devices in lyrics Computer and Web-based shortcuts and technologies to streamline songwriting A look at famous songwriting collaborators Writing for stage, screen, and television How to make a demo to get your song heard Advice on how to make money from your music Learn to: Develop your songwriting skills with tips and techniques from the pros Use social networking sites to get your music out to the public Break into the industry with helpful, how-to instructions
""I wist not what to wish, yet sure thought I, If so much excellence abide below, How excellent is he that dwells on high? Whose power and beauty by his works we know. Sure he is goodness, wisdom, glory, light, That hath this under world so richly dight. More Heaven than Earth was here, no winter and no night." Anne Bradstreet, Contemplations. Anne Bradstreet came to fame when someone published her poetry as The Tenth Muse Lately Sprung Up in America. Anne Bradstreet was a Puritan who had crossed the ocean to help found the new colony in America. She lived on the frontier and lived a fairly uneventful life loving her husband and children. However, she was also a well-educated and imaginative woman whose poetry continues to be admired to this day. This collection of her poems is a forgotten classic that we would be well advised to read. "A real sense of calm pervades [Bradstreet's] poetry. She has genuine affection for the things she writes about, whether that be family, or the vistas of nature, or her husband, or the "pleasant things" lost in the house fire, and so in no way does she come across as a pinched ascetic. But neither does she come across as someone who is in frantic pursuit of worldly goods." From Douglas Wilson's Introduction"--