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This book of poetry consists of new and collected poems, with an appendix that illustrates work I have done throughout the yearsoften when I was teaching creative writing or womens studies, and also when I was engaged in private practice with Shoreline Psychiatric Associates. The text represents a womans vision of her world, embodied, tactile, deeply sensuous, and erotic in the sense of being connected, wired to the universe. Before my recent retirement, I worked with multicultural and intriguing populations-women prisoners, drug court appointed adolescents, some of the 1 percent, and many of the 47 percent, as well as what some politicians would call a permanent underclass. A dual professional life in terms of both teaching and private practice has provided for me the richest, deepest learning environment one could hope for. The poems as well as the appendix attempt to illuminate and explicate the essence of womens engagement with herself, her relationships, and the world. The poems also explore her intelligences, epistemologies, theoriesher often quotidian delight as William Carlos Williams defines it. Womens experience echoes Whitmans expressions of his love of the natural world and his insistence on achieving a capacious imagination. My poems are feminist, in the way in which Virginia Woolf defined it in 1938, in her wickedly witty, antiwar, prowomen book, Three Guineas. Her use of the word was to suggest the egregious inequality between women and men. It is a brilliant treatise on the subconscious roots of patriarchy, and she observes that war is the plaything, constant and the deepest desire of men. Woolf had hoped the word feminist would become obsolete as equality, cooperation, and friendship would erase the term. In a volatile dispute discussed in her book as to whether women should be ordained into the English Anglican Church, its reigning body of officials brought in Professor Grensted, a well-known psychologist, to help in resolving the dissension and division. Ultimately, after much thought and study, Professor Grensted declared that there was no theological or intellectual reason that the women could not be ordained, but they should not be ordained due to the stress and agitation it would cause among the male clergy. In his conclusion, he noted that the real reason the women could not be admitted was mens infantile fixation against women, a fixation deeply unconscious and seemingly unchangeable, and an inseparable element of patriarchy. A woman was first ordained in the church in 2006, first female primate, in the Anglican community. Some contemporary religious traditions in America today continue with these issues. Currently, our nation, our earth is in crisisreferring to our perpetual wars, the depletion of the earth, and its millions of starving peoples all over the world. The poems in this book both critique our inability to accept truth and the natural world and the call to celebrate the gifts of womans livesmercy, insight, unequivocal generosity, keen sensibilities, new visions. Let us hope that 2015 ushers in and implements the values of each human, each species, every living creature, tree, rock, cloud, sun, sea as of infinite value.
A new interdisciplinary interest has risen to study interconnections between oral tradition and book culture. In addition to the use and dissemination of printed books, newspapers etc., book culture denotes manuscript media and the circulation of written documents of oral tradition in and through the archive, into published collections. Book culture also intertwines the process of framing and defining oral genres with literary interests and ideologies. The present volume is highly relevant to anyone interested in oral cultures and their relationship to the culture of writing and publishing. The questions discussed include the following: How have printing and book publishing set terms for oral tradition scholarship? How have the practices of reading affected the circulation of oral traditions? Which books and publishing projects have played a key role in this and how? How have the written representations of oral traditions, as well as the roles of editors and publishers, introduced authorship to materials customarily regarded as anonymous and collective?
This study consists of two parts. The first part offers an overview of feminism's theory of differences. The second part deals with the textual analysis of poems about 'mothering' by women from India, the Caribbean and Africa. Literary criticism has dealt with the representation of 'mothering' in prose texts. The exploration of lyrical texts has not yet come. Since the late 1970s, the acknowledgement of and the commitment to difference has been foundational for feminist theory and activism. This investigation promotes a differentiated, 'locational' feminism (Friedman). The comprehensive theoretical discussion of feminism's different concepts of 'gender', 'race', 'ethnicity' and 'mothering' builds the foundation for the main part: the presentation and analysis of the poems. The issue of 'mothering' foregrounds the communicative aspect of women's experience and wants to bridge the gap between theory and practice. This study, however, does not intend to specify 'mothering' as a universal and unique feminine characteristic. It underlines a metaphorical use and discusses the concepts of 'nurturing', 'maternal practice' and 'social parenthood'. Regarding the extensive material, this study understands itself as an explorative not concluding investigation placed at the intersections of gender studies, postcolonial and classical literary studies. Most of all, it aims at initiating a dialogue and interchange between scholars and students in the Western and the 'Third World'.
This book explores the voices of nonhuman things in Anglo-Saxon literature and material culture, making a valuable contribution to 'thing theory'.
One Kind of Everything elucidates the uses of autobiography and constructions of personhood in American poetry since World War II, with helpful reference to American literature in general since Emerson. Taking on one of the most crucial issues in American poetry of the last fifty years, celebrated poet Dan Chiasson explores what is lost or gained when real-life experiences are made part of the subject matter and source material for poetry. In five extended, scholarly essays—on Robert Lowell, Elizabeth Bishop, Frank Bidart, Frank O’Hara, and Louise Glück—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographical material, either in an effort to embrace it or denounce it.
This book is a biography of François Auguste René Rodin, a French sculptor, who is generally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay. He is known for such sculptures as The Thinker, Monument to Balzac, The Kiss, The Burghers of Calais, and The Gates of Hell.
SENSORIVM publishes the first results of a collective investigation into how Roman rituals smelled, sounded, felt and struck the eye. It brings Roman religious experience into the realm of the senses.