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autobiography cultural
gender and roles of women in literature
gender and roles of women in literature
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Recommended: autobiography cultural
The Poetics of Carol Muske and Joy Harjo
I began a study of autobiography and memoir writing several years ago. Recently I discovered two poets who believe that recording one’s place in history is integral to their art. Carol Muske and Joy Harjo are renowned poets who explore the intricacies of self in regards to cultural and historical place. Muske specifically addresses the poetics of women poets, while Harjo addresses the poetics of minority, specifically Native American, writers. Both poets emphasize the autobiographical nature of poetry. Muske and Harjo regard the self as integral to their art. In this representation of self, Muske and Harjo discuss the importance of truth-telling testimony and history in their poetics. Muske says, “…testimony exists to confront a world beyond the self and the drama of the self, even the world of silence—or the unanswerable…” (Muske 16).
Muske asks, “The question of self, for a woman poet…is continually vexing…what is a woman’s self?” (Muske 3). Women have historically had their self created for them by the patriarchal society in which they live, which leaves contemporary women wondering how to define a woman’s self at all. Even if they, as women, can create a self, how accurate is it? Muske muses on what is a truth telling self since a woman’s perception of truth is colored always by what the patriarchal society is telling her is truth. Muske says in her poem “A Private Matter”, “…there are the words, dialogue of people you once became or not…”. It is in these words that a woman finds herself, a poem of all the selves in a self, but not without a cost. In “Epith”, Muske muses:
You forget yourself
with each glittering pin,
each chip off the old rock,
each sip of the long toast
to your famous independence,
negotiated at such cost—
and still refusing to fit.
“The inclination to bear witness seems aligned with the missing self” (Muske 4). Women create the ‘missing’ self by telling their stories, not the stories that have been told to them by a male dominated society, but those stories that define that missing self. In so doing, Muske reiterates the statement James Olney makes when he says, “... even as the autobiographer fixes limits in the past, a new experiment in living, a new experience in consciousness ... and a new projection or metaphor of a new self is under way” (Olney).
Charles-Émile Trudeau was a Conservative, and several of his friends belonged to the Liberal Party. When his father’s friends were visiting at their Lac Tremblant cottage, Pierre was exposed to political debates and rivalries at an early age. He found politics interesting, but could not understand much of it. His father invested in successful several companies at the beginning of the...
When I decide to read a memoir, I imagine sitting down to read the story of someone’s life. I in vision myself learning s...
‘The woman’ of the poem has no specific identity and this helps us even further see the situation in which the woman is experiencing, the lost of one’s identity. Questions start to be raised and we wonder if Harwood uses this character to portray her views of every woman which goes into the stage of motherhood, where much sacrifice is needed one being the identity that was present in society prior to children.
For the purpose of this chapter, these words by Stephen Vincent Benet in his foreword to Margaret Walker’s first volume of poetry, For My People (1942) are really important. They give an idea about the richness of the literary heritage from which Walker started to write and to which she later added. This chapter is up to explore those “anonymous voices” in Walker’s poetry, the cultural and literary heritages that influenced her writings. Margaret Walker’s cultural heritage, like her biological inheritance, extends back to her ancestors in Africa and the Caribbean. It is quite genetic, something she got by birth; which is quite there just by being African American. Echoes of ancient myths, lost history, mixed bloods, and complex identities are brought about along with the skin colour and the racial origins.
Narratives such as Rowlandson’s gave a voice to women in the realm of written words, but at the cost of the Native voice. According to the website www.maryrowlandson.com,
- - -. “Other Lives.” We Are the Stories We Tell. Comp. Wendy Martin. New York: Pantheon, 1990. 274-288. Print.
Louis Riel was one of the most controversial figures in Canadian history, and even to this day – more than a century after his execution – he continues to be remembered. Many believed him to be a villain; others saw him as a hero. So who was he really? Born in St. Boniface at the Red River Settlement of Canada (present-day Winnipeg, Manitoba) on October 22, 1844, Louis Riel hoped one day to follow his father’s footsteps and become a great Métis leader just like him. Eventually, Riel was seen as a hero to the French-speaking Métis. In the Canadian West, however, most people regarded him as a villain due to his execution in 1885. Nevertheless, Louis Riel was not really a villain by heart; only a flawed man who made many mistakes in his life. Today many more people are seeing him as a visionary, and recognizing the numerous contributions that he made to building Canada up as a nation. He was indubitably a Canadian hero, mainly due to his involvement with the Métis, confederating Manitoba with Canada, and approaching problems peacefully.
A woman's world may be disconnected from the realities of the actual world, but it acts as a safety blanket to secure sanity for not only herself, but also for a man to avoid losing hope. When Marlow, a sailor who sets off to the Congo for exploration, speaks to his aunt before his departure, he sees how women's worlds are “too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset” (77). The world of a woman is set up so that she can bloc...
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
...sed society with religious overtones throughout the poem, as though religion and God are placing pressure on her. The is a very deep poem that can be taken in may ways depending on the readers stature yet one thing is certain; this poem speaks on Woman’s Identity.
Connie Fife is a Saskatchewan, Cree poet who writes using her unique perspective, telling of her personal experiences and upbringing. This perspective is revealed to her audience through the poems “This is not a Metaphor”, “I Have Become so Many Mountains”, and “She Who Remembers” all of which present a direct relationship to her traditional background and culture (Rosen-Garten, Goldrick-Jones 1010). To show the relationship of her experiences through her poetry, Fife uses the form of dramatic monologue, as well as modern language and literal writing to display themes about racism presenting her traditional viewpoint to her audience.
At this point of time it is unknown to the reader whether the Lady of Shalott is forced to be in this situation or chose to live this life of isolation. Reasons for a self inflicted seclusion might be homophobia, the fear of rejection by the exterior world, or simply a lack of interest for it. However, the Lady of Shalott is quite content with what she has and what she does. Her life of art in front of the loom and the crystal mirror is all she needs singing her ';…song that echoes cheerly…'; (30) throughout the land. She is as innocent as a careless child giving little thought about her future. The Lady of Shalott has no urge to leave her own interior world because she is not aware of any other options. Little is known about her outside '…many-towered Camelot.'; (5) and apparently she intends to keep it that way:
Tennyson, Alfred, Lord. "The Lady of Shalott." The Norton Anthology of English Literature. Ed. M.H. Abrams. 6th ed. Vol. 2. New York: Norton, 1993. 1059-1063.
In his novel Crime and Punishment Fyodor Dostoevsky uses Raskolnikov as a vessel for several different philosophies that were particularly prominent at the time in order to obliquely express his opinions concerning those schools of thought. Raskolnikov begins his journey in Crime and Punishment with a nihilistic worldview and eventually transitions to a more optimistic one strongly resembling Christian existentialism, the philosophy Dostoevsky preferred, although it could be argued that it is not a complete conversion. Nonetheless, by the end of his journey Raskolnikov has undergone a fundamental shift in character. This transformation is due in large part to the influence other characters have on him, particularly Sonia. Raskolnikov’s relationship with Sonia plays a significant role in furthering his character development and shaping the philosophical themes of the novel.
Confessional poetry of women poets of the then 1950s and 1960s opens a new vista for them to express their ‘self’ and to foreground their identity. These poets feel the need for self-affirmation because of their experience of marginalization in society. They found all the experiences are gendered in the 1950s and 1960s patriarchal society and so they also develop a gendered image of their ‘self’ in their confessional poetry. At the time when Sexton and Plath were children, the authoritarian figure within the nuclear family was the father and so he was the representative of society’s rule. Hence, the delineation of the Electra complex in their confessional poetry is one of the approaches of scratching their gendered ‘self’ because through the Electra complex the poets inscribe the female sexuality into the text. So, “with their autobiographical works, they write themselves into the canon and represent and deconstruct cultural images and linguistic codes of ‘woman’ and suggest alternative modes of self and identity” (Carmen