the indictment of those ideologies that propound the image of the woman as docile, quiet and asexual by making it responsible for violence against women” (González, “Contemporary Women’s Poetry in Galicia and in Ireland: An Introduction” 118). The cultural and religious image of motherhood and the Virgin Mary “has ‘dissociated the maternal-role function from other aspects of a woman’s identity, in particular her sexual identity’” (Barr et al. 3). Therefore, the poets needed to show and point out the existence and the realness of the female sexuality. Both pubescent and homosexual, sexual desires contradict the religious model of femininity, and by presenting these issues, the poets neither reject, nor accept the image of the Virgin Mary, but alter it.
During the feminist movement beginning in the late 1700’s many women took stance to stand up for women’s rights that as women they weren’t getting and therefore caused this movement to carry on through present day. However, in literature during this time author’s would write books using women as props almost as men had dominance over women and women had to do everything that the men asked of them. "Women who had been told that they had it all—nice houses, lovely children, responsible husbands—were deadened by domesticity, she said, and they were too socially conditioned to recognize their own desperation" (Women’s movement). Women had once been told they had it all until the late 1700’s when men began to dominate over women and control what
In her poem, I Cannot Live With You, Emily Dickinson challenges the construction of the concept “Romantic” poetry and the social and political morals, "not knowing when the dawn will come, I open every door possible". This statement is a layout about Dickinson 's work and how despite the fact that everything in life won 't come the easy way, always keeping the door completely always give you that chance. The poem I Cannot Live With You, written in 1848 by artist Emily Dickinson. This sonnet shares the intelligent sensibility of Romance which was Dickinson 's highlight in composing, propelling her considerations about her lover, gradually, from the first declaration to the destroying conclusion. Through the use of language features, structures and ideas, Emily Dickinson positions the audience/reader to acknowledge her perspective of the Romantic Period and why it must be incorporated into the anthology.
Whitman did not stop writing poetry, however, “though they were only rarely as inspired and powerful as his 1855–65 verse” (Eiselein 21). A fifth edition of Leaves of Grass was published in 1871. Later, different versions of it started to appear. The first issue, printed in New York, was a 384-page volume with 10 new poems. The second issue, a 504-page version, appeared in Washington in 1872; it included a separately paged ‘‘Passage to India’’ section of 24 new poems and 51 older ones.
It developed in her a ‘masculine protest’ and filled in her sadism and destructiveness. Her poetry reflects ‘a seductive nihilism in contemporary culture that is a barrier to the discovery of one’s full humanness – the first step towards trying to find a meaning in life. It is reflected in the nihilism of her poetry and also in her choice of suicide as an evasive measure, a dodge, from discovering her full humanness. Well, her famous poem entitled Daddy categorically depicts her relationship with her father. Even the opening lines of the poem invoke those cultural or social injunctions or prescriptions against which the conduct or behaviour of the persons in the poem is measured at both the individual and the social levels.
It has always been a favorite canvas to explore the gender and social discrimination against women in the society. Almost all fictionists have portrayed a woman as submissive to the patriarchy. They described her as oppressive under the reinforcement of age-old tradition and customs. It seems that the projection of female sensibilities became the trend of the writing. Indian women novelists in English literature explored the pathetic plight of a woman forced to suffer from birth to death in a male dominated social
Kamala Das’s poetry mainly deals with love, its betrayal and the consequent anguish. With regard to her sexual matters all her readers sympathetically responded to her frankness. All of her early poetry reflected fierce originality, bold images, exploration of female sexuality and intensely personal note. This research paper is an attempt to explore the confessional elements in her poetry. Keywords: Patriarchy, Women, Problems, Love, Betrayal, Anguish etc.
It is an attempt to prove that the narrator’s writing is a way to express unconscious wishes in a publicly accepted manner and that it is a gynotext. Key words: Feminism, writing, marriage, family, society, self-identity, gynocriticism. Introduction Madhavi Kutty is a renowned Indian poet, novelist, short-story writer, essayist and memoirist. She is famously known to the world of writing as Kamala Das. She is a prolific writer and has written several taboo-breaking
Kamala Das is perhaps one of the most well-known names in the field of Indian English literature. She has written about her own personal experiences extensively. This paper will examine the life of the poet and the strong confessional tone in her poetry .It also seeks to explore the various ways in which Kamala Das has represented the themes of love and sexuality in her poems. The volumes of poetry that have been used for assessing the aforementioned themes include The Descendants (1967), Only the Soul Knows how to Sing (1997), Summer in Calcutta (1965) and The Old Playhouse and Other Poems (1973). A pioneer in presenting a straight forward and intricate expression of the feminine sensibility in the Indian English Writings, Das has succeeded in providing the world with a wider and bolder representation of Indian feminism and female sexuality through her writings in English as well as Malayali, under her maiden name Madhavikutty.