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Happy Work: An Interview with Lila Matsumoto 快乐的工作:采访Lila Matsumoto
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-12-31 DOI: 10.1093/cww/vpaa020
Greg Thomas
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引用次数: 0
“If You Don’t Get Caught”: Islands, Isolation, and Entrapment in Contemporary Scottish Women’s Poetry “如果你没有被抓住”:当代苏格兰女性诗歌中的岛屿、孤立和陷阱
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-12-31 DOI: 10.1093/cww/vpaa022
Peter Mackay
This essay explores the trope of the island in recent Scottish poetry and in particular the tendency to treat poems as islands and vice versa. With a particular focus on the work of Meg Bateman, Jen Hadfield, Kathleen Jamie, Jackie Kay, and Liz Lochhead, the essay discusses ideas of entrapment, freedom, and isolation, to suggest that alongside the Utopian imaginings of islands, there is also the possibility of them becoming, like St Kilda for Lady Grange, constrictive prison cells.
本文探讨了近代苏格兰诗歌中对岛屿的比喻,特别是将诗歌视为岛屿的倾向,反之亦然。这篇文章特别关注了梅格·贝特曼、珍·哈德菲尔德、凯瑟琳·杰米、杰基·凯和丽兹·洛克黑德的作品,讨论了禁锢、自由和孤立的概念,并提出,除了对岛屿的乌托邦式想象之外,岛屿也有可能像格兰奇夫人的圣基尔达一样,变成狭窄的监狱牢房。
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引用次数: 0
Why I Choose Poetry (What’s Nation Got to Do with It? What’s Gender Got to Do with It?): A Collective Poetry-Essay by 21 Poets Encountered in Scotland (2016–19) 我为什么选择诗歌(国家与之有什么关系?性别与之有何关系?):苏格兰21位诗人的集体诗歌随笔(2016-19)
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-12-31 DOI: 10.1093/CWW/VPAA026
J. Goldman
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引用次数: 0
“Just a Couple of Queer Fish”: The Queer Possibilities of Rita Mae Brown’s Rubyfruit Jungle 《只是一对奇怪的鱼》:丽塔·梅·布朗的《红宝石丛林》的奇怪可能性
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-12-31 DOI: 10.1093/CWW/VPAB001
Josette Lorig
Rita Mae Brown’s Rubyfruit Jungle (1973) is a foundational work of lesbian literature and has been characterized as a queer text. This essay begins with resistance to reading the novel as a wholly celebratory queer text because of how it positions a form of essentialized lesbianism against queer sexualities that are coded as deviant and abnormal. Nonetheless, Rubyfruit Jungle brims with queer narratives, queer scenes, and queer characters. In the essay’s second half, I draw on Eve Kosofsky Sedgwick’s model of reparative reading to engage with potential queer readings the novel affords. I show how readers can recuperate the queer sexualities the novel documents in ways that the novel – with its specific historical and political positionality – did not or could not account for.
丽塔·梅·布朗的《红宝石丛林》(1973)是女同性恋文学的奠基之作,被认为是一部酷儿作品。这篇文章一开始就反对把这部小说读成一部完全颂扬酷儿的作品,因为它把一种本质上的女同性恋与被标记为异常和不正常的酷儿性行为对立起来。尽管如此,《红宝石丛林》充满了奇怪的故事、奇怪的场景和奇怪的人物。在文章的后半部分,我借鉴了伊芙·科索夫斯基·塞奇威克(Eve Kosofsky Sedgwick)的修复阅读模式,以参与小说提供的潜在的酷儿阅读。我展示了读者如何从小说记录的酷儿性行为中恢复过来,而这是小说没有或无法解释的,因为它具有特定的历史和政治立场。
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引用次数: 0
“Daughterlands”: Personal and Political Mappings in Scottish Women’s Poetry “Daughterlands”:苏格兰女性诗歌中的个人与政治映射
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-12-23 DOI: 10.1093/cww/vpaa024
G. Norquay
Scottish women’s poetry in recent years has evinced an interest in mapping daughterhood, frequently through linguistic negatives that challenge binary thinking. This essay argues that such “daughterlands” offer an imaginative alternative to the more familiar “motherland”: encompassing past, present, and future and positioning women in multiple roles, they have played a transformative role in the poetic imagining of “Scotland” in the new millennium. The essay considers the deployment of daughterly spaces by influential writers such as Carol Ann Duffy, Liz Lochhead, Jackie Kay, and Kathleen Jamie and then traces more recent instantiations by a younger generation of poets such as Claire Askew, Theresa Munoz, and Em Strang. In conclusion, it demonstrates the experiential and metaphoric potential of daughterhood for shaping broad political thinking in an explicitly public poem by Kay.
近年来,苏格兰女性的诗歌表现出对描绘女儿时代的兴趣,通常是通过挑战二元思维的语言否定。本文认为,这样的“女儿之地”为我们更为熟悉的“祖国”提供了一种富有想象力的替代:它们涵盖了过去、现在和未来,并将女性定位于多种角色,在新千年的“苏格兰”诗歌想象中发挥了变革作用。本文考察了卡罗尔·安·达菲、利兹·洛克黑德、杰基·凯和凯瑟琳·杰米等有影响力的作家对女儿空间的运用,然后追溯了年轻一代诗人克莱尔·阿斯寇、特蕾莎·穆尼奥斯和埃姆·斯特朗等人最近的例子。总之,它展示了经验和隐喻潜力的女儿塑造广泛的政治思想在一个明确的公共诗歌凯。
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引用次数: 0
Late Negotiations: Ecopoetry and Kathleen Jamie 后期谈判:生态诗歌和凯瑟琳·杰米
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-11-28 DOI: 10.1093/cww/vpaa023
A. Gillis
This essay explores Kathleen Jamie’s ecopoetry, expanding upon previous discussions of her work in this context. Through close readings of key poems, a broader exploration of lyric poetry and ecopoetics is developed. The opening section discusses current debates. While there is agreement with a critical consensus that our environmental catastrophe necessitates new ways of thinking, it is queried whether this, regarding lyric poetry, necessitates rejection of all convention and previous approaches. The main section of the essay then reexamines the work of Jamie, a well-known ecopoet, to scrutinize ways in which an emphasis on close reading and attention to matters of form might allow for a richer understanding than is allowed for in current ecocritical debates.
本文探讨了凯瑟琳·杰米的生态诗歌,在此背景下扩展了之前对她的工作的讨论。通过对关键诗歌的仔细阅读,对抒情诗和生态诗学进行了更广泛的探索。开篇部分讨论了当前的争论。虽然人们一致认为,我们的环境灾难需要新的思维方式,但有人质疑,关于抒情诗,这是否需要拒绝所有传统和以前的方法。然后,文章的主要部分重新审视了著名生态诗人杰米的作品,仔细审视了强调细读和关注形式问题的方式,这些方式可能会比当前生态批评辩论中所允许的更丰富的理解。
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引用次数: 0
Ordinary Affects and Spectrality in Three Works: Carole Giangrande’s Midsummer, Brenda Missen’s Tell Anna She’s Safe, and Andrea Thompson’s Over Our Heads 三部作品中的普通情感和幽灵:卡罗尔·詹格兰德的《仲夏》、布伦达·米森的《告诉安娜她很安全》和安德里亚·汤普森的《在我们的头顶上》
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa016
Silvia Caporale-Bizzini
This work was supported by a grant from the Spanish Ministry of Science and Innovation (FFI2015-63895-C2-1-R).
这项工作得到了西班牙科学与创新部的资助(FFIF2015-63895-C2-1-R)。
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引用次数: 0
Fay Weldon, Feminism, and British Culture: Challenging Cultural and Literary Conventions 女权主义与英国文化:挑战文化与文学传统
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa004
Margaret E. Mitchell
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引用次数: 0
From the Effective to the Affective: Postmemory in Emma Donoghue’s The Sealed Letter 从有效到情感:艾玛·多诺霍《密封信》中的后记忆
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa017
Natasha Alden
This article has a dual focus. It demonstrates the recent repoliticization of Linda Hutcheon’s category of historiographic metafiction through the extension of Marianne Hirsch’s concept of postmemory to lesbian novelists, arguing that this theoretical framework offers a lens through which we can understand some recent trends in lesbian historical fiction. Focusing on the novelist and critic Emma Donoghue’s 2008 novel The Sealed Letter, it also argues that this text’s evocation of an imagined lesbian past, and its use of metafictional techniques, are illuminated by reading it as a highly political engagement with lesbian postmemory.
这篇文章有两个重点。它通过将玛丽安·赫希的后记忆概念延伸到女同性恋小说家身上,展示了琳达·哈钦的历史编纂元小说类别最近的再政治化,并认为这一理论框架为我们提供了一个视角,通过这个视角我们可以理解女同性恋历史小说的一些最新趋势。以小说家兼评论家艾玛·多诺霍(Emma Donoghue) 2008年的小说《密封的信》(the Sealed Letter)为中心,本文还认为,通过将其视为对女同性恋后记忆的高度政治参与,这篇文章唤起了一段想象中的女同性恋过去,并运用了元虚构技巧。
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引用次数: 0
Grrrl Revlonution: Cosmetics, Ugly Beauty, and Grrrling Women in Emma Forrest’s Cherries in the Snow and Thin Skin Grrrl革命:化妆品,丑陋的美丽,和Grrrling女人在艾玛·福雷斯特的樱桃在雪和薄皮
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpz019
Megan Sormus
Thin Skin (2002) and Cherries in the Snow (2005) are coming-of-age novels set in reverse. This is to be expected when considered in conjunction with the “needy and attention seeking” narratives so typical of Emma Forrest’s oeuvre (Forrest, Thin Skin 123). Alighting on a deliberate confusion of girlhood and womanhood, both novels anticipate a contemporary (and postfeminist) rhetoric that, as Stephanie Harzewski identifies, is “uncomfortable with female adulthood itself, casting all women as girls to some extent” (9). As Forrest’s protagonists all carry an unease about being grown-up, despite the fact that they are grown-up, her work makes a timely intervention that both celebrates (and problematizes) the postfeminist trend and cultural phenomenon of girling women in the twenty-first century. Thin Skin, even down to its title, alludes to the simultaneous and often volatile encounters of girlish and grown-up, ugly and beautiful feminine identities through its twenty-something failed actress and self-proclaimed fucked-up girl, Ruby. In Cherries in the Snow, grown women are resold their former grrrlishness through the ugly makeup central to the fictional cosmetic company, Grrrl Cosmetics. In both novels, the girl/grrrl is instrumentalized by Forrest to tinker with established structures of feminine identity. I examine the extent to which the grrrling of women is politically, socially, or culturally progressive: does it really change anything or suggest a pathway to change? Or is it evidence not of resistance or rebellion but of a predictable tinkering with interpretations of femininity that have gained traction in contemporary consumer culture.
《薄皮》(2002年)和《雪中樱桃》(2005年)是以相反背景的成人小说。当与Emma Forrest的作品(Forrest,Thin Skin 123)中典型的“需要和寻求关注”的叙事结合起来考虑时,这是意料之中的事。这两部小说都有意混淆了少女时代和女性时代,都预测了一种当代(和后女权主义)的修辞,正如斯蒂芬妮·哈泽夫斯基所说,这种修辞“对女性成年本身感到不舒服,在某种程度上把所有女性都塑造成女孩”(9)。福雷斯特笔下的主人公都对自己的成年感到不安,尽管他们已经成年,但她的作品及时介入,既庆祝(也解决)了21世纪女性化的后女权主义趋势和文化现象。《瘦皮肤》,甚至连标题都暗指通过20多岁的失败女演员和自称糟糕女孩的鲁比,同时发生的、经常不稳定的少女和成年、丑陋和美丽女性身份的遭遇。在《雪中樱桃》中,成年女性通过虚构的化妆品公司Grrrl Cosmetics的核心丑陋化妆品,重新展示了她们以前的邋遢。在这两部小说中,女孩/grrrl都被福雷斯特用来修补女性身份的既定结构。我研究了女性的成长在政治、社会或文化上的进步程度:它真的改变了什么吗?还是暗示了一条改变的道路?或者,这不是反抗或反叛的证据,而是对当代消费文化中获得吸引力的女性气质解释的可预测的修补。
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Contemporary Womens Writing
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