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Humoring the feminine: Comic subvers...
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University of Virginia.
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Humoring the feminine: Comic subversions in 20th-century women's poetry.
Record Type:
Language materials, printed : Monograph/item
Title/Author:
Humoring the feminine: Comic subversions in 20th-century women's poetry./
Author:
Tucker, Virginia Lauryl.
Description:
252 p.
Notes:
Adviser: Jahan Ramazani.
Contained By:
Dissertation Abstracts International68-12A.
Subject:
Literature, Caribbean. -
Online resource:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3294800
ISBN:
9780549396185
Humoring the feminine: Comic subversions in 20th-century women's poetry.
Tucker, Virginia Lauryl.
Humoring the feminine: Comic subversions in 20th-century women's poetry.
- 252 p.
Adviser: Jahan Ramazani.
Thesis (Ph.D.)--University of Virginia, 2008.
In contrast to its acknowledged importance in prose, the comic element in poetry has generally been neglected; where it is observed, the use of humor is often seen as detrimental to any "serious" work. This dissertation begins by tracing the gendered history of such value-laden pronouncements, and observing the ways in which two notoriously slippery categories, humor and gender, have been persistently been invoked to define, police, and fix one another in place.
ISBN: 9780549396185Subjects--Topical Terms:
1019116
Literature, Caribbean.
Humoring the feminine: Comic subversions in 20th-century women's poetry.
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Humoring the feminine: Comic subversions in 20th-century women's poetry.
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252 p.
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Adviser: Jahan Ramazani.
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Source: Dissertation Abstracts International, Volume: 68-12, Section: A, page: 5077.
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Thesis (Ph.D.)--University of Virginia, 2008.
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In contrast to its acknowledged importance in prose, the comic element in poetry has generally been neglected; where it is observed, the use of humor is often seen as detrimental to any "serious" work. This dissertation begins by tracing the gendered history of such value-laden pronouncements, and observing the ways in which two notoriously slippery categories, humor and gender, have been persistently been invoked to define, police, and fix one another in place.
520
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Into this fraught history, I read the work of three twentieth-century female poets for whom humor has been both a critical liability and, I argue, a strategic means of revising inherited concepts of femininity. Using a dialogic approach, these writers represent femininity as a comically protean performance, a strategic means of expression or an ironic process of self-poesis. To describe these interventions demands a broad geographical and theoretical scope, involving a wide array of theorists in whose work, expressly or more quietly, the language of laughter and humor is already embedded, including Freud, Fanon, and Butler.
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My first chapter shows how Stevie Smith ironizes Freud's claim that the achievement of humor is to bolster the ego in a "triumph of narcissism." Specifically, her poems invoke the play of childhood to complicate not only the gendered model of narcissism but the very underpinnings of self-desire: that is, the assumed reality of a coherent, stable ego. Whereas Smith offers the parodic figure of Echo as an alternative to the inherited narratives of narcissism, Louise Bennett's work points to a comic alternative to the repressive linguistic and misogynistic legacy of colonial rule in Jamaica. Making a connection between femininity and Jamaican Creole, my second chapter reveals how Bennett dramatizes both as comic practices rather than stable sets of rules and norms. My final chapter discusses a single volume by Carol Ann Duffy, The World's Wife, a highly self-conscious work that offers its own arbitrary poetic categories (its formal, imagistic, and thematic groupings) as a trope for inherited constructs of gender, only to comically subvert these by radically favoring performative metamorphosis over normative fixity.
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School code: 0246.
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University of Virginia.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3294800
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