Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Autobiography cultural
Gender and roles of women in literature
Gender and roles of women in literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
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...
To read the Civil War diary of Alice Williamson, a 16 year old girl, is to meander through the personal, cultural and political experience of both the author and one's self. Her writing feels like a bullet ricocheted through war, time, death, literary form, femininity, youth, state, freedom and obligation. This investigation attempts to do the same; to touch on the many issues that arise in the mind of the reader when becoming part of the text through the act of reading. This paper will lay no definitive claims to the absolute meaning of the diary, for it has many possible interpretations, for the journey is the ultimate answer. I seek to acknowledge the fluidity of thought when reading, a fluidity which incorporates personal experience with the content of Williamson's journal. I read the journal personally- as a woman, a peer in age to Alice Williamson, a surrogate experiencialist, a writer, an academic and most of all, a modern reader unaccustomed to the personal experience of war. I read the text within a context- as a researcher versed on the period, genre, aesthetics, and to some degree the writer herself. The molding of the personal and contextual create a rich personalized textual meaning .
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.
- - -. “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.
‘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.
...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.
It was not until Atticus had told Scout not to fight on his behalf, that Scout found the courage inside her to walk away. Her actions here show her respect for Atticus, and her dignity. She realizes now that fighting is not always the best way for her to solve her problems. Even after all the kids were calling her a coward, she had enough dignity to follow her father’s wishes and not fight.
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...
In the story, the narrator is forced to tell her story through a secret correspondence with the reader since her husband forbids her to write and would “meet [her] with heavy opposition” should he find her doing so (390). The woman’s secret correspondence with the reader is yet another example of the limited viewpoint, for no one else is ever around to comment or give their thoughts on what is occurring. The limited perspective the reader sees through her narration plays an essential role in helping the reader understand the theme by showing the woman’s place in the world. At ...
Self-definition is crucial, not only to being, but to creating. As Gilbert and Gubar so astutely note in The Madwoman in the Attic, "For all literary artists, of course, self-definition necessarily precedes self-assertion: the creative 'I AM' cannot be uttered if the 'I' knows not what it is" (17). One way of describing this work of self-definition is as "learn[ing] to understand what around and about us and what within us must live, and what must die" (Estes, 33). But female definition has not been this sorting out process of self-definition. Instead, it has been a static male definition "by default" or "by intent." If the female is to create herself, she must begin with a process of self-definition whose first step is, of necessity, a negation of the hitherto established male definition of "female." Virginia Woolf calls this "killing The Angel in the House" (PFW 286). Before she can say "yes" by creating a positive form she must first say "no" to the false positive form created by a patriarchal society. Before she can reclaim herself from the negative space of t...
Andrea A. Lunsford and John J. Ruszkiewicz. New York: St. Martin's, 2002. 65-71 Truth, Sojourner?Ain?t I a Woman? The Presence of Others, 3rd ed. Andrea A. Lunsford and John J. Ruszkiewicz.
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