Desiring Voices: Women Sonneteers and Petrarchism
SIU Press, 2000 - 290 páginas
?How do I love thee? Let me count the ways,” wrote Elizabeth Barrett Browning in her Sonnets from the Portuguese. Desiring Voices: Women Sonneteers and Petrarchism proposes that we attend to the ways that women poets from the sixteenth through the twentieth centuries have both echoed and transformed the literary and erotic conventions that strongly influenced their fates as women, wives, and lovers.
Mary B. Moore analyzes and provides context for love sonnet sequences by Italian, French, English, and American women poets in the light of current knowledge concerning attitudes towards women at the time they wrote. Through close readings of the poems combined with theory and criticism about constructs of women, historical events, and biographical contexts, Moore reveals patterns of revision among women poets that shed further light on the poets themselves, on Petrarchism as a convention, and on ideas about women. She focuses on Petrarchan sonnet sequences by women because the poems serve both as works of art and as documents that illuminate the range and limitations of female roles as erotic subjects (agents of speech, action, knowledge, and desire) as well as their more usual roles as erotic objects.
Combining theory with close reading, Moore enhances the value of many generally neglected poems by women. After a thorough discussion of the Petrarchan sonnet tradition, she analyzes the work of Gaspara Stampa, Louise Labé, Lady Mary Wroth, Charlotte Smith, Elizabeth Barrett Browning, and Edna St. Vincent Millay.
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Petrarch created a poetic speaker through ambiguity and complexity even as he represented the female beloved , Laura , as ideally beautiful and chasteand as a threat to male subjectivity . The ( Continued on back flap ) Desiring Voices ...
The eye is both verb and subject of Petrarchism , as is the I : the fictive poet's self - creation in the mirroring eye of his beloved absorbs the beloved into his own " I , " so that he " I's ” — or makes the other into himself — as he ...
In typical Petrarchan sonnets , the lover experiences both pain and joy , life and death , is fiery and icy , tearful and joyous , enslaved though free ; he is wounded by the beloved's eye darts ; her image resides in his heart ; he is ...
Shakespeare also associates the form with procreation and memory : he will " engraft , " the fair young man ( sonnet 15 ) , and the beloved " thou " will " grow'st in the sonnet's lines " ( sonnet 18 ) , implying that the poem is ...
Thus in sonnet 24 , when he invites the beloved to gaze at his own image , he also invites the fair young man's gaze at his own body , " the frame , " which contains that bodily image . Similar tropes of enclosure and gender ...
O que estão dizendo - Escrever uma resenha
The Complication of Subjectivity
Body of Light Body of Matter
Eating Desire and Embracing Error
The Labyrinth of Style
Charlotte Smith and the Echoes of Melancholy
A Fitting Form
Works Cited and Consulted