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Humoring the feminine: Comic subvers...

University of Virginia.

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Humoring the feminine: Comic subversions in 20th-century women's poetry.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Humoring the feminine: Comic subversions in 20th-century women's poetry./
作者:	Tucker, Virginia Lauryl.
面頁冊數:	252 p.
附註:	Adviser: Jahan Ramazani.
Contained By:	Dissertation Abstracts International68-12A.
標題:	Literature, Caribbean. -
電子資源:	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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520 $a 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 $a 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.
520 $a 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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