Gwen Harwood
著者
書誌事項
Gwen Harwood
(Australian writers)
Oxford University Press, 1994
- : series
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 110-119)
内容説明・目次
内容説明
In this first study of a female author to be published in Oxford's 'AW' series, Stephanie Trigg has produced a superbly readable and highly provocative account of the work of this central and much-loved Australian poet - the 'Tasmanian mum', as she was so often dismissed, who went on to write some of this country's outstanding lyrics. Aware of Harwood's increasing importance, and the current wave of critical and biographical interest in her life and works, Trigg positions her as a testing ground for feminist poetic criticism in Australia. Thus, in an interview, she asks, 'Who is the "Glenn Harwood" to whom I refer when I write about the poetry of a woman who in recent years has become increasingly public, celebrated and accessible?' Noting that much writing about Harwood has been informed, if not blinkered, by her domestic, even grandmotherly persona and modesty, she asks if this is the best critical vocabulary in which to describe or interpret her poetry. Trigg argues that this biographical model, organized around a corpus of works, signed by a known or theoretically knowable subject, has tended to produce something like heroine-worship.
Drawing on Foucault, Trigg focuses on Gwen Harwood' as a poetic signature written by the desires and interests of her readers, rather than as the living subject. She notes that such a Foucauldian project sits in some tension with a feminist insistence on women's lives.
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