Woman to Man Analysis - Judith Wright (original) (raw)

I-POEMS -Listening to the voices of women with a traumatic birth experience

This qualitative study, utilizing a feminist perspective, aimed to explore and articulate women's recall of emotional birth trauma experiences. The reason being that one in every five women has a negative recall of childbirth and one in every nine women has experienced birth as a traumatic event, with sometimes detrimental implications for women and their families. Thirty-six individual narrative interviews with Dutch-speaking women were conducted. Consent was obtained and interviews were audiotaped and fully transcribed. Sentences with the 'voice of the 'I'' were extracted from the transcripts and were constructed into I-poems, showing four key themes: (1) The journey-unmet hopes and expectations of women during pregnancy, birth and thereafter; (2) The 'I' in the storm-women's notions of painful thoughts and memories; (3) The other-women's responses to the interaction with healthcare professionals; (4) The environment-sensory awareness of the birthing environment. The results described and showed the rawness and desolation of women's experiences reflected in their narratives of self, context and in relation to others, maternity care providers in specific. This study showed that acknowledging and listening to women's voices are of merit to inform (student) midwives and other healthcare professionals who are involved with childbearing women so that the significance of this experience can be understood.

In the Person of Womankind: Female Persona Poems by Campion, Donne, Jonson

Studies in Philology, 2001

While there has been much exploration of the ways in which Renaissance playtexts negotiate within stage tradition and their own gender culture to tender a dramatically effective "woman" to a mixed audience (an audience itself made up of participants in such social and literary constructions), Renaissance lyric poems written in the female voice have not been accorded this attention. There are obvious alignments, however. "Women" on stage and female personae poems share not only the idea of the disguised voice but the potential ability to simultaneously unsettle and re-settle orthodoxy, a potential realized by performance.

Compliation of Women related Papers and Poems

"I am stree, I am Strength, I am beauty, I am mother, I am calm". A woman may be defined in many more ways. This compilation consists of my various articles , published papers and Free Verse Poems from 2010-2024. Journey of my writings is on going. Hope the Compilation is helpful.

TOWARDS A POETICS OF WOMEN'S LOSS

Vir melancholicus/Femina tristis: Towards a poetics of Women’s Loss The notion of melancholia as a gendered affliction began with Aristotle, who in his Problems affirmed that it was a malady that afflicted “all great men.” Women, being essentially cold and moist, according to the theory of the humors, were unable, like the warmer and drier men, to become atrabilic; that is, men were able to produce “black bile,” the agent of melancholia, whereas women were incapable of producing it. Melancholia came to be perceived as a kind of wisdom and a privileged subjectivity of the lettered, a “blessed gloom,” that enabled great men—or men became great because of it—to become moral spokesmen for their community, to express loss and truth in terms of transcendent statements, and to “become exemplary of the human condition.” This gendered concept of melancholia was a “cultural myth” that privileged the loss and lack of men over that of women, men’s loss was more significant than women’s loss, so that said notion of melancholia resutled in a discursive practice that excluded women. In the love lyric, for example, melancholia as a discursive practice allowed men to use women as metaphors for loss, at the same time that it devalued and divested women of their own subjectivities. Women, as biologically and culturally defined, could not be melancholic but mournful.

Feminism and Women's Experience in the Manciple's Tale

Open Access Companion to the Canterbury Tales, 2017

Readers of the Canterbury Tales should not be alarmed to find themselves hearing voices. The entire collection, after all, is a series of stories told by one or another pilgrim, many of whom are endowed by Chaucer with a distinctive, compelling voice. In the end, as with all fiction, it is through these created voices that human experience can be conveyed to audiences temporally and geographically displaced. Chaucer's Canterbury Tales have come to us, centuries later and across cultural and linguistic divides, in large part because these voices will not be quiet. A number of pilgrims-the Wife of Bath, the Miller, the Host, the Pardoner, the Prioress-speak in voices that evoke three-dimensional people with distinctive experiences and concerns. Paradoxically, even as readers sense that vitality, they recognize that it speaks to Chaucer's great skill as a ventriloquist, the sleight-of-hand that compels us to deny what we know and willingly believe in the fiction. Through much of the collection, readers are in this way encouraged to hear the pilgrims' voices rather than the master behind them. The Manciple's Prologue and Tale is one rare occasion when voice comes into the spotlight and becomes the subject under discussion. With this move, Chaucer provides readers the opportunity to consider the effects of his craft, the relationships between these fictional voices and the lived experiences of those they represent.