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After Patriarchal Poetry: Feminism and the Contemporary Avant-Garde. Introductory Note

After Patriarchal Poetry: Feminism and the Contemporary Avant-Garde. Introductory Note d–i–f–f–e–r–e–n–c–e– s : A Journal of Feminist Cultural Studies 12.2 (2001) ii After Patriarchal Poetry: Feminism and the Contemporary Avant-Garde formal innovations by women inadmissible and anathematizes theoretical reflection on poetic practice (by poets themselves, by their readers) as an overly intellectualized interference with the immediate pleasures afforded by cathartic identification. An avant-garde without women, a poetics without poetry, a poetry for which entire registers of experience, innovation, and reflexivity are taboo: such are the results of failing to hold, in however tense an engagement, the necessary terms of the complex equation examined in this issue. The task is all the more imperative in light of the emergence (or more accurately speaking, the reemergence) of a feminist avantgarde poetry and poetics in the years since 1970, a phenomenon that simultaneously renews and transforms our thinking about feminism, the avant-garde, and poetry. While not the fi rst women writers to “turn a heel” on the generic conventions and institutionalized gender biases of patriarchal poetry—the vital precedents of the ’teens and twenties, of Margaret Anderson and Jane Heap’s The Little Review, of Gertrude Stein’s indefatigable experimentation, of Mina Loy’s and Else von FreytagLoringhoven’s radical contestations of the sexual conservatism paradoxically http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png differences: A Journal of Feminist Cultural Studies Duke University Press

After Patriarchal Poetry: Feminism and the Contemporary Avant-Garde. Introductory Note

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References (11)

Publisher
Duke University Press
Copyright
Copyright 2001 by Brown University and differences: A Journal of Feminist Cultural Studies
ISSN
1040-7391
eISSN
1527-1986
DOI
10.1215/10407391-12-2-i
Publisher site
See Article on Publisher Site

Abstract

d–i–f–f–e–r–e–n–c–e– s : A Journal of Feminist Cultural Studies 12.2 (2001) ii After Patriarchal Poetry: Feminism and the Contemporary Avant-Garde formal innovations by women inadmissible and anathematizes theoretical reflection on poetic practice (by poets themselves, by their readers) as an overly intellectualized interference with the immediate pleasures afforded by cathartic identification. An avant-garde without women, a poetics without poetry, a poetry for which entire registers of experience, innovation, and reflexivity are taboo: such are the results of failing to hold, in however tense an engagement, the necessary terms of the complex equation examined in this issue. The task is all the more imperative in light of the emergence (or more accurately speaking, the reemergence) of a feminist avantgarde poetry and poetics in the years since 1970, a phenomenon that simultaneously renews and transforms our thinking about feminism, the avant-garde, and poetry. While not the fi rst women writers to “turn a heel” on the generic conventions and institutionalized gender biases of patriarchal poetry—the vital precedents of the ’teens and twenties, of Margaret Anderson and Jane Heap’s The Little Review, of Gertrude Stein’s indefatigable experimentation, of Mina Loy’s and Else von FreytagLoringhoven’s radical contestations of the sexual conservatism paradoxically

Journal

differences: A Journal of Feminist Cultural Studies – Duke University Press

Published: Jan 1, 2001

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