Titlebook: Limits and Languages in Contemporary Irish Women‘s Poetry; Daniela Theinová Book 2020 The Editor(s) (if applicable) and The Author(s), und

ADOPT

Revolutionary Laughter: Irish Poets Dismantling Old Icons and Shibbolethsom feminist agendas. This chapter brings the discussion further by positioning women’s reactions within the context of the writings of their male precursors. Ironic laugher directed at the glamorised figures of the motherland is presented not only as a factor facilitating historical redress but as an enabling element in poetry.

anaerobic

极小

柳树；枯黄

In and Out of Ireland: New Poets and New Placest in view of an increased global consciousness and the multivalent implications of terms such as integrity, centrality and connectivity. The concept of a straightforward and natural identification with a “home” is challenged by an encounter with unknown cultures and foreign places.

Spirometry

帽子

Introduction: Uncertain Identities,the links and discontinuities between the binary concepts of feminism and post-feminism and shows how women poets have explored their position in national and sociolinguistic communities with increasingly globalised perspectives.

不遵守

Figures in a Landscape: Women on Language, Land and Desireative idiom, a “new language” in which they could make up for the historical silence of women. Many of their poems evidence original approaches to the landscape and offer revised views of postcolonial nationality.

thrombosis

Poetry of Silence: Rhetorical Concealment and the Possibility of Speechnce and disappearance. Theinová accentuates the elusiveness of the muse and examines the essentially creative tendency towards “privatisation” in these poets’ works. Silence is shown to be emblematic of the boundless possibilities of language.

不适

CROW

Conclusion: Feminism After Poetry third-wave feminism did in the twentieth century. This focus on continuities rather than fissures between poetic generations enables a fundamental critical reconsideration of major late twentieth-century Irish women poets and, by extension, the nation’s canon.