Book contents
- A History of Irish Women’s Poetry
- A History of Irish Women’s Poetry
- Copyright page
- Contents
- Notes on Contributors
- Acknowledgements
- Introduction I
- Introduction II
- Chapter 1 Women in the Medieval Poetry Business
- Chapter 2 Seventeenth-Century Women’s Poetry in Ireland
- Chapter 3 The Oral Tradition
- Chapter 4 Archipelagic Ireland
- Chapter 5 Irish Romanticism
- Chapter 6 Mary Tighe in Life, Myth, and Literary Vicissitude
- Chapter 7 Masculinity, Nationhood, and the Irish Woman Poet, 1860–1922
- Chapter 8 The Eclipse of Dora Sigerson
- Chapter 9 Between Revivalist Lyric and Irish Modernism
- Chapter 10 The Other ‘Northern Renaissance’
- Chapter 11 Rematriating Mid-Century Modernism
- Chapter 12 Accidental Irishness and the Transnational Legacy of Lola Ridge
- Chapter 13 Crisis and Renewal: Irish-Language Poetry in the Twentieth and Twenty-First Centuries
- Chapter 14 The Poetry of Máire Mhac an tSaoi and the Indivisibility of Love
- Chapter 15 Biddy Jenkinson
- Chapter 16 Bilingual Poetry
- Chapter 17 Catholicism in Modern Irish Women’s Poetry
- Chapter 18 1970s–80s Feminism
- Chapter 19 The Art of Fabrication
- Chapter 20 Eavan Boland, History and Silence
- Chapter 21 Paula Meehan and the Public Poem
- Chapter 22 Formalism and Contemporary Women’s Poetry
- Chapter 23 ‘A Song Said Otherwise’
- Chapter 24 Contemporary Irish Women’s Poetry, beyond the Now
- Select Bibliography
- Index
Introduction II
The Reception of Irish Women Poets
Published online by Cambridge University Press: 11 June 2021
- A History of Irish Women’s Poetry
- A History of Irish Women’s Poetry
- Copyright page
- Contents
- Notes on Contributors
- Acknowledgements
- Introduction I
- Introduction II
- Chapter 1 Women in the Medieval Poetry Business
- Chapter 2 Seventeenth-Century Women’s Poetry in Ireland
- Chapter 3 The Oral Tradition
- Chapter 4 Archipelagic Ireland
- Chapter 5 Irish Romanticism
- Chapter 6 Mary Tighe in Life, Myth, and Literary Vicissitude
- Chapter 7 Masculinity, Nationhood, and the Irish Woman Poet, 1860–1922
- Chapter 8 The Eclipse of Dora Sigerson
- Chapter 9 Between Revivalist Lyric and Irish Modernism
- Chapter 10 The Other ‘Northern Renaissance’
- Chapter 11 Rematriating Mid-Century Modernism
- Chapter 12 Accidental Irishness and the Transnational Legacy of Lola Ridge
- Chapter 13 Crisis and Renewal: Irish-Language Poetry in the Twentieth and Twenty-First Centuries
- Chapter 14 The Poetry of Máire Mhac an tSaoi and the Indivisibility of Love
- Chapter 15 Biddy Jenkinson
- Chapter 16 Bilingual Poetry
- Chapter 17 Catholicism in Modern Irish Women’s Poetry
- Chapter 18 1970s–80s Feminism
- Chapter 19 The Art of Fabrication
- Chapter 20 Eavan Boland, History and Silence
- Chapter 21 Paula Meehan and the Public Poem
- Chapter 22 Formalism and Contemporary Women’s Poetry
- Chapter 23 ‘A Song Said Otherwise’
- Chapter 24 Contemporary Irish Women’s Poetry, beyond the Now
- Select Bibliography
- Index
Summary
The ability of Irish poetry to secure a place in the canon is intimately tied to structures of power and authority – structures with a strongly gendered character. Historically, the Irish tradition has been fractured by numerous traumas and the programmatic exclusion of poetry by women. Anthologies are key drivers in canon formation, but have been heavily slanted against equal representation of male and female poets. Often, women will achieve representation in one anthology only to disappear from view in the next; and applying a historical overview, we find that the twentieth century is often worse in this regard than previous eras. A number of case studies are considered, with close attention to questions of group dynamics, literary movements, citationality, and the role of the academy and the anthology.
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- A History of Irish Women's Poetry , pp. 24 - 39Publisher: Cambridge University PressPrint publication year: 2021