...are, and finding a way to tell ourselves”: Carol Ann Duffy's Revision of Masculinist Representations of Female Identity. By Claire McEwen ‘Carol Ann Duffy is one of the freshest and bravest talents to emerge in British poetry — any poetry — for years', writes Eavan Boland (Duffy, 1994, cover). This courage is manifest in Duffy’s ability and desire to revise masculinist representations of female identity and her engagement with feminine discourse, a concept which, as Sara Mills points out: has moved away from viewing women as simply an oppressed group, as victims of male domination, and has tried to formulate ways of analysing power as it manifests itself and as it is resisted in the relations of everyday life. (p.78) It is these aspects of Duffy's work that I wish to address here by examining the ways in which she subverts masculinist assumptions and discourses in the following ways: by giving voice to previously marginalised or silenced figures, by re-presenting stereotypes and power relations, through comic reappropriation of myth and by re-writing the canonical love poem. The problematic nature of representation itself, its subjectivity and unreliability, is a central concern of Duffy's poetry. Much of her work is written in the form of dramatic monologue which serves to demonstrate the fundamental inadequacy of language to re-present by undermining the readers' expectations of traditional discourses. By using characters' voices rather than her own, Duffy identifies...
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...Carol Ann Duffy's poem "Standing Female Nude" is an ambiguous dramatic monologue of an unfulfilled proletarian woman. The poem explores the fight for power between the two characters, the ‘nude’ woman and the male artist. It emphasises the issues of social and gender separation (objectification of women) in France and explores Marxist philosophies. The model prostitute tries to “make a few francs”, which suggests that is all she is worth, while the painter tries to create a piece of art to become a great, “serious” artist. They use each other, but it is the woman who is subordinated to the men who gradually throughout the poem gains triumphant power over the man. “Standing Female Nude” is from Duffy’s first collection, when she was in her thirties, where there was a lot of social injustice, both class and gender injustice. The author as a strong feminist had to, like the poem's narrator, lay her soul bare in a male-led world. In the course of the poem, Duffy exploits a range of techniques such as alliteration, “six hours for a few francs”, in order to highlight the model’s irritation and contempt of the disempowered situation she’s in. The author also uses imagery technique - through sexual overtones she belittles the artist, even though at first it is the model who seems to be in the thrall of the artist. “Little man / you’ve not got the money for the arts I sell”, where the words choice - “little” insinuates the man’s reduction in status and being sexually dismissive. ...
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...,The Presentation of male and female sexuality in Nabokov’s ‘Lolita’, Joyce’s ‘Ulysses’ and Carol Ann Duffy’s poetry anthology ‘The World’s Wife’ The themes of sex and sexuality have always remained somewhat hidden by society, concealing a darker unspoken reality which has power to threaten the pure and romantic values of marriage and intimate relationships as well as established gender roles. Despite the alleviation of religious and moral restrictions, sex embodies the warped animal reflection of the exclusively human concept of love, exposing primal desires and ensuring its continued belonging to the realms of the shocking and distasteful, while inadvertently strengthening its power. It is this power that lies at the heart of much modernist literature. The illicit imagery serves as a physical subversion of the dated foundations the writings oppose. Prominent in early modernist work was the theoretical influence of Sigmund Freud, most notably in the case of contemporary writer James Joyce whose literary techniques, such as the stream of consciousness writing in Ulysses, have come to epitomize modernist fiction. Ulysses not only challenges the censors’ attitude to sex, but also what were considered the sexual norms for men and women in pre-war Catholic society. Similarly, Vladimir Nabokov uses sexual deviancy to protest the theoretical ideas implicit in modernist literature through characteristics derived from post-World War II civilisation. The absence of structure or...
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...In this modern, westerly-fixated era, issues regarding gender are seen, by vast proportions of the population, as antiquated. Carol Ann Duffy serves to tackle this notion by using poetry as a window into the deeply personal experience of the contemporary woman. Throughout her texts, strains emerge of futility, depression and disempowerment felt by much of the female demographic during day-to-day existence. Duffy looks into aspects of motherhood, what it means to be a ‘woman’ and ultimately the consequences that gender expectations have on the psychological health of women in order to paint a picture of female marginalisation in the world today. By first examining the titles of each of the three poems, we may gain a more comprehensive understanding of what Carol Ann Duffy is attempting to convey before examining the full textual body. ‘Whoever She Was’ captures the solemn echo of the narrators plight. The past tense acts to separate her current being from ‘Whoever’ she was when her children were young and she had motherly duties to tend to. The blasé use of ‘Whoever’ may at first convey to us that she does not show remorse to the changes she has undergone since her children left. When considered with the context of the poem and her fixation on the past, however, it becomes evident that ‘whoever’ and indeed the third person, ‘she’ is used to accent the gulf between her present state and that of her motherly role. ‘Recognition’, as a title, serves to place the unattainable...
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...Mr del Vecchio Name___________________________________________Form________________ From left to right, match the image with a poem from the anthology you havde studied Scaffold for an essay in response to the poetry question How do Carol Ann Duffy in Havisham and Simon Armitage in Kid and Robert Browning in ‘The Laboratory’ and ‘My Last Duchess’, present their perspectives on the theme of betrayal? Objective: how to achieve an A* in the Poetry question * Respond to texts critically, sensitively and in detail, using textual evidence as appropriate * Explore how language, structure and forms contribute to the meaning of texts, considering different approaches to texts, and alternative interpretations * Explore relationships and comparisons within and between texts, selecting and evaluating relevant material * Introduction: keep this brief and concise! * Avoid any description of what happens and cut straight to how the themes are treated similarly in the poems and where the writers’ treatments part company. | POINTLiterary Conceits are features of both poems, through which Duffy and Armitage convey the mental state of their characters | HAVISHAM QUOTATIONS“Havisham” | Both poems begin with and frequently employ strong plosives._____________________________________________For the development: * include that Havisham is an interior monologue; * how do the plosives express her state of mind? * In Havisham, the opening plosive...
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...The word commitment can mean different things to different people. It can conjure up images of dedication to a task or mission, it can refer to an obligation to family, or it can relate to a person’s resolution to conform to what society expects of them. However, more frequently it is linked to the idea of love and relationships; and in Shakespeare’s “Romeo and Juliet” that is certainly the translation that is examined. Act 2, Scene 2 of the play in question is where the famous “balcony” scene takes place. It is the location where both lovers declare their mutual love for eachother and their desire to commit to eachother. Very quickly Juliet commits to “… follow thee my lord throughout the world”. In short she falls in love with him so entirely that the instantly commits to conforming to the role of a woman that was expected by society in Verona during the Shakespearian era – to become her husband’s “servant”. Of course by 2015 standards that would seem awful to most people, however, in the 15th century this was very much the accepted view. Juliet refers to Romeo as her “lord” for his duty to her once married was to provide for her, and offer her the security that her father’s wealth did not as women were unable to inherit their father’s estate. In return married women were expected to be grateful for the opportunity of marriage and were required to show this by baring her husband’s children (heirs), maintaining the home her husband provided her with, and to obey her husband’s...
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...familial relationship? Is the poet drawing attention to any universal experiences as they portray this relationship in particular? • From whose perspective is the poem written? Is it first, second or third person address, and how does this affect meaning? Who does the poem address? Or is it about, rather than directed to, someone? Does the form of communication affect the meaning? Is the poet speaking directly, or does the poet use a persona to communicate their ideas? • Consider the mood / tone of the poem. Is it light-hearted or serious in tone? Is it making a serious point in a light-hearted way and, if so, why might that be? • Why has the poet written this poem? What feelings, attitudes and/or ideas is the poet considering through their presentation of these relationships? • How has the poet communicated their ideas? What aspects of language, structure and/or form are particularly significant in this poem? What literary techniques is the poet using to...
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