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dc.description.abstractLike most of the literary figures in her times, Aemilia Lanyer's poetic career is contingent upon the Jacobean patronage system, which preceded the publishing industry to serve as the material condition for the production of literary works. In returning the favor of their patrons, poets express their gratitude through writing dedicatory poetry. The genre, however, is marked by an innate tension between the poets' assertion of their writing authority and their vindication of their patron's social and political supremacy. Lanyer's "The Description of Cooke-ham," in its female rendition of the genre of dedicatory poetry as well as that of country house poetry, reflects such tension in a female version. In this essay I explore Lanyer's appropriation and displacement of country house poetry conventions in order to establish a discursive space for a community of good women, one that is constituted by her female patrons. The female discursive space, however, is occupied by upper calss female subjects exclusively. Thus, although Lanyer asserts cognitive female subjects, she unwittingly strengthens the class hierarchy implicated in the genre. To be sure, praising the patrons guarantees her social security as a writer. Yet it also erases her class specificity as a commoner and banishes her outside the female community she helps establish. Fully aware of her dilemma in writing a dedicatory poem, Lanyer turns the poem into a battleground on which the struggle between her class/poetic consciousness and her writerly obligation to her female patrons is played out. I argue that Lanyer manages to "resolve" and suppress this contradiction through the appeasement of the fractured, disrupting, uncertain voice in the margin by means of the timely use of religious rhetoric. The "resolution" is a far cry from an effective subversion of gender and class coercion. But the daring insertion of the troubling voice of a gentlewoman in a dedicatory poem anticipates the expression of class difference at the historical juncture when female consciousness only starts to announce itself in the margin of mainstream literary scene.en_US
dc.description.abstract文學贊助制度在出版工業尚未發達的文藝復興時代,是文人文學生產的主要物質 情境。敬獻詩成為當時特有的文化產物,並蔚然成風。為了回報貴族挹助,文人書寫獻詩以 表忠誠,並間接鞏固文人的創作環境。然而敬獻詩固然是詩人稱頌貴族的文本場合,也是詩 人展現創作權威的論述領域。兩者之間的角力暗含階級衝突的張力。愛米莉雅.藍能的文學 創作,與她同時的詩人一樣,需仰賴貴族仕女的贊助。藍能挪用與移置敬獻詩中的次文類鄉 村莊園詩的書寫成規以呈現一以貴族仕女為首的女性社群,復插入一邊緣聲音以表達詩人之 階級焦慮。本文旨在探討藍能《庫恆描寫》一詩中女性意識與階級意識的衝突及其對應的詩 文佈局。藍能雖暫時化解她的階級焦慮卻無助於階級平等。然而藍能的詩在宣揚--女性意識 與主體的同時,復能表達內在於性別的階級問題,為後代平民婦女書寫與呈現中產階級女性 主體的先聲。zh_TW
dc.relation文史學報, Volume 28, Page(s) 327-344.zh_TW
dc.titleClass Consciousness in Jacobean Female Writing Tradition: Aemilia Lanyer's Sense of Self in "The Description of Cooke-Ham"en_US
dc.typeJournal Articlezh_TW
item.openairetypeJournal Article-
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