The Daughteras Way investigates negotiations of female subjectivity in twentieth-century Canadian womenas elegies with a special emphasis on the fatheras death as a literary and political watershed. The book examines the work of Dorothy Livesay, P.K. Page, Jay Macpherson, Margaret Atwood, Kristjana Gunnars, Lola Lemire Tostevin, Anne Carson, and Erin MourAc as elegiac daughteronomiesaliterary artifacts of mourning that grow from the poetsa investigation into the function and limitations of elegiac convention. Some poets treat the father as a metaphor for socio-political power, while others explore more personal iterations of loss, but all the poets in The Daughteras Way seek to redefine daughterly duty in a contemporary context by challenging elegiac tradition through questions of genre and gender. Beginning with psychoanalytical theories of filiation, inheritance, and mourning as they are complicated by feminist challenges to theories of kinship and citizenship, The Daughteras Way debates the efficacy of the literary awork of mourninga in twentieth-century Canadian poetry. By investigating the way a daughteras filial piety performs and sometimes reconfigures such work, and situating melancholia as a creative force in womenas elegies, the book considers how elegies inquire into the rhetoric of mourning as it is complicated by father-daughter kinship.aHis Safe Returna: The OfficerFather asLost Beloved In her poem aThe First Parta from 1985a#39;s The Glass Air, Page admits to ... Is it age, deatha#39;s heavy breath / making absolute autobiography / urgent? ... Warning that these affiliations areoften deeply ambivalent, Gilbert and Gubar note that the fatheradaughter paradigm aissoanbsp;...
|Title||:||The Daughter’s Way|
|Publisher||:||Wilfrid Laurier Univ. Press - 2012-09-01|