My recently published paper in JASAL (vol. 19, No. 2, 2019)- eds. Ellen Smith and Tony Simoes da Silva- 'Reading Helen Koukoutsis's Cicada Chimes' by Anna Dimitriou
The document discusses women and gender roles in Victorian society through analyzing quotes from a piece of literature. It explores how women were expected to conform to stereotypical roles of being submissive, domestic angels. One quote highlights a woman's inner conflict between her personality and societal expectations. Another quote describes women's worth as being their ability to bear children and fulfill maternal duties. A third quote represents a woman's suppression by society through the metaphor of her eyes being "drowned" and her struggle between her true nature and what is expected of her as a Victorian woman.
INTERNAL ELEMENTS OF A NOVEL: A SHORT INTERPRETIVE ANALYSIS OF ‘MRS. DALLOWAY’tacioabarros
This document provides an interpretive analysis of Virginia Woolf's novel "Mrs. Dalloway" focusing on its internal elements from a space and time perspective. It discusses how Woolf uses stream of consciousness and references to time through bells to explore characters' thoughts and critique 1920s London society. The story follows Mrs. Dalloway as she prepares for a party over the course of one day, with flashbacks revealing characters' pasts. Through its examination of time and inner minds, the novel holds a mirror to post-World War I society and questions the human experience.
Moral Affirmations and Social Concerns in Elizabeth Bishop’s Poemspaperpublications3
Abstract: This paper is an attempt to unleash Elizabeth Bishop’s affirmative ideology analysing few of her poems reflecting her concerns for issues of war, weaker sections of the society and concerns on the class divide in the society. Bishop’s moral affirmations impart a ray of hope in the disappointing hopeless situations, arising due to political and economical unrest in twentieth century America, as an effect of various conflicts and wars in the period. Her moral affirmations or beliefs give a strong optimistic ideology to her poems. Though her moral affirmations and her social concerns are reflective of a very basic and simple way of thinking but was a required ideology for the war afflicted society on the verge of forgetting the simple and peaceful living. Reluctant to make grand moral claims in her writing, Bishop’s poems remain consistently attuned to the crucial role in the ongoing social reformation for the development of self and polis.
Kelly Cogswell helped found the Lesbian Avengers activist group in the 1990s in New York City, growing its membership to over 20,000 supporters. Through creative protests and touring her experiences over 20 years of activism, Cogswell actively advocated for lesbian rights and challenged opposition to the lesbian community. Her memoir "Eating Fire: My Life As A Lesbian Avenger" recounts her journey from small-town Kentucky to becoming a pioneering lesbian activist on the gritty streets of New York, utilizing confrontational but intelligent tactics to push for equality.
Feminism babae akong namumuhay magisa by joi barriosflattsph
- Virginia Woolf laid the foundation for modern feminist criticism in her work A Room of One's Own, where she asserts that men have historically treated women as inferior and defined femininity.
- Feminist critics aim to expose and challenge this patriarchal view of female inferiority that has been ingrained in culture and literature. They argue that women must redefine representations of gender.
- Joi Barrios' poem "Babae Akong Namumuhay Mag-Isa" explores the social pressures and biases faced by single women in the Philippines. It plays with traditional gender categories by rejecting labels like "spinster" and asserting the woman's freedom and autonomy.
The Victorian Experience discusses various critical analyses of Thomas Hardy's novel Far From the Madding Crowd. It summarizes that critics have viewed the character Bathsheba in different ways, such as a powerful pagan figure or a victim of male domination. The document also discusses Hardy's use of biblical and mythological allusions in the novel and how they relate the story to cultural traditions while introducing comic aspects. It analyzes how discord in nature reflects the human conflicts in the story and Hardy's philosophical perspective on fate and the absurdity of human actions.
The document provides an analysis and comparison of Confessions by Augustine and a work by Douglas Coupland. It summarizes that both authors ultimately show that finding meaning in life only comes through accepting God. While Augustine reflects philosophically on his journey to faith, Coupland allows readers to drift through the lives of lost characters and relate to their struggle to find purpose. Both accounts reach a point where the characters realize they need God to overcome feelings of meaninglessness.
The document discusses women and gender roles in Victorian society through analyzing quotes from a piece of literature. It explores how women were expected to conform to stereotypical roles of being submissive, domestic angels. One quote highlights a woman's inner conflict between her personality and societal expectations. Another quote describes women's worth as being their ability to bear children and fulfill maternal duties. A third quote represents a woman's suppression by society through the metaphor of her eyes being "drowned" and her struggle between her true nature and what is expected of her as a Victorian woman.
INTERNAL ELEMENTS OF A NOVEL: A SHORT INTERPRETIVE ANALYSIS OF ‘MRS. DALLOWAY’tacioabarros
This document provides an interpretive analysis of Virginia Woolf's novel "Mrs. Dalloway" focusing on its internal elements from a space and time perspective. It discusses how Woolf uses stream of consciousness and references to time through bells to explore characters' thoughts and critique 1920s London society. The story follows Mrs. Dalloway as she prepares for a party over the course of one day, with flashbacks revealing characters' pasts. Through its examination of time and inner minds, the novel holds a mirror to post-World War I society and questions the human experience.
Moral Affirmations and Social Concerns in Elizabeth Bishop’s Poemspaperpublications3
Abstract: This paper is an attempt to unleash Elizabeth Bishop’s affirmative ideology analysing few of her poems reflecting her concerns for issues of war, weaker sections of the society and concerns on the class divide in the society. Bishop’s moral affirmations impart a ray of hope in the disappointing hopeless situations, arising due to political and economical unrest in twentieth century America, as an effect of various conflicts and wars in the period. Her moral affirmations or beliefs give a strong optimistic ideology to her poems. Though her moral affirmations and her social concerns are reflective of a very basic and simple way of thinking but was a required ideology for the war afflicted society on the verge of forgetting the simple and peaceful living. Reluctant to make grand moral claims in her writing, Bishop’s poems remain consistently attuned to the crucial role in the ongoing social reformation for the development of self and polis.
Kelly Cogswell helped found the Lesbian Avengers activist group in the 1990s in New York City, growing its membership to over 20,000 supporters. Through creative protests and touring her experiences over 20 years of activism, Cogswell actively advocated for lesbian rights and challenged opposition to the lesbian community. Her memoir "Eating Fire: My Life As A Lesbian Avenger" recounts her journey from small-town Kentucky to becoming a pioneering lesbian activist on the gritty streets of New York, utilizing confrontational but intelligent tactics to push for equality.
Feminism babae akong namumuhay magisa by joi barriosflattsph
- Virginia Woolf laid the foundation for modern feminist criticism in her work A Room of One's Own, where she asserts that men have historically treated women as inferior and defined femininity.
- Feminist critics aim to expose and challenge this patriarchal view of female inferiority that has been ingrained in culture and literature. They argue that women must redefine representations of gender.
- Joi Barrios' poem "Babae Akong Namumuhay Mag-Isa" explores the social pressures and biases faced by single women in the Philippines. It plays with traditional gender categories by rejecting labels like "spinster" and asserting the woman's freedom and autonomy.
The Victorian Experience discusses various critical analyses of Thomas Hardy's novel Far From the Madding Crowd. It summarizes that critics have viewed the character Bathsheba in different ways, such as a powerful pagan figure or a victim of male domination. The document also discusses Hardy's use of biblical and mythological allusions in the novel and how they relate the story to cultural traditions while introducing comic aspects. It analyzes how discord in nature reflects the human conflicts in the story and Hardy's philosophical perspective on fate and the absurdity of human actions.
The document provides an analysis and comparison of Confessions by Augustine and a work by Douglas Coupland. It summarizes that both authors ultimately show that finding meaning in life only comes through accepting God. While Augustine reflects philosophically on his journey to faith, Coupland allows readers to drift through the lives of lost characters and relate to their struggle to find purpose. Both accounts reach a point where the characters realize they need God to overcome feelings of meaninglessness.
Iris Murdoch's novels, constantly confront with the central dilemma of European civilization in the modern era, the loss of Christian faith on which it was built and
from which it constantly struggles to escape. She refuses to be dogmatic, but her novels are haunted by a sense of loss of a sustaining faith and the need to recapture
what is lost. The novels display the author's profound knowledge of Christian doctrines, as well as its intellectual and spiritual traditions. Writing at the time when the
'grand narratives' of the past are declared dead, Murdoch cannot escape the reality of evil and its irrationality that manifested itself in the rise and fall of political
dogmas and the devastations they brought in their wake. European thinking today finds itself at the crossroads of the 'post Christian' era. This era covers the modernist
and post-modernist period. Murdoch is a representative of that era. She tries to evolve a 'religion without God' and a moral system that is based not on Christianity but
on the idea of the 'goodness' developed out of classical Greek metaphysics. She feels the need to re-establish certain lost concepts and in her fiction engages in a search
for morality and sustaining religious values. This takes her to the world of Eastern religions and Platonism. At the same time she is haunted by the imagery, doctrines
and rituals of Western Christianity. This makes her a uniquely interesting writer who is constantly wrestling with the problems of a post-Christian age.
44 HORROR AND THEMONSTROUS-FEMININE ANIMAGINARY ABJECTI.docxblondellchancy
This summary provides an overview of Barbara Creed's analysis of the monstrous-feminine in horror films through the lens of Julia Kristeva's theory of abjection:
1) Kristeva's theory of abjection explores how societies establish borders between human and non-human through the exclusion of that which threatens identity and meaning. A key figure of abjection is the maternal, as the child rejects the mother for the father and symbolic order.
2) For Kristeva, abjection includes things like bodily wastes, decay, the corpse, and the feminine body which threaten the boundaries of the self. Horror films confront viewers with abject figures like vampires, zombies, and witches
Cultural Autobiography Essay. Educational Autobiography - Free Essay SampleAnita Walker
Cultural Autobiography - Free Essay Example | PapersOwl.com. Cultural autobiography essay – The Friary School. ⛔ Cultural autobiography essay. Cultural Autobiography Essay. 2022-11-04.
45 Perfect Thesis Statement Templates (+ Examples) ᐅ TemplateLab. Thesis statement. What Are The Different Types of Thesis Statements. what is marr’s thesis statement concerning the word and the sword. Thesis Statement Thesis Essay Sample - Thesis Title Ideas for College. Good Thesis Statements For Persuasive Essays - Thesis Title Ideas for .... PPT - Writing a Thesis Statement PowerPoint Presentation, free download .... Thesis Statements. thesis statement argumentative examples. 004 Thesis Statement For Narrative Essay Example ~ Thatsnotus. How To Write A Thesis Statement (with Useful Steps and Tips) • 7ESL. thesis statement for social media - casualbeachweddingoutfitsmen. 15 Thesis Statement Examples to Inspire Your Next Argumentative Essay .... Thesis statement essay | Thesis statement examples, Writing a thesis .... Writing The Thesis Statement: Write An A+ Research Paper - How to write .... How to Write a Thesis Statement: Fill-in-the-Blank Formula.
This document discusses the importance of preserving the diva myth in postmodern gay culture. It defines divas as goddesses who provided strength, inspiration, and a sense of community for gay men during a time of oppression. Diva worship at movie theaters allowed for emotional expression and validation when individuality and homosexuality were discouraged. Various Hollywood stars embodied different goddess archetypes that gay men connected with. Preserving the diva myth honors its past significance of unifying and empowering the gay community during a hostile era.
American Indian Thought Philosophical EssaysKathryn Patel
This document provides a summary and analysis of 5 essays from the anthology "American Indian Thought: Philosophical Essays". The essays discuss Indigenous philosophy, metaphysics, epistemology, ethics, and aesthetics. A common theme is the poetic nature of Indigenous thought. Indigenous philosophy is described as a "prefacing" that constantly shifts between worlds without fully arriving in either. It prioritizes relationships and respect over rigid categorization or depth. Questions are seen as signs of confusion rather than vehicles for truth. Indigenous thought challenges Western philosophy to recognize its own poetic roots.
Essay on Mother Teresa Bio, Life amp; Achievements For Students. School essay: Mother teresa biography essay. 10 LINES ESSAY ON MOTHER TERESA ll - YouTube. Essay about mother teresa free. Mother teresa essay pdf - reportspdf529.web.fc2.com. Essay on Mother Teresa : मदर टेरेस पर हन्द में नबंध - Mother Teresa .... Short essay on mother teresa in english - copywriterbiohorizons.x.fc2.com. Essay on Mother Teresa in English for Students 300 Words. Best essay about mother teresa. 10 LINES ON MOTHER TERESA FOR CLASSES 1, 2,3,4,5 Filo. Essay on quot; Mother Teresaquot; Essay writing English essay English .... Fantastic Mother Teresa Essay Thatsnotus. Essay on Mother Teresa for Students and Children PDF Download. Essay on Mother Teresa Mother Teresa Religion And Belief. Essay On Mother Teresa for Students and Children In English - The Study .... Life of mother teresa essay. Paragraph on mother teresa. Mother Teresa: Essay on Mother Teresa .... Mother Teresa Essay Biography Helping About History Awards. A short paragraph on mother teresa. Essay on Mother Teresa Life. 2019 .... 10 Lines on Mother Teresa for Students and Children in English - A Plus .... Essay writing of mother teresa. PDF Essay Writing on MOTHER TERESA .... Mother Teresa 10 lines essay Short essay on Mother Teresa in English .... Introduction paragraph on mother teresa - proofreadingxml.web.fc2.com. Descriptive essay: Short essay on mother teresa. ️ Short essay on mother teresa. Write a Short Essay on Mother Teresa .... Essay on Mother Teresa in English for Students 500 Words. Mother Teresa Essay Mother Teresa Nun. Mother Teresa Essay Essay on Mother Teresa for Students and Children .... Write an essay on Mother Teresa Essay Writing English - YouTube. Mother Teresa Mother teresa, English stories for kids, English reading. Mother teresa essay pdf - dgereport77.web.fc2.com. Mother Teresa: Essay, Article, Short Note, Biography, Speech. Mother Teresa. - GCSE Health and Social Care - Marked by Teachers.com Essays On Mother Teresa Essays On Mother Teresa
Impact of Poverty on the Society - Free Essay Example PapersOwl.com. Population and poverty essay. Over population and poverty. 2022-10-26. Facts About Poverty - Sample Essay. Poverty Essay Social Studies - Level 2 NCEA Thinkswap. 006 Problem Of Poverty Essay Example Lva1 App6892 Thumbnail Thatsnotus. Order Paper Writing Help 24/7 - essay poverty in the world - 2017/10/10. Solutions to the Poverty Question Essay Example Topics and Well .... Aid, Debt Relief, and Trade: an Agenda for Fighting World Poverty Essay .... Poverty Essay 3 Poverty Poverty amp; Homelessness. Essay on Poverty Poverty Poverty amp; Homelessness. World Poverty Research Essay Sample SpeedyPaper.com. Poverty essay. Poverty Outline.docx Welfare Poverty. Poverty affects young people: Essay Example, 1168 words GradesFixer. Sample Essay on Poverty - Blog Ultius. Global Poverty Essay: Poverty And Globalization. PDF Fighting global poverty. Essay global inequality poverty - ghostwritingrates.web.fc2.com. Causes of poverty essay free. Causes Of Poverty Essay. 2022-11-03. Imposing Poverty Essay Thatsnotus. Global poverty Research Paper Example Topics and Well Written Essays .... Business paper: Essay on poverty. Essay on Poverty Poverty Essay for Students and Children in English .... effects.docx - Sign UpSign In Effects Of Poverty Essay 1026 words - 4 .... Essay world poverty - lawwustl.web.fc2.com. Measuring Poverty around the World Princeton University Press. Ending poverty essay. 50 Poverty Essay Topics, Titles amp; Examples In .... PDF On world poverty: Its causes and effects. Business paper: Poverty in the world essay. Global poverty essay. Global poverty essay. 2019-02-05. Essay On Poverty Poverty Poverty amp; Homelessness. Essay on Poverty - GCSE Miscellaneous - Marked by Teachers.com Global Poverty Essay Global Poverty Essay. Ending poverty essay. 50 Poverty Essay Topics, Titles amp; Examples In ...
Global Feminism_-NWSA 2014-Puerto Rico_Research PresentationCristine De La Luna
Alma Lopez is an artist and writer who uses subversive cultural silence and non-verbal expression as narrative strategies in her work. She appropriates symbols like the Virgin of Guadalupe and inverts their meaning to challenge patriarchal systems. Through her art, Lopez creates queer interpretations of icons and explores repressed female sexuality and desire. She employs techniques like chiasmus, which disrupts stable visions of reality through repetition and reversal. Lopez's work aims to transform perspectives and allow for greater freedom in Chicana feminist and queer imaginings.
1) The document distinguishes between the words "discrete" and "discreet", noting that while they are pronounced the same, they have different meanings - "discrete" means separate or distinct, while "discreet" means prudent, judicious, or tactful.
2) It provides context on the poet Kenneth Rexroth's frustration with "cheap sons of bitches who claim they love poetry but never buy a book."
3) The rest of the document outlines an agenda for a meeting that will discuss the short story "Woman Hollering Creek" by Sandra Cisneros, including historical context and potential discussion topics
An End To Cosmic Loneliness Alice Walker S Essays As Abolitionist EnchantmentSandra Long
This document summarizes and analyzes an essay by Anthony Lioi about Alice Walker's essays. It discusses how Walker uses her essays to enact an "abolitionist enchantment" that reconstructs order after the disenchantment of slavery and modernity. It explores how Walker connects womanism and environmentalism in her essays. The document also notes that Walker's essays have been less studied than her other works and argues they are an important form of enchantment that renews the relationship between self and world.
On Liberty Summary | John Stuart Mill | Liberty. Essays on Liberty and Necessity; in which the True Nature of Liberty is .... Essay on Freedom and Determinism | Free Will | Determinism. ⇉Thomas Jefferson and the Meanings of Liberty Essay Essay Example ....
Ghosts in Maxine Kingston’s The Woman Warrior Within or Without Ideology 1shafieyan
This document provides a summary and analysis of ghosts and ideology in Maxine Kingston's novel The Woman Warrior. It analyzes the concept of ghosts and ideology at three levels: family, village, and country. At the family level, it examines how Kingston's mother and aunt represent ideological forces that shape her. At the village level, it discusses how the repressive traditional village society attempts to maintain ideological control. At the country level, it explores the contradictions Kingston faces between Chinese and American cultures and ideologies. The document argues that Kingston both critiques ideologies and reveals the vulnerabilities within ideological systems through her use of ghosts and dichotomies in the novel.
This document discusses the history of nudity in Christian art from early depictions of Adam and Eve to modern times. It explores how the church's influence led to censorship of the female nude over centuries while the male form was more accepted. While some artists pushed boundaries, nudity remained controversial and its acceptance dependent on the intended message. Views today vary between denominations, with privacy and pornography complicating modern assessments of nudity in religious art.
The document discusses T.S. Eliot's poem "The Waste Land" and its purpose, form, and influences. It aims to convey a sense of emptiness and aimlessness in the soul and civilization after World War I. Eliot uses techniques like the "mythical method" and references works like Jung's concepts of the collective unconscious and archetypes, Weston's book on the Holy Grail legend, and Frazer's book on mythology and religion "The Golden Bough" as influences. The form is modern and fragmented, using techniques like collage to represent postwar experience.
The document discusses T.S. Eliot's poem "The Waste Land" and its purpose, form, and influences. It aims to convey a sense of emptiness and aimlessness in the soul and civilization after World War I. Eliot uses techniques like the "mythical method" and references works like Jung's archetypes, Weston's "From Ritual to Romance", and Frazer's "The Golden Bough" to structure the fragmented experience of modernity. The form captures 1920s techniques like collage, film, and jazz to represent the dissonance of modern life.
This dissertation analyzes Aleister Crowley's individualistic religion of Thelema through his textual writings. It argues that Crowley constructed Thelema as a reaction against organized religion, seeking to reclaim religion for the individual. The dissertation examines how Crowley undercut hierarchical religious structures and located ritual practice within the self. It analyzes Crowley's texts, particularly The Book of the Law and Magick: Book Four, to understand how he positioned Thelema's concept of "True Will" as an individually-driven spiritual path. The aim is to view Crowley and Thelema seriously and to understand how he advocated for an egocentric approach to religious interpretation and ritual practice.
Aboriginal Rights Essay. Essay on the issue of aboriginal people UHL 2612 - ...Holly Warner
Aboriginal Rights Essay African American Civil Rights Movement 1954 .... Essay on the issue of aboriginal people UHL 2612 - Human Rights Law .... Aboriginal Rights First Nations Indigenous Peoples. Aboriginal rights essay - City Centre Hotel Phnom Penh. Aboriginal Studies Essay 13992 - Aboriginal Sydney Now - UTS Thinkswap. Indigenous referendum Australias Defining Moments Digital Classroom .... Lesson 1: Introduction to Aboriginal Rights History - Miss Watts Year 6. Aboriginal People Human Rights Essay - Aboriginal People Introduction .... Aboriginal people have enjoyed the same rights as other Australians .... This essay will assess the Australian governments efforts towards .... Aboriginal rights. - University Law - Marked by Teachers.com. Aboriginal Youth Essay LAW468 - Indigenous People and the Law Thinkswap. Activists and Advocates for Aboriginal Rights Learning science .... Aboriginal Education Essay. Aboriginal Changing Rights and Freedoms Essay Example GraduateWay. Aboriginal Rights Essay.pdf - Aboriginal Rights Essay By: Noella .... essay hist106 Indigenous Australians Indigenous Peoples. Indigenous Peoples Intellectual Property Rights Essay Legal Studies .... Aboriginal Rights and Canadian Sovereignty: An Essay on R. v. Sparrow .... Aboriginal Rights Canada Essay Example Topics and Well Written .... Aboriginal rights essay. Aboriginal Rights and Freedoms. 2022-11-09. 2.4 Understand and respect Aboriginal and Torres Strait Islander people .... 12 Modern History - Aboriginal Essay Modern History - Year 12 QCE .... Aboriginal Education Essay Indigenous Australians Dialect. Aboriginal issues essay - writefiction581.web.fc2.com. Australian Indigenous Rights Essay Example GraduateWay. Major Assessment Essay: Aboriginal Rights 200006 - Introduction to .... Aboriginals Essay Connection to Land Indigenous Australians .... Petition Indigenous Recognition in the Australian Constitution .... Aboriginal Essay for 401001 NURS 1017 - Primary Health Care in Action .... Indigenous People and the Right to Self-Determination Essay Example ... Aboriginal Rights Essay Aboriginal Rights Essay. Essay on the issue of aboriginal people UHL 2612 - Human Rights Law ...
Folklore in English literature. RESEARCH/DissertationSachinKumar945617
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Iris Murdoch's novels, constantly confront with the central dilemma of European civilization in the modern era, the loss of Christian faith on which it was built and
from which it constantly struggles to escape. She refuses to be dogmatic, but her novels are haunted by a sense of loss of a sustaining faith and the need to recapture
what is lost. The novels display the author's profound knowledge of Christian doctrines, as well as its intellectual and spiritual traditions. Writing at the time when the
'grand narratives' of the past are declared dead, Murdoch cannot escape the reality of evil and its irrationality that manifested itself in the rise and fall of political
dogmas and the devastations they brought in their wake. European thinking today finds itself at the crossroads of the 'post Christian' era. This era covers the modernist
and post-modernist period. Murdoch is a representative of that era. She tries to evolve a 'religion without God' and a moral system that is based not on Christianity but
on the idea of the 'goodness' developed out of classical Greek metaphysics. She feels the need to re-establish certain lost concepts and in her fiction engages in a search
for morality and sustaining religious values. This takes her to the world of Eastern religions and Platonism. At the same time she is haunted by the imagery, doctrines
and rituals of Western Christianity. This makes her a uniquely interesting writer who is constantly wrestling with the problems of a post-Christian age.
44 HORROR AND THEMONSTROUS-FEMININE ANIMAGINARY ABJECTI.docxblondellchancy
This summary provides an overview of Barbara Creed's analysis of the monstrous-feminine in horror films through the lens of Julia Kristeva's theory of abjection:
1) Kristeva's theory of abjection explores how societies establish borders between human and non-human through the exclusion of that which threatens identity and meaning. A key figure of abjection is the maternal, as the child rejects the mother for the father and symbolic order.
2) For Kristeva, abjection includes things like bodily wastes, decay, the corpse, and the feminine body which threaten the boundaries of the self. Horror films confront viewers with abject figures like vampires, zombies, and witches
Cultural Autobiography Essay. Educational Autobiography - Free Essay SampleAnita Walker
Cultural Autobiography - Free Essay Example | PapersOwl.com. Cultural autobiography essay – The Friary School. ⛔ Cultural autobiography essay. Cultural Autobiography Essay. 2022-11-04.
45 Perfect Thesis Statement Templates (+ Examples) ᐅ TemplateLab. Thesis statement. What Are The Different Types of Thesis Statements. what is marr’s thesis statement concerning the word and the sword. Thesis Statement Thesis Essay Sample - Thesis Title Ideas for College. Good Thesis Statements For Persuasive Essays - Thesis Title Ideas for .... PPT - Writing a Thesis Statement PowerPoint Presentation, free download .... Thesis Statements. thesis statement argumentative examples. 004 Thesis Statement For Narrative Essay Example ~ Thatsnotus. How To Write A Thesis Statement (with Useful Steps and Tips) • 7ESL. thesis statement for social media - casualbeachweddingoutfitsmen. 15 Thesis Statement Examples to Inspire Your Next Argumentative Essay .... Thesis statement essay | Thesis statement examples, Writing a thesis .... Writing The Thesis Statement: Write An A+ Research Paper - How to write .... How to Write a Thesis Statement: Fill-in-the-Blank Formula.
This document discusses the importance of preserving the diva myth in postmodern gay culture. It defines divas as goddesses who provided strength, inspiration, and a sense of community for gay men during a time of oppression. Diva worship at movie theaters allowed for emotional expression and validation when individuality and homosexuality were discouraged. Various Hollywood stars embodied different goddess archetypes that gay men connected with. Preserving the diva myth honors its past significance of unifying and empowering the gay community during a hostile era.
American Indian Thought Philosophical EssaysKathryn Patel
This document provides a summary and analysis of 5 essays from the anthology "American Indian Thought: Philosophical Essays". The essays discuss Indigenous philosophy, metaphysics, epistemology, ethics, and aesthetics. A common theme is the poetic nature of Indigenous thought. Indigenous philosophy is described as a "prefacing" that constantly shifts between worlds without fully arriving in either. It prioritizes relationships and respect over rigid categorization or depth. Questions are seen as signs of confusion rather than vehicles for truth. Indigenous thought challenges Western philosophy to recognize its own poetic roots.
Essay on Mother Teresa Bio, Life amp; Achievements For Students. School essay: Mother teresa biography essay. 10 LINES ESSAY ON MOTHER TERESA ll - YouTube. Essay about mother teresa free. Mother teresa essay pdf - reportspdf529.web.fc2.com. Essay on Mother Teresa : मदर टेरेस पर हन्द में नबंध - Mother Teresa .... Short essay on mother teresa in english - copywriterbiohorizons.x.fc2.com. Essay on Mother Teresa in English for Students 300 Words. Best essay about mother teresa. 10 LINES ON MOTHER TERESA FOR CLASSES 1, 2,3,4,5 Filo. Essay on quot; Mother Teresaquot; Essay writing English essay English .... Fantastic Mother Teresa Essay Thatsnotus. Essay on Mother Teresa for Students and Children PDF Download. Essay on Mother Teresa Mother Teresa Religion And Belief. Essay On Mother Teresa for Students and Children In English - The Study .... Life of mother teresa essay. Paragraph on mother teresa. Mother Teresa: Essay on Mother Teresa .... Mother Teresa Essay Biography Helping About History Awards. A short paragraph on mother teresa. Essay on Mother Teresa Life. 2019 .... 10 Lines on Mother Teresa for Students and Children in English - A Plus .... Essay writing of mother teresa. PDF Essay Writing on MOTHER TERESA .... Mother Teresa 10 lines essay Short essay on Mother Teresa in English .... Introduction paragraph on mother teresa - proofreadingxml.web.fc2.com. Descriptive essay: Short essay on mother teresa. ️ Short essay on mother teresa. Write a Short Essay on Mother Teresa .... Essay on Mother Teresa in English for Students 500 Words. Mother Teresa Essay Mother Teresa Nun. Mother Teresa Essay Essay on Mother Teresa for Students and Children .... Write an essay on Mother Teresa Essay Writing English - YouTube. Mother Teresa Mother teresa, English stories for kids, English reading. Mother teresa essay pdf - dgereport77.web.fc2.com. Mother Teresa: Essay, Article, Short Note, Biography, Speech. Mother Teresa. - GCSE Health and Social Care - Marked by Teachers.com Essays On Mother Teresa Essays On Mother Teresa
Impact of Poverty on the Society - Free Essay Example PapersOwl.com. Population and poverty essay. Over population and poverty. 2022-10-26. Facts About Poverty - Sample Essay. Poverty Essay Social Studies - Level 2 NCEA Thinkswap. 006 Problem Of Poverty Essay Example Lva1 App6892 Thumbnail Thatsnotus. Order Paper Writing Help 24/7 - essay poverty in the world - 2017/10/10. Solutions to the Poverty Question Essay Example Topics and Well .... Aid, Debt Relief, and Trade: an Agenda for Fighting World Poverty Essay .... Poverty Essay 3 Poverty Poverty amp; Homelessness. Essay on Poverty Poverty Poverty amp; Homelessness. World Poverty Research Essay Sample SpeedyPaper.com. Poverty essay. Poverty Outline.docx Welfare Poverty. Poverty affects young people: Essay Example, 1168 words GradesFixer. Sample Essay on Poverty - Blog Ultius. Global Poverty Essay: Poverty And Globalization. PDF Fighting global poverty. Essay global inequality poverty - ghostwritingrates.web.fc2.com. Causes of poverty essay free. Causes Of Poverty Essay. 2022-11-03. Imposing Poverty Essay Thatsnotus. Global poverty Research Paper Example Topics and Well Written Essays .... Business paper: Essay on poverty. Essay on Poverty Poverty Essay for Students and Children in English .... effects.docx - Sign UpSign In Effects Of Poverty Essay 1026 words - 4 .... Essay world poverty - lawwustl.web.fc2.com. Measuring Poverty around the World Princeton University Press. Ending poverty essay. 50 Poverty Essay Topics, Titles amp; Examples In .... PDF On world poverty: Its causes and effects. Business paper: Poverty in the world essay. Global poverty essay. Global poverty essay. 2019-02-05. Essay On Poverty Poverty Poverty amp; Homelessness. Essay on Poverty - GCSE Miscellaneous - Marked by Teachers.com Global Poverty Essay Global Poverty Essay. Ending poverty essay. 50 Poverty Essay Topics, Titles amp; Examples In ...
Global Feminism_-NWSA 2014-Puerto Rico_Research PresentationCristine De La Luna
Alma Lopez is an artist and writer who uses subversive cultural silence and non-verbal expression as narrative strategies in her work. She appropriates symbols like the Virgin of Guadalupe and inverts their meaning to challenge patriarchal systems. Through her art, Lopez creates queer interpretations of icons and explores repressed female sexuality and desire. She employs techniques like chiasmus, which disrupts stable visions of reality through repetition and reversal. Lopez's work aims to transform perspectives and allow for greater freedom in Chicana feminist and queer imaginings.
1) The document distinguishes between the words "discrete" and "discreet", noting that while they are pronounced the same, they have different meanings - "discrete" means separate or distinct, while "discreet" means prudent, judicious, or tactful.
2) It provides context on the poet Kenneth Rexroth's frustration with "cheap sons of bitches who claim they love poetry but never buy a book."
3) The rest of the document outlines an agenda for a meeting that will discuss the short story "Woman Hollering Creek" by Sandra Cisneros, including historical context and potential discussion topics
An End To Cosmic Loneliness Alice Walker S Essays As Abolitionist EnchantmentSandra Long
This document summarizes and analyzes an essay by Anthony Lioi about Alice Walker's essays. It discusses how Walker uses her essays to enact an "abolitionist enchantment" that reconstructs order after the disenchantment of slavery and modernity. It explores how Walker connects womanism and environmentalism in her essays. The document also notes that Walker's essays have been less studied than her other works and argues they are an important form of enchantment that renews the relationship between self and world.
On Liberty Summary | John Stuart Mill | Liberty. Essays on Liberty and Necessity; in which the True Nature of Liberty is .... Essay on Freedom and Determinism | Free Will | Determinism. ⇉Thomas Jefferson and the Meanings of Liberty Essay Essay Example ....
Ghosts in Maxine Kingston’s The Woman Warrior Within or Without Ideology 1shafieyan
This document provides a summary and analysis of ghosts and ideology in Maxine Kingston's novel The Woman Warrior. It analyzes the concept of ghosts and ideology at three levels: family, village, and country. At the family level, it examines how Kingston's mother and aunt represent ideological forces that shape her. At the village level, it discusses how the repressive traditional village society attempts to maintain ideological control. At the country level, it explores the contradictions Kingston faces between Chinese and American cultures and ideologies. The document argues that Kingston both critiques ideologies and reveals the vulnerabilities within ideological systems through her use of ghosts and dichotomies in the novel.
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Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Dimitriou jasal 19.2 final
1. Reading Helen Koukoutsis’s Cicada Chimes
ANNA DIMITRIOU
Western Sydney University
In her collection of poems Cicada Chimes (2017), Helen Koukoutsis, an Australian poet of
Greek Orthodox heritage, explores the conflicting emotions produced by death and loss in
reaction to the passing of her father. The collection begins with her father’s funeral and ends
with a dramatic manifesto that shows grief’s expressive power. Cicada Chimes is characterised
by an explicit engagement with gender relations in the context of Australian migrant identities.
In this essay, I set out to examine how Koukoutsis negotiates her own subject position as a
Greek Australian woman and as a follower of the Greek Orthodox religion. Through her
speaker’s varied voices in Cicada Chimes, Koukoutsis interrogates established religious beliefs
when she is faced with loss and bereavement. In my reading of her poems I argue that her elegy
for the death of her father reflects an alignment with a feminist poetics of the sacred which
approaches the divine with an animated style, an oppositional voice and experimental forms.
Koukoutsis’s use of parody indicates her scepticism in relation to religious belief, and this
transgressive element is emblematic of poetry that contests orthodox traditions. Koukoutsis also
probes Greek cultural practices associated with mourning, which tend to emphasise a strict
adherence to a forty day period where family members keep the memory of their departed alive.
Widows and daughters wear black, and at first daily, then weekly, visit the grave site in order
to light candles and incense. In The Cue for Passion: Grief and Its Political Uses, Gael Holst-
Warhaft (2001) suggests that ritual mourning has a consolatory function for those immersed in
their traditions. However for outsiders, such outmoded expressions seem to be extreme in their
dramatic intensity. At the same time Holst-Warhaft argues that these performative laments offer
more satisfactory ways of grieving than the modern world can offer, given the way secular,
contemporary society has ‘lost touch with rituals of mourning’ (10). I will consider Cicada
Chimes’s heavy reliance upon symbols, customs and beliefs from Koukoutsis’s traditional
Greek Orthodox heritage given that she has positioned herself within the context of Australian
feminist spirituality. I will examine the poems’ treatment of Greek rituals of mourning as
offering consolation, when philosophically Koukoutsis has taken a step back from this tradition.
Ultimately I will argue that in Cicada Chimes Koukoutsis asserts an anti-traditional spirituality
that merges ritual expressions with modern sensibilities.
Helen Koukoutsis’s grieving speaker in the opening poem of this collection positions herself as
part of this modern world which rejects such ritual practices as meaningless. This is evident in
the ways she subjects these customs and beliefs to feminist critique because these are associated
with a patriarchal tradition. Despite her critical views, her speaker is shown to perform religious
ritual gestures to memorialise her father’s absence. These instances appear to reflect
Koukoutsis’s ambivalent relationship with established traditions. Koukoutsis’s work may thus
be situated in relation to Holst-Warhaft’s work, where she argues that modern individuals are
trying to translate their grief and perform it in new ways in order to be consoled (11). In the
past communal grieving had a conciliatory function, while in modern secular spaces grieving
is a private affair and many individuals are at a loss as to how to work through grief. Koukoutsis
draws on traditional practices in her effort to work through her grief.
2. Koukoutsis’s negotiation of anti-traditional spirituality and ritual expression can also be
compared to the work of Emily Dickinson. According to Victoria Morgan, Emily Dickinson’s
transformation of the hymn genre writes spirituality as ‘the dialectic between community and
individuality’ (5). In this sense beyond any ethnographic approach, Koukoutsis’s work also
needs to be examined as contributing to contemporary feminist poetics on the sacred that can
be traced back to Dickinson: Koukoutsis’s spirituality cannot be fully understood without
making connections to her research on Dickinson’s alternative faith spirituality. However her
writing of the feminist sacred is also uniquely situated in an Australian literary context that is
outlined by Frances Devlin-Glass and Lyn Mc Credden’s edited work, Creative Suspicions: A
Feminist Poetics of the Sacred (2001). Koukoutsis’s poems have found homes in Australian
journals, some online and in print such as Eureka Street, Nebu[lab], Buddhist Poetry Review,
Poetrix and Studio: A Journal of Christians Writing. These journals are platforms that promote
feminist and multicultural voices on spirituality.
Given these frameworks, when Koukoutsis targets the patriarchal order of the Orthodox
Christian religion by directly addressing God, it becomes clear that she is writing from the
position of a contemporary woman whose relationship with institutions and faith is conflicted.
Devlin-Glass and McCredden suggest that this kind of ambivalent relationship towards religion
can be attributed to the ‘kinds of power wielded by organised monotheistic religions’ which,
they argue, are sites of ‘psychic and spiritual, physical and political forms of violence’ (3).
Koukoutsis’s oppositional stance indicates that she is responding to the way women in her
generation, as well as the generation that preceded her, were subjected to such power structures.
This group of women, because of the experience of migration that placed them in a very
different world from that of the Greek villages from which their ancestors came, became aware
of the injustices they had suffered because of societal customs and beliefs. As a first-generation
descendant of Greek migrants to Australia, Koukoutsis responds to this awareness and so we
can read her rhetorical outburst against God as targeted not against religion per se but against
traditions of culture that deny women their autonomy and their aspirations. These are traditions
the speaker seems to relate more closely to Greek culture. In this sense her work can be read as
an example of the ‘politicised spiritualities’ that Devlin-Glass and McCredden see as the future
of feminist spiritualities and that move beyond patriarchal boundaries (245).
In the poem ‘Funeral’ (7), Koukoutsis negotiates the fraught relations between Greek village
traditions and secular feminism. Faced with a growing awareness of the inevitability of death,
the speaker voices the tension between believing and not believing in a merciful God.
Confronted with the growing numbers of migrants being buried at Rookwood cemetery, the
speaker asserts her secular disbelief:
they wonder no more
when or how
they’ll die
or even if their pseudo-
Orthodoxy
will resurrect them (7)
This crisis of faith does not interrogate religious beliefs as such but rather moves beyond the
religious to provide a critique of the social mores and institutions established upon traditional
beliefs which are Christian but include some pagan superstitious beliefs as well. In ‘Orthodox
plot 223,’ for example, we see the coexistence of these two traditions typographically placed
JASAL: Journal of the Association for the Study of Australian Literature 19.2
DIMITRIOU: Koukoutsis's Cicada Chimes
2
Editors: Ellen Smith and Tony Simoes da Silva
3. on opposite margins. While the mother ‘made the sign of the cross,’ silence reigns and then a
superstitious omen presents itself. The speaker records the scene:
…she made the sign
of the cross…
Even the car radio
was hushed.
A crow echoes
mid-flight
with short
successive
eh-awes (10)
The speaker manipulates the theme of non-alignment by revealing how women and girls from
Greek societies suffer when their aspirations for self-fulfilment are not aligned with communal
expectations. For example, she shows how women are marginalised when they do not follow
the typical life patterns of becoming wives and mothers at a specific time of their life cycle, and
they suffer when their creative dreams are not realised. Koukoutsis shows that women rarely
have a voice that is listened to, and if they become creative artists, they suffer exceedingly
because of the heavy burden of the way their love of their creative work is in conflict with their
sense of obligation to their loved ones, particularly when they become wives and mothers. The
speaker in the confessional poem ‘3.00 a.m.’ reveals how superstitions create a culture of
secrecy for women who are expected to keep the private sphere hidden. When the modern poet
reveals her private history, she is conflicted because she sees her miscarriage as a direct
punishment. Her creative aspirations to be a writer make achieving motherhood even harder
because she has to contravene superstitious beliefs.
You plan
to do it right
next time—
…Most of all
you promise
never to write
about this…(47)
Koukoutsis grew up and lives in Sydney, and so her present-day environment contributes to her
suspicions about most communal rituals associated with Greek village life. Nevertheless,
despite their oppressive elements, these communal ‘tribal’ practices function to moderate the
speaker’s lasting grief. For example, in ‘On the road to Rookwood,’ we read about the weekly
visit by mother and daughter to the grave with their flowers, incense and oil for the candle. In
these ritual outings they often argue and so the daughter internally queries: ‘Are you upset with
me?’ Nevertheless, this shared ritual experience, ‘They wait their usual arrangement / on Dad’s
grave’ (21) allows for their daily frustrations to be worked through, despite her mother’s
disparagement. Holst-Warhaft (6) argues that such ritualistic, communal traditions fulfil a
social need to see grief performed. The rites that belong to these traditions can help the bereaved
transition back into everyday life and help them to come to a new acceptance of death. Such
acceptance does not negate the memory of death, given that the rituals such as chanting hymns,
memorial services, and lighting incense and candles continue. This attitude towards death is
very different from secular experiences of grief and resonates with Arnold van Gennep’s view
that ‘death is a transition rather than a separation’ (in Holst-Warhaft, 8). Mother and daughter
JASAL: Journal of the Association for the Study of Australian Literature 19.2
DIMITRIOU: Koukoutsis's Cicada Chimes
3
Editors: Ellen Smith and Tony Simoes da Silva
4. in the above poem are shown to be transitioning into a new relationship between themselves
through shared ritual despite the pain of the father’s absence.
Reading Cicada Chimes, we note that even though the speaker is estranged from ritual village
practices, at times she performs them mechanically because of her shared grief with her mother,
thereby compromising her anti-traditional and critical position. The speaker comments that her
mother wants to continue grieving, ‘The only / one still grieving / is Mum’ (‘Orthodox Plot
223,’ 11). Here death and moving on from grief are shaped by ‘the way the subject is
emotionally positioned’ (Rosaldo in Holst-Warhaft 13), but the lines identify also how cultures
of belonging affect the subject who is faced with loss. The mother cannot grieve without the
rituals, while the daughter wants to ‘pull into the car park café / order cinnamon toast / spy on
coffee drinkers’ (10). The young woman wants to get on with everyday living, but her mother
is annoyed with commercialisation in the cemetery because the coffee shop culture implies a
diversion from unpleasant memories such as death, while she, the grieving Greek widow, does
not want to forget. When the daughter states, she ‘wants to smile at the girl / in a blue dress and
satin sash’ (10) she is expressing a desire for momentary respite from grieving, but the mother
has become fuelled with anger because those ‘others’ around her seem indifferent to her pain.
She rants, ‘aren’t they ashamed / [she] interrupts like gunfire,’ but then stops herself even
though she ‘wanted to say more’ because of her own respectful observance of silence for the
dead when at the cemetery. When entering Rookwood cemetery, the speaker observes that her
mother always ‘made the sign / of the cross / as we drove / through the gates’ (10). This strict
adherence to village rituals conflicts with the Australian daughter’s reluctant engagement with
these rituals.
The customs that are important to the mother do not have the same meaning for the daughter
poet. However when Koukoutsis includes Orthodox imagery and refers to ritual customs, the
reader has the sense that the heaviness of grief is lightened. Even though on the narrative level
the presence of these cultural traditions prove to be a source of intergenerational conflict
between mother and daughter, on the affective level tradition has a consoling function. In
‘Orthodox plot 223,’ the daughter questions her mother over the necessity of having such things
as ‘spinach pitas, the aniseed biscuits / olives, coffee / on doily napkins / at dad’s wake.’ Her
mother’s response reaffirms that tradition is essential for her to accept death (Holst-Warhaft 6)
but it may also be used by her as a weapon against her daughter’s defiance. In its insistence on
the consoling function of tradition Koukoutsis’s elegy is remarkably different from a tradition
of modern elegy that Diana Fuss argues ‘tends not to achieve, but to resist consolation, not to
override but to sustain anger, not to heal but to reopen the wounds of loss’ (3). Koukoutsis’s
elegy is bent not on ‘sustaining anger and on reopening wounds’ (3), but instead shows how
ritual practices and cultural beliefs function as an antidote to the inconsolability of dying
without rituals (Holst-Warhaft 10):
That’s tradition
she’d say, and
why do you
always argue
with me? (11)
As noted, Koukoutsis’s work suggests a connection with that of the American poet Emily
Dickinson, because both engage with loss, grief and grieving through anti-traditional poetic
forms. Dickinson’s poetics was also the subject that Koukoutsis researched in her doctoral work
and beyond. She has published on Dickinson and continues to be actively engaged in exploring
JASAL: Journal of the Association for the Study of Australian Literature 19.2
DIMITRIOU: Koukoutsis's Cicada Chimes
4
Editors: Ellen Smith and Tony Simoes da Silva
5. this writer’s poetics. The nimble written form that Koukoutsis identifies in Dickinson’s poetry
is also evident throughout Cicada Chimes but Koukoutsis combines this with Greek cultural
forms as well as imagery of Australian fauna and landscape. Greek poetic forms in Koukoutsis’s
poems range from a parody of the classical Greek tragic form to the oral traditional form of the
moiroloi, or what Margaret Alexiou (49) refers to as a ‘poetic rehandling of traditional beliefs
and practices which have remained alive among people.’ In the poem, ‘The Longest Day,’ for
example, when her speaker vents her anger against God—‘What garment was there for me to
touch? What gall, for me to swallow?’ (68)—we read the type of dramatic language used by
grieving female characters such as Penelope, Antigone, Electra and Clytemnestra in Ancient
Greek tragedy. The content, however, has Biblical allusions reminding us of Christ’s
crucifixion with the reference to ‘gall’ and ‘garment’—terms often included in Byzantine
hymns.
In ‘Orthodox Plot’ the tone switches register from words that mimic high-brow classical tragedy
in the previous poem to the low brow. This performance poetry parodies the sustained cry of
the moiroloi, a Greek, oral, superstitious practice: ‘Crows caw / back and forth. / From the tops
/ of gum ghosts’ (9). The ‘crows’ metaphorically represent the traditional peasant Greek women
dressed in black, who publicly lament in verse song over the dead body. The ‘caw, caw’ sound
replicates foreign sounds suggestive of a tribal identity. Here Koukoutsis borrows from her
Australian landscape but incorporates imagery and sounds that appear foreign as well as
archaic. When the poet uses the more formal powerful language that is terse and poignant, as
in ‘The Longest Day’—‘Oh, why was I, not granted Rebekah’s assurance / though two nations
split her womb?’ (68)—the poem reveals a dramatic and more individual type of grieving,
rather than a tribal one.
Deep sorrow is mediated in poems such as ‘Funeral’ and ‘Orthodox Plot,’ when typographically
the verses are depicted as repetitive movement, akin to a ‘to and fro’ swaying action used by
mothers to sooth crying infants. This swaying expresses intense grief, and it may also textually
depict emotions that oscillate between pity, anger, frustration and relief. Here, too, Koukoutsis
explores the philosophical in a way that recalls Dickinson. Herbert Anderson views grief as the
process whereby the mourner gains spiritual maturity and understanding, arguing that ‘Grief
not only shapes our lives; it is a teacher of spiritual wisdom because it reminds us of human
limits and deepens our awareness of vulnerability’ (127). Bereavement often raises deep
questions as well, especially about what comes after death. It is also tied to expressing loss or
what Anderson refers to as ‘dreams not easily shared’ (133). In their writing, Dickinson and
Koukoutsis do not shy away from revealing their ‘dreams not easily shared’ and their respective
vulnerabilities but they interpret these in different ways. These complex emotions are well-
known features in Dickinson’s works. Koukoutsis addresses her own existential dilemmas by
borrowing from Dickinson’s verbal sign of the m-dash, which according to Eleanor Wilner
(143–44), has the dual function of dividing and connecting. When Dickinson uses the symbol
of the cross in a poem on mourning, ‘I measure every Grief I meet,’ it indicates the individual
character of grief associated with Calvary and functions as a metaphor of the well-trodden
ground of universal human suffering: ‘a piercing comfort it affords … To note the fashions of
the Cross … that some are like my own.’ In this way Dickinson rationalises responses to death
through her poetry, not by using logical deductive argument, but through playfulness in her
rhymes as well as a subtle use of religious references such as the cross, Calvary and Being. Her
linguistic and aesthetic playfulness acts as a mask to hide her deep pain.
Koukoutsis, like Dickinson, also uses the m-dash as a signifier of an aporia (not knowing). In
‘Impossible,’ a reflective poem that shows her personal journey towards spiritual growth, she
JASAL: Journal of the Association for the Study of Australian Literature 19.2
DIMITRIOU: Koukoutsis's Cicada Chimes
5
Editors: Ellen Smith and Tony Simoes da Silva
6. states, ‘Jesus, instead of God— / too impossible / to pray to every night—’ (23). Here this sign
identifies the sense of confusion that accompanies her loss: ‘I already had a Father.’ The death
of her father has led her to question her faith and initiates the speaker’s existential questioning.
Furthermore, the textual feature of using an alternating left and right margin format in her other
poems, such as ‘Dad’ and ‘Hours’ (14, 27) conveys a sense of dialogue between opposing
perspectives and time frames. Such shifts between person, place and time replicate what
Koukoutsis (2017) refers to as Dickinson’s ‘nimble’ to-and-fro movement of thinking and
seeing, believing and not believing, remembering and forgetting, while her own use of multiple
perspectives shows that her ideas have been shaped by various cultural traditions. On the
rational level Koukoutsis has been influenced by the Western tradition and on the emotional
level by the Eastern. The cross motif and its performance is loaded with spiritual as well as
cultural significance. She does not use it as an affirmation of her faith but instead shows how it
proves to be a stumbling block for her. In the collection’s opening poem, ‘Funeral,’
Koukoutsis’s speaker uses the cross to represent the ritualised performance of the cross as a
mark of respect at her father’s funeral:
Just this once
I try to specialise
his absence
with an austere
performance
of the cross
forehead
right left
shoulder
navel
and just like
a compass
on the moon
my presence
among the
frankincense
and myrrh
seems pointless. (8)
The use of, ‘I try’ seems to betray scepticism towards certain practices and rituals. The ritual of
crossing oneself, as well as the rituals of burning frankincense and myrrh seem to her to be
‘pointless’ (8), in contrast to the older generation of Orthodox Christians who take comfort in
these symbolic gestures. Instead, in ‘Funeral’ we note a similarity to Dickinson’s out of body
experience in the latter’s poem, ‘I felt a Funeral in my Brain.’ When she refers to her father’s
funeral she appears to be standing outside and observing, ‘Today / another’s to be buried—…
he waits’ (8). This sensation of being outside of reality represents an emotionally heightened
state of grieving. Koukoutsis’s use of the cross motif, depicted typographically in a descriptive
way without any emotion, seems to emphasise how she feels cut off from reality and communal
rituals. Her meta-comment on this gesture as mechanical, austere and pointless confirms that
she could not comprehend the fact that the person being buried was her father, or indeed that
the person looking on was herself.
JASAL: Journal of the Association for the Study of Australian Literature 19.2
DIMITRIOU: Koukoutsis's Cicada Chimes
6
Editors: Ellen Smith and Tony Simoes da Silva
7. Koukoutsis’s funeral experience, like the funeral and Calvary experience in Dickinson’s poems,
is depicted as alienating and dividing people from each other. Koukoutsis, however, in contrast
to Dickinson shows that it can also connect with others. The cross motif beyond its religious
significance has another meaning that is personal rather than religious. It connects the speaker
to an experience that many women from traditional Greek societies share. This has to do with
the struggle of becoming a mother. Figuratively this is her cross as well as the cross for those
in similar circumstances. In the poem ‘3.00 a.m.’ this struggle is depicted in such a highly visual
way that it does allude to a type of crucifixion, and the m-dash punctuates the key source of the
speaker’s grief and her history of loss.
Hot, angry clots
charge through
crimson loins—
you’ve just expelled
a lentil. Contractions
suggest otherwise…
…life
death (46)
The scattered recollections preceding the m-dash in ‘3.00 a.m.’ such as ‘84 heartbeats,’ ‘a
bloated belly,’ ‘plan to do it right next time,’ promise to guard … against negative thoughts,’
are terse statements loaded with painful recollections on the trauma of a miscarriage, but they
also show the power of oral superstitions that reinforce guilt. So here we notice a merging of
two seemingly distinct ideas—faith and village superstitions—yet for her they represent the
same thing:
… You promise to guard
your mind against
negative thoughts—…
…You
vow to avoid
the internet
random superstitions
and social belief
of the kind that assume
all women dive naturally
into motherhood.
Most of all you promise
never to write
about this
because inside
the bowl of waste
and water
an embryo has fallen
like a sparrow / from its nest— (47)
These memories of loss are complex because of the debilitating effect of superstitious guilt. In
response, the angry young mother vents her frustration in her final poem, ‘The Longest Day.’
Here the poet uses a regressive sequence staged over a limited time period, with observations
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8. on relationships, reflections on moods and subtle expressions of silent griefs. She shows how
this struggle to achieve motherhood tests her faith, and then she turns to the saints to help her
achieve her desire.
…4. I tried so hard
to conceive without you—
appealed to Saint Sophia
and her daughters
for a child of my own.
When she conceives and gives birth, she has a daughter who, as she critically points out, will
never have the life opportunities that male children have in Greek traditional society.
2. They gave me a daughter
who can never be a saviour …
Then she includes an afterthought that refers to her lover’s agnostic confession of Orthodox
Christian beliefs which he deems to be oral wives’ tales,
… My other lover recently
confessed, I don’t believe
Jesus was God, either…
… 6. And I don’t believe, he said,
that our unborn child
will be punished just because
I ironed on a holy day.
These sayings, highlighted by the poet in the above verses in italics, refer to ideas transmitted
from mother to daughter in rural communities in Greece and in the Greek diaspora, often
disguised as ‘religious’ beliefs. The lament over the repeated miscarriages alluded to in this
poem brings her own doubts to the surface, but then she shifts her position in relation to faith:
7. But he has not seen your wrath
your jealousy, the millions killed
in the Great Flood.
He does not know why
you give a loaf to every bird
but just a crumb to me… (69)
This countrapuntal moment is powerful since it shows how a direct experience of emotional
and psychic pain can lead either to a denial or to a confession of faith which either divides or
connects the subject to a faith community. It also shows how for many individuals, as in the
case of her lover and her mother, religious belief is based on superstitious customs and wives’
tales and not on religious faith.
… ‘the mother you gave me …
… insisted that your son
was crucified every Friday, so,
no sock, underwear, bra,
and trouser could be washed.’ (70)
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9. The speaker, in contrast to her mother’s generation, reacts against superstition. She is on a
personal search for truth, initiated by her need to protect her loved ones from death. After
interrogating God on whether He is responsible for people dying—’Is it you who implanted /
this destiny in us?’—the speaker turns from accusation to identifying herself as God’s ‘true
beloved,’ praying to Him like a ‘thirsting dianthus’ because only He can keep her loved ones
alive ‘longer than herself’ (70, 71). This to-and-fro movement between hope and despair, belief
and non-belief, superstition and faith, shows the interaction between rationalism and Eastern
beliefs and customs. This writer does not want to follow her inherited traditions, customs and
beliefs blindly nor does she want to submit to grief without speaking her pain.
Devlin-Glass and McCredden (3) propose that secular feminist writers use parodies as
‘weapons’ to contest and challenge male-dominated order in society. In the final poem in
Koukoutsis’s collection, ‘The Longest Day’ (66–71), the speaker parodies the patriarchal voice
of the Old Testament in Genesis, where God the Creator is addressed as the Father, the
Lawgiver, and Logos of life (and her life in particular). Another voice then interjects and moves
the poem from third to first person plural and then first person singular, and this dual voice
speaks on behalf of the absent female voice. The poem reads like a modern literary woman’s
manifesto. Both speaking voices use parody, shifting between a biblical patriarchal voice and
that of a modern female struggling with God. This is also associated with Jacob in the Old
Testament wrestling with God for a whole night when in despair for his life and the life of his
loved ones (Genesis 32:22). Koukoutsis’s speaker faces a similar struggle over her faith and
moves between despair and hope. Her despair is grounded in modern secular beliefs that in
death all life returns to the ground, while her hope stems from the Christian belief in an afterlife.
For the religious, prayers are heard and actions seen by the Creator. In ‘Easter Poem,’ the
speaker states: ‘God watches our every move’ (43). The closing lines in the final poem ‘The
longest day’ uses the following words that allude to the speaker’s turn towards faith when she
‘prays to keep alive / her lover and child / longer than herself?’ (71). Together with ambivalence
about faith, the speaker also voices her other oppositional concern, her frustration about the
position of women in her culture and religious community. This is seen in the poem ‘Sophia.’
… Before motherhood
you were a father’s dowry— …
... perpetually pregnant to a husband
three times your age
who died without an heir …
… Before maidenhood—
a girl with curls— …
… educated by a devout mother.
Paul’s virtues fixed like a bolt …
… Never to be a citizen of this world.
Never to write your own laws. (26)
Here Koukoutsis speaks out against crimes against girls and women, and in particular she points
out the injustice of marrying young girls to old men. These practices, prevalent in some cultures,
remain in the memory of her mother’s migrant generation. Beyond the issue of social justice,
Koukoutsis’s repetitive use of the name ‘Sophia’—‘wisdom’ in Greek—draws attention to a
desire to uncover foundational views that lie at the core of religious and cultural Greek
traditions. By exposing the violence that underpins social customs as well as religious practices
that exclude females, she challenges the idea that wisdom pertains solely to men. In another
poem, ‘Sunday service,’ Koukoutsis makes a strong case that misogynous societies violate the
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10. sense of fairness associated with religious traditions by excluding women, even saints such as
Saint Sophia, and hence these societies reject wisdom. When she uses a pun stating that Sophia
cannot be in the church named in her honour, she states that in the Greek Orthodox Church no
female, and perhaps, not even the saint herself, are allowed an influential position. The poem
reads: ‘No mother / daughter / sister / will ever be in St Sophia’s— / not even Sophia?’ (63),
nor can females freely enter and exit, ‘(… through that door like they own the space)’ (60). This
parenthetical comment enables Koukoutsis to express her opposition to the partiality shown
towards men and the subordination of women in public and religious spaces.
As I argued earlier, the final poem in the collection reads like a feminist manifesto against sexist
social conventions that exclude women from institutional and cultural traditions. Women from
traditional Greek rural societies turn to religion and their saints when modern medicine fails,
because they suffer vilification in their societies if they fail to produce children. Significantly,
although the speaker in this case is not a traditional woman but a modern woman, she too turns
to God for divine intervention: ‘I tried so hard / to conceive without you—.’ She also appeals
to ‘Saint Sophia and her daughters / for a child of my own’ (69). The next line, however, offers
a subversive secular view: ‘They gave me a daughter / who can never be a saviour’ (69). This
defiant but resigned response might be read as expressing a concern that is not just feminist.
The speaker’s pain is also in realising that women have limited power to save lives. In
traditional Greek societies women rarely have a hegemonic role. Her speaker claims that no
woman has had any significant socio-political power throughout Hellenistic history: ‘Never to
be a citizen of this world. / Never to write your own laws’ (26). More poignantly, however, and
this is the main emphasis of her personal struggle, women do not have the power to sustain the
lives of their loved ones despite the maternal need to preserve their offspring from harm (71).
In this sense the real issue faced by the speaker may be her sense of powerlessness over the
inevitability of death, ‘And this daughter I carry/this lover I’ve married / will die, too. Someday
/ just like my father’ (70). The poem now shifts beyond a political polemic about women’s
rights to an existential consideration about fear of one’s mortality.
Koukoutsis’s work resonates closely with much contemporary Australian women’s writing
challenging established tradition by ‘freely show[ing] a passion for things of the spirit in down-
to-earth ways’ (Devlin-Glass and McCredden 4). This implies the merging of religious
traditions with low-brow cultural forms. Both are spaces in which the concerns of ordinary
people are negotiated, and these concerns have to do with how to navigate life’s challenges
such as loss, change, motherhood. In ‘Market day’ (54) the poet describes a young woman’s
performance in the open public space when visiting a small rural town in Northern Greece. The
young body’s swaying movements at the marketplace represent rebellion as well as celebration.
Within this male-dominated space Litsa walks and keep walking, indifferent to the male gaze
that follows her, not caring, defiant and proud. Movement and performance merge:
… They wait for her
salivate over her
follow her …
… the way of life here
even in a small Town like Serres …
… She walks.
The whale tail of her G-string sways
like a dinghy in the ocean. She walks.
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11. Her ass rhythmic
like a metronome. (58)
Cicada Chimes is quite explicit in its focus on loss and grief, reflected in so many of the poems.
Yet the collection explores various other concerns. As I argued earlier, as an Australian of
Greek descent, Koukousis often turns her eye to the tension between the ways of the old country
and those of her homeland. In her imagery, she draws parallels between the background noises
of whispering old local residents on market day in Serres, Northern Greece, and the annoying
sounds of cicada chimes in the backyard of suburban Sydney. These noises symbolically
represent communal practices tied to rituals. However the performance of the cross signifies a
religious custom, while these other noises do not. It is the performance of cultural rituals that
the grieving widow uses to ward off the pain of death. However, death is never far away and so
the aural effect of cicadas chiming and swelling can be read as giving sound to the speaker’s
anger about the inevitability of death.
In the poems, ‘Funeral’ and in ‘Orthodox Plot 233’ the performance of the symbol of the cross
signifies the performance of a symbolic act of remembering a deceased father and husband, but
this gesture also signifies an affirmation of faith in God. Memory and faith, anger and hurt are
connected and mediated by this dominant symbol of the cross in different ways for the grieving
mother on the one hand and the daughter on the other, since each responds differently to death.
In the poem ‘3 a.m.’ the theme of life and death dominate the latter’s thoughts when as a young
mother she faces the death of her unborn child alone in the early hours of the morning. The
speaker’s history of loss, her pain over the untimely death of a tiny life, is compounded by the
absence of her father many years earlier, and so these two memories form the basis of her
Calvary experience. These events extend beyond nostalgia to a confession of a deeper loss; the
realisation of unspoken hopes and dreams irreparably broken. Her deceased father will never
become a grandfather and ‘the tiny (lentil sized) embryo is dispelled forever from life in the
early hours of the morning ‘(46). This lost life is metaphorically depicted as ‘the fallen
sparrow,’ and here the speaker may be referring to a human life or may be referring to the
gestational process of writing itself. The speaker suggests that the life of a human being, like
the creation of a work of art, undergoes a tortuous process where so many aborted attempts
precede a birth and ultimately birth leads to death. Death, however, can lead to life through
ritual. Amidst the sense of futility that accompanies this speaker’s response to the death of her
loved ones, there are moments when she reacts against despair through a subversive ritual
performance that is modern and celebratory—a young girl walking defiantly for life in the
market place.
The speaker, therefore, has shown that she comes to terms with death not in the way that her
mother does, but by shifting her attention towards creativity. This is foregrounded in
‘November twilight—2009’ where, autobiographically, she shows the tortuous process of her
own writing, ‘I am 36. / ‘I am the Cooee bird that / cries out in the distance / at the violent sky,
the sparrow / that falls from its nest / defeated …’ (29). This experience of loss, like the loss of
her father, is painful and so her writing, like the wail of the Cooee bird, shows a shifting between
emotions. Highs and lows intermingle. Writing allows her to express her pain but it also allows
her a space wherein to celebrate life. Loss is countered by the hope of a ritual return just as the
return of the Cooee bird is a reminder that life continues cyclically.
The cyclical return of the Cooee bird is a symbol of hope and life, just as the liberated young
woman, Litsa, in ‘Market Day’ symbolises the vibrancy of youth. She resists sadness through
rebellion, just as the speaker in ‘The Longest Day,’ rebels against religious and cultural
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12. traditions. Despite the obvious differences between the two female characters, however, both
represent the modern woman who refuses despair through the will to survive. The image of a
liberated Litsa sharply contrasts with the image of the Eastern widow dressed in traditional
mourning clothes in ‘Orthodox plot 223.’ The silence at the grave site contrasts with the loud
and busy Market Place. Here the poet highlights the way that two different worlds cross over,
the old and the new, while in the background, in the scene of an Australian summer, the ‘cicadas
swell like voices in a choir’ (13), ominous, loud and annoying. The intensity of heat in the
summer months causes the cicadas to swell and this metaphorically represents the intensity of
an experience where there are incommensurable merges; the rituals of the East amidst the
gravesites of an arid Australian landscape, even as the speaker, a child of both cultures, looks
on pensively. This child growing up had imagined herself as Anne of Green Gables, later Emily
Dickenson, Plath and finally ‘Woolf on the nightstand.’ Finally, when grown up, she contends
with God and her belief in Him, and these thoughts become for her, ‘… a mark on the wall (23–
5).’ Here as elsewhere in the collection the traditional Orthodox and the secular coexist in a
creative tension. Faith and culture, death and life, traditional and liberal views are in ongoing
struggle in the formation of a person who is trying to work out who she is and what she believes
as she negotiates her grief through writing.
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