Rachel Blau Duplessis
Biographic Data
| ID | 978662 |
|---|---|
| NAME | Rachel Blau Duplessis |
| GIVEN NAMES | Rachel Blau |
| FAMILY NAME | Duplessis |
| SIGNATURE | DUPLESSIS R B |
| AFFILIATIONS | Post University |
| VERIFIED | No |
| TOTAL WORKS | 33 |
| TOTAL CITATIONS | 22 |
| AUTHOR COUNT | 33 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1974 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Something Worth Leaving in Shards
This interview with poet, essayist, literary critic, and collagist Rachel Blau DuPlessis was conducted via email correspondence between June 11 and August 29, 2020. Author of over a dozen volumes of poetry and half a dozen books in modernist studies, poetics, and feminist criticism, DuPlessis reflects broadly on her career in this interview. She discusses the ongoing role of feminism in her writing and thought, the forms of the fold and the fragm…
Plexiglass, and
Plexiglass, and: Several Cosmological Turns, and: Available Choices Rachel Blau DuPlessis (bio) Plexiglass With Plexiglass— apparent clarity insults the sights one knows are real. Such "clear-through" viewbelies the under-seen, whose under-scene has under-sites, palimpsests of seams and slashed brights. It's scratched on, long, wide, ruination, runic stun-writ X'ed up cogitation,graffiti on tap, on top, a lens. A lens to focus on the over- There,…
Robert Duncan’s Long Poem Debates and his Poetics of Grand Collage
This article examines Robert Duncan’s debates in poetics that distinguish Charles Olson’s long poem The Maximus Poems from his own work in order to understand the function of the poems named “Passages” in Duncan’s oeuvre from 1968 on. The definitions of collage and of Grand Collage for Duncan further illuminate his resistance to the long poem
Draft 111
Draft 111: Arte Povera Rachel Blau DuPlessis 1. It's all impossible the gesture impossible the language impossible the suture impossible: a feather bead kept in a careful bundle, with one thing after another, mica, baby teeth, satin ribbon, weathered pebble, twine, each layer wrapped and rapt. Vertige of "assemblages... found and fabricated... plywood and knitted wire" 2. One and one and one make 111 by some calculi. Some tumuli. Some cumulus or …
Desert Island Texts
Gender Buttons
Speaking provisionally and in mutuality, I want to explore some continuing elements for feminism as a mode of cultural critique and intervention, both for literary criticism and for the production of art. This critique, whether it occurs in literary scholarship or in art works, might be defined as examining how cultural power relations get spoken through gender and sexuality: how gender and sexuality are represented; how they are reinforced in cu…
Draft 52
Research Article| February 01 2006 Draft 52: Midrash Rachel Blau DuPlessis Rachel Blau DuPlessis Search for other works by this author on: This Site Google boundary 2 (2006) 33 (1): 229–245. https://doi.org/10.1215/01903659-33-1-229 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Rachel Bl…
Essentials of the Theory of Fiction
Genders, Races, and Religious Cultures in Modern American Poetry, 1908-1934
In Genders, Races and Religious Cultures in Modern American Poetries, Rachel Blau Duplessis shows how, through poetic language, modernist writers represented the debates and ideologies concerning New Woman, New Negro and New Jew in the early twentieth century. From the poetic text emerge such social issues of modernity as debates on suffrage, sexuality, manhood, and African-American and Jewish subjectivities. By a reading method she calls 'social…
The Feminist Memoir Project
Feminist Memoir Project has put back in the historical record dozens of urgent voices that were on the verge of being lost forever. What a fascinating, vital-and vitally important book.-Katha Pollitt The women of The Feminist Memoir Project give voice to the spirit, the drive, and the claims of the Women's Liberation Movement they helped shape, beginning in the late 1960s. These thirty-two writers were among the thousands to jump-start feminism i…
The contemporary long poem
As we have seen in the preceding essays, contemporary women poets working in expansive forms have both claimed and challenged the cultural authority of the long poem. They have done so using diverse aesthetic modes, ranging from historically focused collage poems to formally intricate lyric sequences to massive works of epic breadth and comprehensiveness. Despite these different aesthetic choices, feminist poets writing in extended forms, have em…
F-Words
Hoo, Hoo, Hoo
The Pink Guitar
Women Poets and the American Sublime
The Pink Guitar
For the Etruscans family, sexes, psyche pater-daughter sub rosa language acquisition while these letters were a-reading whowe - on Susan Howe other how the pink guitar
Power, Judgment, and Narrative in a Work of Zora Neale Hurston
THE first time we see the hero/ine of Their Eyes Were Watching God, she is sauntering down a road, the knowing subject of gossiping judgment. Janie is an expressively sexual woman (her buttocks and “pugnacious breasts” are immediately mentioned). She is black, but her “great rope of black hair” operates as a marker of her racial mix, and an evocation of the internal color lines in the African-American community. She is all of forty – too old, acc…
Virginia Woolf and the Madness of Language
H. D
This volume fills a real gap in H. D. scholarship. It is situated at the crossroads of contemporary hermeneutics and feminist criticism
Writing beyond the ending
Protest and Reform
Woman Is Perfect
In a rare and uncharacteristic burst of anger, the poet H.D. wrote to Bryher, the woman with whom she lived on and off from 1919 to 1950, that she would not have her analysis with Sigmund Freud spoiled by the publication of her poem Master (written 1934-35) in her friend Robert Herring's Life and Letters Today.1 Both Bryher and Herring were insistent that she print Master. But in 1935 H.D. refused to release the poem.2 In publishing Master here f…
The Tongue of Power
The Feminist Apologues of Lessing, Piercy, and Russ
Objects of Pity, Bordering on Contempt; through analyses by Florence Nightingale, Elizabeth Robins, and Charlotte Perkins Gilman of the plots and ideologies that structure novels; up to Woolf, Olsen, and Rich with their nuanced essays about women in culture, feminist writers have long criticized the problematic and damaging nature of cultural scripts for women's life and art. And, having seen patriarchal culture as a problem, rather than a given,…
Washing Blood
Genders, Races, and Religious Cultures in Modern American Poetry, 1908-1934
In Genders, Races and Religious Cultures in Modern American Poetries, Rachel Blau Duplessis shows how, through poetic language, modernist writers represented the debates and ideologies concerning New Woman, New Negro and New Jew in the early twentieth century. From the poetic text emerge such social issues of modernity as debates on suffrage, sexuality, manhood, and African-American and Jewish subjectivities. By a reading method she calls 'social…
Woman Is Perfect
In a rare and uncharacteristic burst of anger, the poet H.D. wrote to Bryher, the woman with whom she lived on and off from 1919 to 1950, that she would not have her analysis with Sigmund Freud spoiled by the publication of her poem Master (written 1934-35) in her friend Robert Herring's Life and Letters Today.1 Both Bryher and Herring were insistent that she print Master. But in 1935 H.D. refused to release the poem.2 In publishing Master here f…
The Feminist Apologues of Lessing, Piercy, and Russ
Objects of Pity, Bordering on Contempt; through analyses by Florence Nightingale, Elizabeth Robins, and Charlotte Perkins Gilman of the plots and ideologies that structure novels; up to Woolf, Olsen, and Rich with their nuanced essays about women in culture, feminist writers have long criticized the problematic and damaging nature of cultural scripts for women's life and art. And, having seen patriarchal culture as a problem, rather than a given,…
Desert Island Texts
F-Words
Hoo, Hoo, Hoo
The Critique of Consciousness and Myth in Levertov, Rich, and Rukeyser
Portrait of a Man
Elegies
New Bodies
Standing in Entrances
Poem to Mary Oppen
Eurydice
The Critique of Consciousness and Myth in Levertov, Rich, and Rukeyser
Washing Blood
Memory
The Feminist Apologues of Lessing, Piercy, and Russ
Objects of Pity, Bordering on Contempt; through analyses by Florence Nightingale, Elizabeth Robins, and Charlotte Perkins Gilman of the plots and ideologies that structure novels; up to Woolf, Olsen, and Rich with their nuanced essays about women in culture, feminist writers have long criticized the problematic and damaging nature of cultural scripts for women's life and art. And, having seen patriarchal culture as a problem, rather than a given,…
Woman Is Perfect
In a rare and uncharacteristic burst of anger, the poet H.D. wrote to Bryher, the woman with whom she lived on and off from 1919 to 1950, that she would not have her analysis with Sigmund Freud spoiled by the publication of her poem Master (written 1934-35) in her friend Robert Herring's Life and Letters Today.1 Both Bryher and Herring were insistent that she print Master. But in 1935 H.D. refused to release the poem.2 In publishing Master here f…
The Tongue of Power
Writing beyond the ending
Protest and Reform
H. D
This volume fills a real gap in H. D. scholarship. It is situated at the crossroads of contemporary hermeneutics and feminist criticism
Power, Judgment, and Narrative in a Work of Zora Neale Hurston
THE first time we see the hero/ine of Their Eyes Were Watching God, she is sauntering down a road, the knowing subject of gossiping judgment. Janie is an expressively sexual woman (her buttocks and “pugnacious breasts” are immediately mentioned). She is black, but her “great rope of black hair” operates as a marker of her racial mix, and an evocation of the internal color lines in the African-American community. She is all of forty – too old, acc…
Virginia Woolf and the Madness of Language
Women Poets and the American Sublime
The Pink Guitar
For the Etruscans family, sexes, psyche pater-daughter sub rosa language acquisition while these letters were a-reading whowe - on Susan Howe other how the pink guitar
The Pink Guitar
Hoo, Hoo, Hoo
F-Words
The Feminist Memoir Project
Feminist Memoir Project has put back in the historical record dozens of urgent voices that were on the verge of being lost forever. What a fascinating, vital-and vitally important book.-Katha Pollitt The women of The Feminist Memoir Project give voice to the spirit, the drive, and the claims of the Women's Liberation Movement they helped shape, beginning in the late 1960s. These thirty-two writers were among the thousands to jump-start feminism i…
The contemporary long poem
As we have seen in the preceding essays, contemporary women poets working in expansive forms have both claimed and challenged the cultural authority of the long poem. They have done so using diverse aesthetic modes, ranging from historically focused collage poems to formally intricate lyric sequences to massive works of epic breadth and comprehensiveness. Despite these different aesthetic choices, feminist poets writing in extended forms, have em…
Genders, Races, and Religious Cultures in Modern American Poetry, 1908-1934
In Genders, Races and Religious Cultures in Modern American Poetries, Rachel Blau Duplessis shows how, through poetic language, modernist writers represented the debates and ideologies concerning New Woman, New Negro and New Jew in the early twentieth century. From the poetic text emerge such social issues of modernity as debates on suffrage, sexuality, manhood, and African-American and Jewish subjectivities. By a reading method she calls 'social…
Art (19 works) · Literature (12 works) · History (10 works) · Sociology (10 works) · Art history (8 works) · Philosophy (8 works) · Poetry Analysis and Criticism (8 works) · Gender Studies (6 works) · Psychology (6 works) · Aesthetics (5 works)