'How elastic is form?': the modern lives of women's sonnets

我的研究将涉及现代十四行诗的形式，以及它与性别的交集。通过对19世纪至21世纪几位多产女性诗人十四行诗的案例研究，我将研究十四行诗在多大程度上是由文化联系而不是韵律来定义的，并认为十四行诗现在代表了一种抒情思维模式，与性别和主体性问题深深纠缠在一起。最近关于现代十四行诗的学术研究从一些边缘观点出发，包括种族（Timo Muller）和爱尔兰国籍（Tara guisin - stubbs）。我的研究将通过性别的视角来考虑十四行诗的形式，从而为这一新兴领域增添新的内容。罗莎琳德·史密斯和艾米·克里斯汀·比隆研究了早期现代和19世纪女性的十四行诗；我的研究将女权主义学术延续到现代。此外，学术界以前将十四行诗的韵律定义视为既定的：我的研究将有助于十四行诗形式本身的研究，从形式主义的角度来解决它，感谢卡洛琳莱文，考虑其韵律形式如何与社会形式相交(即。性别)，认为十四行诗已经成为一种文化定义的形式。

My research will address the form of the sonnet in the modern period, and its intersections with gender. Via case studies of the sonnets of several prolific female poets from the 19th to the 21st century, I will examine the extent to which the sonnet has come to be defined by cultural association rather than prosody, arguing that the sonnet now represents a mode of lyric thought, deeply entangled with issues of gender and subjectivity. Recent scholarship on the modern sonnethas addressed the form from a number of marginal viewpoints, including race (Timo Muller) and Irish nationality (Tara Guissin-Stubbs). My research would add to this emergent field by considering the sonnet form through the lens of gender. Rosalind Smith and Amy Christine Billone have studied early modern and nineteenth-century women's sonnets;my research would continue this feminist scholarship into the modern period. Moreover, scholarship has formerly taken the sonnet's prosodic definition as a given: my research would contribute to study of the sonnet form itself by addressing it from a formalist perspective indebted to Caroline Levine, considering how its prosodic form intersects with social forms(i.e. gender), to argue that the sonnet has become a culturally defined form.