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dc.contributor.authorEusuf, Nausheen Naz
dc.date.accessioned2014-03-04T19:58:48Z
dc.date.available2014-03-04T19:58:48Z
dc.date.issued2011-05
dc.identifier.othereusuf_nausheen_n_201105_ma
dc.identifier.urihttp://purl.galileo.usg.edu/uga_etd/eusuf_nausheen_n_201105_ma
dc.identifier.urihttp://hdl.handle.net/10724/27118
dc.description.abstractEkphrasis as a literary mode tends to foreground the charged relationship between word and image, verbal and visual. This antagonistic relationship has often been figured in gendered terms, by critics like W. J. T. Mitchell and James Heffernan, as a contest between the masculine word and the feminized image. This thesis focuses on the ekphrastic poetry of two women poets, Louise Bogan and Marianne Moore, and examines how they engage with and respond to the gendered ekphrastic paragone, or contest. I argue that Bogan identifies with the feminized image and discovers in the art work a mirror for the female self. Moore, on the other hand, identifies with the artist rather than the art object, and consciously resists taking sides within the paragonal frame.
dc.languageeng
dc.publisheruga
dc.rightspublic
dc.subjectLouise Bogan
dc.subjectMarianne Moore
dc.subjectEkphrasis
dc.subjectVisual Art
dc.titleThe ekphrastic paragone in Louise Bogan and Marianne Moore
dc.typeThesis
dc.description.degreeMA
dc.description.departmentEnglish
dc.description.majorEnglish
dc.description.advisorSusan B. Rosenbaum
dc.description.committeeSusan B. Rosenbaum
dc.description.committeeAidan Wasley
dc.description.committeeRichard Menke


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