{"id":3085,"date":"2017-09-15T21:33:29","date_gmt":"2017-09-15T21:33:29","guid":{"rendered":"http:\/\/courses.suzannechurchill.com\/eng394-f17\/?p=3085"},"modified":"2017-09-15T21:33:29","modified_gmt":"2017-09-15T21:33:29","slug":"marianne-moore","status":"publish","type":"post","link":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/09\/15\/marianne-moore\/","title":{"rendered":"Marianne Moore"},"content":{"rendered":"

Annotated Bibliography for Biography Project on Marianne Moore <\/u><\/p>\n

by Abbey Corcoran<\/u><\/p>\n

\u00a0<\/strong>Secondary Sources:<\/strong><\/p>\n

Hadas, Pamela White. “Marianne Moore: Poet of Affection.” Contemporary Literary Criticism Select<\/em>, Gale, 2008. Literature Resource Center. Accessed 15 Sept. 2017. Originally published in Syracuse University Press, 1977. In Pamela White Hadas\u2019s article \u201cMarianne Moore: Poet of Affection,\u201d Hadas surveys Moore\u2019s poetry and, comes to the conclusion that \u201cthere are two predilections pervading and informing Marianne Moore’s work at every level [\u2026] [one] is poetic wonder, the need for a near-magical communication with the objects and objectives of nature, and the other is a detached curiosity which demands precise and intelligent observation of these\u201d (3). She argues that it important to understand how these predilections break down (\u201csubjective enchantment\u201d and \u201cobjective devotion\u201d) into the particular conventions that we recognize, critically or casually, as the stylistics of Marianne Moore (3). She then argues that the stylistic breakdown can be further decomposed into four themes: survival, persuasion, discovery, and selfhood. This text is certainly credible because of its engagement with other secondary sources and primary sources and the fact that Hadas (a poet herself) is an expert on Moore, having written an entire book of criticism on her work (of which, the is an excerpt). However, this essay is a critical source and, thus, it is limited in value to our biographical endeavors. That being said, where its analysis may not be particularly valuable for biography, the sense of Moore\u2019s poetics, style, and literary universe it gives us is invaluable<\/em> in reconstructing Moore\u2019s life.<\/p>\n

URL for Hadas: http:\/\/go.galegroup.com\/ps\/retrieve.do?tabID=T001&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=PersonSearchForm&currentPosition=4&docId=GALE%7CH1100003408&docType=Critical+essay&sort=RELEVANCE&contentSegment=&prodId=LitRC&contentSet=GALE%7CH1100003408&searchId=R1&userGroupName=nclivedc&inPS=true#<\/a><\/p>\n

Hicok, Bethany. “To Work ‘Lovingly’: Marianne Moore at Bryn Mawr, 1905-1909.” Journal of Modern Literature<\/em>, 2000, p. 483. Literature Resource Center. Bethany Hicok\u2019s essay \u201cTo Work Lovingly\u201d delves into a study of Marianne Moore\u2019s time at Bryn Mawr College through a multi-faceted analysis of primary and secondary sources. At the center of this analysis is her argument that \u201cinquiry into Moore’s experience at Bryn Mawr provides a fruitful starting point for new readings of Moore’s poetry that emphasize her strong feminist voice and offer ways in which we might reconsider the cultural history of women’s poetic production\u201d (483). Through analysis of Moore\u2019s letter and poems, Hicok identifies a new feminist rhetoric in Moore\u2019s writing, which she ultimately attributes to Moore\u2019s time at Bryn Mawr. The essay\u2019s combination of close reading (especially of Moore\u2019s letters, which do not get as much attention in other sources) and rich biographical evidence indicates that this source is well-researched and well-suited for this project.<\/p>\n

URL for Hicok: http:\/\/go.galegroup.com\/ps\/retrieve.do?tabID=T002&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=PersonSearchForm&currentPosition=3&docId=GALE%7CA75197369&docType=Biography&sort=RELEVANCE&contentSegment=&prodId=LitRC&contentSet=GALE%7CA75197369&searchId=R1&userGroupName=nclivedc&inPS=true#<\/a><\/p>\n

Kent, Kathryn R.\u00a0Making Girls into Women: American Women’s Writing and the Rise of Lesbian Identity<\/em>. Durham N.C., Duke University Press, 2003. In this text as a whole, Kent argues that \u201cintense maternal-pedagogical system that compelled young girls to internalize the mandates of bourgeois womanhood, ended up inciting in them other, less-normative desires and identifications\u201d (2). It is, however, not until chapters five and six (two connected essays) that Kent makes this argument using Marianne Moore\u2019s poetry and, thus, it is those chapters I will focus on here and in my research. In these two final chapters, Kent describes the desires and relationship of Marianne Moore and her mentee Elizabeth Bishop and, explores the development of their respective subjectivities within that relationship. In this way, Kent argues that \u201ctheir interactions pose a challenge to the use by feminist literary critics of the mother\/daughter relationship as the dominant model for female-female \u2018literary influence\u2019 and for understandings of the emergence of female gender and sexual identity\u201d (169). Kent bases her argument on close readings of \u201ctheir literary and persona exchanges, including the intertextualities of their poems [and] the richness of their letters\u201d and knowledge of the dominant theories of gender and sexuality (169). Because of the deftness of Kent\u2019s use of textual evidence and the fact that Making Girls into Women <\/em>was published by a reputable company for the subjects of gender and sexuality (Duke and NYU are well-known in the field of GSS), it is pretty clear that the text is a credible (and interesting) source.<\/p>\n

Miller, Cristanne.\u00a0Cultures of Modernism: Marianne Moore, Mina Loy, & Else Lasker-Sch\u00fcler: Gender and Literary Community in New York and Berlin<\/em>. Ann Arbor, University of Michigan Press, 2005. In this scholarly monograph, Cristanne Miller makes the argument that location had a significant influence on \u201cmodernist women\u2019s performances of subjectivity, gender, race and religion in their texts\u201d by making new subject matter and \u201cmodes of expression\u201d available to them\u201d (2). The text uses the works and lives of Marianne Moore, Else Lasker-Sch\u00fcler and Mina Loy as case studies though which it posits that \u201cmodernist cultures take distinctive and distinctively gendered forms from one place to another\u201d (2). Organized thematically by chapter (rather than writer), the text moves from the \u201crepresentations of modernity\u201d as foundational background to discussing the politics of naming (particularly self-naming) and the identities the three women constructed for themselves (particularly in relation to \u201cbreaking normative gender\u201d). It goes on to examine the \u201csemiotics of performed embodiment\u201d in fashion and finally the role of religion in modernism (18-19). Miller\u2019s inclusion of photographs and illustrations of and by Moore, Lasker-Sch\u00fcler, and Loy (147-149) in conjunction with her extensive footnotes, bibliography, and employment of several different modes of analysis (close reading, engaging with theory, biographical analysis etc.) indicates Cultures of Modernism <\/em>is a credible and valuable source.<\/p>\n

Nitchie, George W. “Marianne Moore: An Introduction to the Poetry.” Contemporary Literary Criticism Select, Gale, 2008. Literature Resource Center. Accessed 15 Sept. 2017. Originally published in Marianne Moore: An Introduction to the Poetry<\/em>, by George W. Nitchie, Columbia University Press, 1969. A few paragraphs into his essay, “Marianne Moore: An Introduction to the Poetry” George Nitchie begins to describe what he calls the \u201cpeculiarities\u201d of Moore\u2019s poetry. But he quickly posits that as a half-truth, claiming that those particulaties are no different (or less) in effect than the peculiarities of Eliot or Dickenson. He then goes on to say, \u201cto place Miss Moore among such poets is, in kind if not always in degree, to place her among her peers\u2014among poets of formidable intelligence, formidable wit, and formidable eccentricity, poets who characteristically achieve their effects through surprise and the strategic violation of decorum\u201d (1). In simpler terms, Nitchie argues that the difficulty of Moore\u2019s poems, rather than precluding her from falling amounts the canonized great poets, elevates her to their level. He does this by engaging in close readings but also by setting her work in stylistic and thematic contrast with well-known writers, like Shakespeare and Milton and proving her deftness in relation to their greatness. The one downfall of this source is that it is an excerpt, so it is possible that arguments and nuances that a reader might understand from reading the entire text are lost or absent from this bit of it. However, ultimately there is still an argument contained in the excerpt and, the brevity is probably more conducive to the kind of knowledge of her work needed for a biography project anyway.<\/p>\n

URL for Nitchie: http:\/\/go.galegroup.com\/ps\/retrieve.do?tabID=T001&resultListType=RESULT_LIST&searchResultsType=SingleTab&searchType=PersonSearchForm&currentPosition=11&docId=GALE%7CH1100003409&docType=Critical+essay&sort=RELEVANCE&contentSegment=&prodId=LitRC&contentSet=GALE%7CH1100003409&searchId=R1&userGroupName=nclivedc&inPS=true#<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/p>\n

Sielke, Sabine.\u00a0Fashioning the Female Subject: The Intertextual Networking of Dickinson, Moore, and Rich<\/em>. Ann Arbor, University of Michigan Press, 1997. Through analysis of the poetry of Emily Dickinson, Marianne Moore, and Adrianne Rich, Fashioning the Female Subject<\/em> demonstrates \u201chow American women\u2019s poetry fashioned the female subject and how they evolve her historically as a negotiation of subjectivity, identity, and the body as a process of present and past over the last 150 years\u201d (2). The text is broken into four sections\u2014one focusing on Moore and Dickinson, one on Moore and Rich, a section that ties together Rich and Dickinson through the lens of their \u201cconversations\u201d\u2014for Sabine purports to \u201clet the poets \u2018talk\u2019 to one another intertextually\u201d\u2014with Moore (2), and a final section where Sabine concludes and argues for her definition of female subjectivity as an \u201cact in language\u201d (228). Because the text is well cited, published by a reputable company, and centralizes Moore, it will be useful (and reliable) in helping me to be able to understand not only Moore\u2019s biography but also the biography of her poems and how she lives on intertextually.<\/p>\n

*For the Nitchie and Hadas, since they are excerpts reprinted in literary journals, I could not find the original page numbers and, as such, the page numbers here are the page numbers on the printed documents.<\/p>\n

\u00a0<\/strong><\/p>\n

Tertiary Sources: \u00a0<\/strong><\/p>\n