{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/79326"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/79326","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Home-Bodies: Language, Genre and Work in Postwar Feminist Writing and Performance","abstract":"Ph.D.","abstract_html":"Ph.D.","abstract_has_math":false,"creators":["Montei, Amanda; 0000-0002-8495-8501"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Kim, Myung Mi","English"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-04-04T19:57:04Z","date_published":"2019-04-04T19:57:04Z","updated_at":"2026-07-27T19:05:14Z","subjects":["literature","women's studies","American literature"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/79326","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Kim, Myung Mi","English"]},{"key":"dc:creator","label":"Author","values":["Montei, Amanda; 0000-0002-8495-8501"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-04-04T19:57:04Z","2019","2019-01-18 11:32:02"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["literature","women's studies","American literature"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/79326"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph.D.","This dissertation responds to a longstanding charge against women’s attentions: that too much attention paid to the home, children, or other domestic concerns indicates a failing of artistic activity, and that too much attention paid to artistic activity indicates a failing of some sort in the domestic realm. This dissertation examines the poetry of Bernadette Mayer, Hannah Weiner, and other women writers who documented their domestic labor alongside their artistic work. It argues a relation between these writers’ formal and conceptual innovation and the performances of Mierle Ukeles, Hannah Wilke, Mary Kelly, and other performance artists who used feminized conditions of labor to inform their public “Art-work.” I unravel how postwar, late capitalist working conditions in the home informed women’s documentary art practices as well as feminist poets’ and artists’ interest in the radical de-materialization of the art object. I argue that the authors and artists studied in this dissertation answer the problem of the patriarchal ghosting of domestic work as a “labor of love” by challenging the productive nature of language and genre, as well as evidence a variety of aesthetic, temporal, and material challenges created by the sexual division of labor. This dissertation further argues that the figure of the “home-body,” who appears or feels temporally and/or materially inseparable from the domestic space, inhabits and informs women’s embodied writing and performance. I illustrate some of the ways women writers and artists documented the contiguity and contingency of home and body after 1945 by confronting the patriarchal and capitalist legacies of language, genre, and work and rethinking the very practices of “autobiography,” “documentation,” and “experimentalism.” I argue that in the home-body’s search for a language for women’s work—as well as a mode of Art-work that reflects that language—some of the persistent problems embedded in the work of women’s life writing are brought into view. I assert that philosophy and art tend to privilege production and consumption and that traditional models of artistic experience rely on a problematic association between Woman and Home. This study suggests, therefore, that by upending and configuring anew all aspects of the “work” of Art, feminist writers’ and artists’ formal and conceptual interest in aesthetic novelty underlines foundational concerns for feminist aesthetics broadly and illustrates some of the difficulties and double binds of feminist aesthetic practice in particular."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Home-Bodies: Language, Genre and Work in Postwar Feminist Writing and Performance"]}]}],"canonical_facts":{"dc:contributor":["Kim, Myung Mi","English"],"dc:creator":["Montei, Amanda; 0000-0002-8495-8501"],"dc:date":["2019-04-04T19:57:04Z","2019","2019-01-18 11:32:02"],"dc:description":["Ph.D.","This dissertation responds to a longstanding charge against women’s attentions: that too much attention paid to the home, children, or other domestic concerns indicates a failing of artistic activity, and that too much attention paid to artistic activity indicates a failing of some sort in the domestic realm. This dissertation examines the poetry of Bernadette Mayer, Hannah Weiner, and other women writers who documented their domestic labor alongside their artistic work. It argues a relation between these writers’ formal and conceptual innovation and the performances of Mierle Ukeles, Hannah Wilke, Mary Kelly, and other performance artists who used feminized conditions of labor to inform their public “Art-work.” I unravel how postwar, late capitalist working conditions in the home informed women’s documentary art practices as well as feminist poets’ and artists’ interest in the radical de-materialization of the art object. I argue that the authors and artists studied in this dissertation answer the problem of the patriarchal ghosting of domestic work as a “labor of love” by challenging the productive nature of language and genre, as well as evidence a variety of aesthetic, temporal, and material challenges created by the sexual division of labor. This dissertation further argues that the figure of the “home-body,” who appears or feels temporally and/or materially inseparable from the domestic space, inhabits and informs women’s embodied writing and performance. I illustrate some of the ways women writers and artists documented the contiguity and contingency of home and body after 1945 by confronting the patriarchal and capitalist legacies of language, genre, and work and rethinking the very practices of “autobiography,” “documentation,” and “experimentalism.” I argue that in the home-body’s search for a language for women’s work—as well as a mode of Art-work that reflects that language—some of the persistent problems embedded in the work of women’s life writing are brought into view. I assert that philosophy and art tend to privilege production and consumption and that traditional models of artistic experience rely on a problematic association between Woman and Home. This study suggests, therefore, that by upending and configuring anew all aspects of the “work” of Art, feminist writers’ and artists’ formal and conceptual interest in aesthetic novelty underlines foundational concerns for feminist aesthetics broadly and illustrates some of the difficulties and double binds of feminist aesthetic practice in particular."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/79326"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["literature","women's studies","American literature"],"dc:title":["Home-Bodies: Language, Genre and Work in Postwar Feminist Writing and Performance"],"dc:type":["Text","Dissertation"]},"updated_at":"2026-07-27T19:05:14Z"}