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The first decades of the twentieth century in America witnessed the emergence of one of the most famous feminist writers of that time and whose fame disappeared as rapidly as it came: Edna St. Vincent Millay (1892-1959). Her light and transgressive verse soon placed her as one of the poets that best represented the Roaring Twenties transgressing sexual and social taboos in an America dominated by the figure of the flapper that this writer perfectly embodied. This study delves into Edna St. Vincent Millay’s poetry and the representation of women in her works. Las primeras décadas del siglo veinte en Estados Unidos fueron testigos del surgimiento de una de las escritoras feministas más célebres de la época y cuya fama desapareció tan abrumadoramente como llegó: Edna St. Vincent Millay (1892-1959). Su verso ligero y transgresor pronto la situó como una de las poetas que mejor representaba los “felices años veinte” transgrediendo tabúes sexuales y sociales de una América dominada por la figura de la flapper que esta escritora encarnaba a la perfección. Este estudio profundiza en la poesía de Edna St. Vincent Millay y la representación de la mujer en sus obras.

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The comic form of art has witnessed a dramatic increase in the number of readers who have chosen this medium to deepen into meaning-making processes in multimodal texts. But little has been said so far about the adaptation of certain literary genres to the comic form. This is the case of poetry, narrative poetry, in particular illustrated in this study in the celebrated ballad: “La belle dame sans merci” (1819) by John Keats and the modern sonnet: “The singing-woman from the wood’s edge” (1920) by the American feminist poet Edna St. Vincent Millay. In view of two recent adaptations to the comic format of these poems, the present investigation explores from a comparative approach the semiotic processes at stake in representing women from the poets’ own point of view and also from their corresponding graphic artists’ in order to have a look at the changes in the depiction of women in poetry from the Romantic image of women to the view of women in the early twentieth century to the present day.

In his tragedy King Lear (1605) William Shakespeare explores the human psyche through a story of an old king who gives up his land to his two eldest daughters and finds himself forced to wander in the space of the outcasts. In his modern version of this play entitled: Lear, Edward Bond resumes Shakespeare’s analysis of space and power in the figure of a monomaniac father who raises a wall against his enemies. The division of inner-outer spaces present in Bond is further explored in Elaine Feinstein’s and the Women Theatre Group’s work: Lear’s Daughters, which immerses the audience into the early years of Goneril, Regan and Cordelia. In this contemporary prequel to Shakespeare’s play the three princesses discover the world and the space they occupy in it from their seclusion in the castle.