Abstract

The presence of women’s poetry is slightly marked in the historic-lyrical diagnosis of literature after 1945. From the diachronic perspective, taking into account the internal periodization, there are accented caesuras and turning points that are identified and clarified by the artistic facts, but also by external factors and primarily by the literary disputes and discussions. Writing women generally do not participate in them and they are not willing to the expressive defining of the line of the own artistic manifesto and formulating the aesthetic declarations. They rather exhibit distrust of artistic speculations and codified systems. They count on individuality and independence. The weak activity of poet women in the successive generational programme discourse causes that fact that their voice, even though being heard and appreciated in the individual dimension, it is further modest in its presence from in the historic-literary perspective. On the other hand, the poet women’s names are ranked high in the spatial optics, in the synchrony that coordinates varied aesthetic trends. The picture of contemporary poetry without their achievements would not have been completed.