To see the other types of publications on this topic, follow the link: Anne Sexton.
Dissertations / Theses on the topic 'Anne Sexton'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 38 dissertations / theses for your research on the topic 'Anne Sexton.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Scalapino, Lisa Marie. "Anne Sexton, a psychological portrait." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0022/NQ46915.pdf.
Full text
2
Madsen, Pamela A. Sexton Anne. "The Sexton cycle : settings of Sexton for soloists, chamber ensembles, and tape /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9974112.
Full textAbstract:
Thesis (Ph. D.--Music)--University of California, San Diego.Vita. Includes scores for most of the instrumental works within the composer's The Sexton cycle; excludes opening work, What's that, and the purely tape Redcuts. Accompanying tape includes recordings of the sections, Hutch, The red shoes, Redcuts, and Demon (extract) from Consorting with angels.
3
Marusza, Julie A. "The transforming art of Anne Sexton /." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69619.
Full textAbstract:
By using rigorous conventional structure in her early work Anne Sexton was able to successfully contain some of her severe psychological instabilities stemming from childhood in poetic form. Sexton's artistic direction underwent a sharp change midway into her poetic career after she wrote the volume Transformations, a collection of story-poems based on narratives from the Grimm fairy tales. In this collection, Sexton took on the external persona of a witch, and with her new voice, she was boldly able to re-tell her version of the Grimm tales. The new persona enabled Sexton to shed her previous voice of passivity, and instead criticize humanity by using satire and humor. Unfortunately, this movement in her work was an exercise in self-exploitation as the larger, cultural arena of Grimm put off any chance of working out her private problems. After Transformations Sexton had come to the realization of her self-exploitation and decided to even further separate herself from humanity by continuing to work with even more generalized, cultural forms--a movement that ultimately led her to mythologize her own death.
4
Socha, Monika. "Die Todesthematik im lyrischen Werk Anne Sextons /." Saarbrücken : W. J. Röhrig, 1991. http://catalogue.bnf.fr/ark:/12148/cb356915833.
Full text
5
Oliveira, Renato Marques de. "Anne Sexton e a poesia confessional : antologia e tradução comentada." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270242.
Full textAbstract:
Orientador: Eric Mitchell SabinsonDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-03T22:27:34Z (GMT). No. of bitstreams: 1 Oliveira_RenatoMarquesde_M.pdf: 14631472 bytes, checksum: 3264df22d3993a17a71974e8b876c591 (MD5) Previous issue date: 2004
Resumo: Numa tentativa de compreensão do fenômeno literário conhecido como POESIA CONFESSIONAL, esta dissertação tem por objetivo estudar a obra da poeta Anne Sexton (1928 - 1974). O exame de um dos rumos que a poesia norteamericana tomou desde 1945 serve como ponto de partida e pretexto para uma análise crítica sistemática que resulta na elaboração de uma antologia traduzida e comentada de poemas de Sexton, tida como uma das mais representativas figuras da poesia dos EUA no século XX.
Abstract: In order to understand the literary phenomenon known as Confessional Poetry, this dissertation examines the work of Anne Sexton (1928-1974), regarded as one of the most representative American poets of the second half of the twentieth century. The exploration of this vein or sub-genre, one of the directions taken by the American poetry since 1945, serves as a starting point and pretext for a systematic critical analysis of Sexton's work, resulting in an annotated anthology of translations of her poems.
Mestrado
Mestre em Teoria e História Literária
6
Wann, Ryleigh Marie. "Women's Voices of the 1960's Through Metapoetry: Sylvia Plath & Anne Sexton." University of Toledo Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1544711810525306.
Full text
7
Crosbie, Lynn. "Contextualizing Anne Sexton, confessional process and feminist practice in the Complete Poems." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ35433.pdf.
Full text
8
Waters, Melanie Jane. "'Those times' : politics, culture and confession in the poetry of Anne Sexton." Thesis, University of Newcastle Upon Tyne, 2008. http://hdl.handle.net/10443/261.
Full textAbstract:
This thesis constitutes the first sustained attempt to situate the poetry of Anne Sexton in relation to postwar. American' politics. While there has been a recent resurgence of academic interest in the politics of mid-century confessional literature, the current crop of poetry scholarship throws focus on the work of Robert Lowell, John Berryman, and Sylvia Plath, and has hitherto neglected to examine the ways in which Sexton's creative praxis might be productively re-examined alongside contemporary critical theory and postwar political history. In the following chapters, I interrogate the received status of Sexton's poetry as psychic theatre and, demonstrate the terms-of its political engagement through a detailed analysis of its referential framework, which is, I argue, structured around key crises in postwar American history: the legacy of the Holocaust; the Cold War; the Vietnam conflict, and the rise of feminism. More explicitly, I explain how these historical paroxysms are registered in the metrical arrangements of Sexton's poems. Through reference to the work of Sigmund Freud, Jacques Lacan, and Cathy Caruth, I locate her writing within the psychoanalytic discourse of trauma, in which the traumatic event - though not perceived fully at the time of its occurrence - is unconsciously re-experienced, or `acted-out', through the repetitive, compulsive, and automatic mechanisms of the subject's speech and behaviour. My thesis thus positions Sexton's poetry as a mode of acting-out, in which the socio-political upheavals of the twentieth century are not only expressed in directly referential terms, but are also woven into the formal fabric of the poetry itself. In addition, the following chapters show how the political lineaments of Sexton's poetry might be usefully illuminated through reference to the Cold War ideology of `containment' and the interlocking, if vexed, economies of privacy, conformity, and contamination.
9
Brüggemann, I. "Jungiaanse argetipes in die poësie van Ingrid Jonker, Sylvia Plath en Anne Sexton." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/11767.
Full textAbstract:
Includes bibliographical references (leaves 143-149).Poets are able to express symbols in words by way of what C. G. Jung called "archetypes". This is an investigation of the feasibility that poets who wrote independently worldwide, were able to use the same imagery in their poetry without being able to copy it from each other. There are several similarities between the poets discussed. In the first place they lost a parent when they were still children. Secondly they all committed suicide and (thirdly) they were excellent poets. Their lives were characterised by a search for something they believed they could only find in death. These there issues could almost be put into a mathematical formula where [loss of significant other] + [artistic ability] = depression & suicidality/certain poetic elements (e.g. the use of "ek"/"I"). The focus of the study is the symbolism in the discussed poems, especially water, stone and moon imagery, and Jungian theories are used to explain these. Biographical information is also used to gain a better understanding of the poetry. Ingrid Jonker, Sylvia Plath and Anne Sexton's poetry is initially analysed (as well as that of Eugène N. Marais and Sara Teasdale). Later more poets enter the discussion, such as Attila József, Cesare Pavese and Marina Tsvetaeva. The therapeutic value of writing poetry is investigated as well as the possibility of plagiarism, Antjie Krog's Die sterre sê 'tsau' enters the argument in order to substantiate Jung's hypotheses was well as to balance Stephen Watson's accusations of Krog. Finally the approach of this thesis gets a closer look.
10
Khalifeh, Areen Ghazi. "Transforming the Law of One : Anne Sexton and Sylvia Plath from a Kristevan perspective." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5236.
Full textAbstract:
A recent trend in the study of Anne Sexton and Sylvia Plath often dissociates Confessional poetry from the subject of the writer and her biography, claiming that the artist is in full control of her work and that her art does not have naïve mimetic qualities. However, this study proposes that subjective attributes, namely negativity and abjection, enable a powerful transformative dialectic. Specifically, it demonstrates that an emphasis on the subjective can help manifest the process of transgressing the law of One. The law of One asserts a patriarchal, monotheistic law as a social closed system and can be opposed to the bodily drives and its open dynamism. This project asserts that unique, creative voices are derived from that which is individual and personal and thus, readings of Confessional poetry are in fact best served by acknowledgment of the subjective. In order to stress the subject of the artist in Confessionalism, this study employed a psychoanalytical Kristevan approach. This enables consideration of the subject not only in terms of the straightforward narration of her life, but also in relation to her poetic language and the process of creativity where instinctual drives are at work. This study further applies a feminist reading to the subject’s poetic language and its ability to transgress the law, not necessarily in the political, macrocosmic sense of the word, but rather on the microcosmic, subjective level. Although Sexton and Plath possess similar biographies, their work does not have the same artistic value in terms of transformative capabilities. Transformation here signifies transgressing of the unity of the subject and of the authoritative father, the other within, who has prohibitive social and linguistic powers. Plath, Kristeva’s the “deadmost,” successfully confronts the unity of the law, releasing the death drive through anger. Moreover, Plath’s psychic borders are more fluid because of her ability to identify with the pre-Oedipal mother. This unsettling subject is identified by shifts in texts marked by renewal, transgression, and jouissance. Unlike Sexton, Plath is able to achieve transformation as she oscillates masochistically between the “inside” and the “outside” of her psychic borders, and between the symbolic and the semiotic. Furthermore, this enables Plath to develop the unique “Siren Voice of the Other.” In comparison, Sexton, the “dead/less,” evades any confrontation with the maternal and the performance of death in her poetry. Her case is further complicated by the discovery of a second mother. As a result, passivity becomes a main characteristic of her work. This passivity remains until the maternal abject bursts in her text and she reacts to this by performing cleansing rituals, and gravitating toward a symbolic father. Without the dynamism of transgression, Sexton’s work is heterogeneous but does not achieve ultimate transformation and jouissance. Confessional poetry, in this sense, takes on a new dimension. The life stories of the poets become important not for their pejorative, pathological aspects that focus on narrative mimesis, but rather for their manifestation as an aesthetic process. The subject of the writer becomes important as an aesthetic identity in the poems, which are rooted in real life. The main concern then becomes the aesthetic transformative dialectic between the semiotic and the symbolic in her work of art.
11
Bécel, Laurence. "Confession ou fiction de soi : la poésie testimoniale de Robert Lowell et Anne Sexton." Thesis, Le Mans, 2012. http://www.theses.fr/2012LEMA3015/document.
Full textAbstract:
Qualifiée de « confessionnelle », la poésie de Robert Lowell et d’Anne Sexton peut être redéfinie comme testimoniale, en tant que discours sur soi « hanté » par la fiction. C’est ce que permet d’établir, d’une part, l’étude de la relation entre confession littéraire, fiction et poéticité puis, d’autre part, l’analyse du rapport à la vérité fondé sur une motivation autobiographique et sur l’opération poétique comme vérité « s’avérant dans une structure de fiction ». Fictions de soi aspirant à un discours de vérité sur soi, les œuvres poétiques de Lowell et Sexton sont des témoignages tentés par la confession, ainsi que l’illustre la recherche surréaliste de Sexton. Par ailleurs, l’expression de la folie opère un lien avec la confession religieuse, issue d’Augustin, et avec la définition initiale de la poésie confessionnelle par M.L. Rosenthal qui souligne l’importance de la culpabilité dans l’écriture de Lowell. Mais la représentation du déterminisme de la souffrance psychique, à la fois en termes psychanalytiques et en termes religieux, réduit l’accomplissement de la confession à une fiction de soi. Contrairement à une confession aboutie, le témoignage hybride sur soi peut alors s’avérer déstabilisant : échec de la confession, le témoignage prend acte de l’affaiblissement du « je » dont la vulnérabilité semble incarnée par le sort tragique de Sexton. Une analyse des ressorts de cette fragilité du « je » permet de comprendre les conséquences de la confrontation des auteurs avec leurs poèmes testimoniaux et avec les lecteurs. Elle révèle également l’impasse où mène le poème testimonialAlthough the poetical works of Robert Lowell and of Anne Sexton have been called “confessional”, they may rather be defined as testimonial insofar as they are discourse “haunted” by fiction. This will be shown through the analysis of the relation between literary confession, fiction and poeticity. It will also appear in the study of the poems’ relation to truth, both poets’ conceptions of truth relying on autobiographical motivations and on artistic considerations about poetical achievement viewed as truth emerging from “the structure of fiction”. Eventually, the poems of Lowell and Sexton are fictions of the self aiming at speaking the truth and, as such, they might be redefined as testimonies tempted by confession, which is exemplified in Sexton’s surrealistic search. Besides, the poetic representation of madness provides a link with, on the one hand, Augustine’s religious confession and, on the other hand, M.L. Rosenthal’s initial definition emphasizing the importance of guilt in Lowell’s “confessional” writing. But expressing determined psychological suffering in both psychoanalytical and religious terms reduces the accomplishment of confession to mere fiction of the self. Contrary to fully achieved confession, hybrid self-testifying may then prove destabilizing: it bears witness to the failure of confession and therefore to the weakening of the “I”, whose vulnerability Sexton’s tragic fate may embody. Analyzing the poetical workings of the speaker’s fragility allows to understand the consequences of the poets’ confrontation with their testimonial poems and with the reader. It also reveals to what extent testimonial poetical writing is bound to lead to an impasse
12
Houston, Carol Margaret. "Emotional Intelligence in the Later Poetry of Sylvia Plath, Anne Sexton and Adrienne Rich." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/366978.
Full textAbstract:
During the 1950s and the 1960s the confessional poetry of Sylvia Plath, Anne Sexton and Adrienne Rich triggered ambivalent responses from both critics and readers. This thesis was precipitated by and focuses on these ambivalent reactions. On the one hand there were critics who viewed their poetry positively because of the way in which their poems genuinely probe the emotions. On the other hand there were critics who maintained that the poetry of these three women was just not poetry; rather their writing was compromised by their emotions. In both cases the critics make judgments about the nature of emotion in poetry and the value of these emotions and assume that emotions do not have a cerebral component. I am proceeding from the very different standpoint that the emotions have a cognitive dimension, and are an essential component in the way in which the poetry of Plath, Sexton and Rich is cognitively moulded. The emotions, in short, help to secure the poetry’s sense and meaning in a sense-making way. This use of emotions to shed light on the poetry of Plath, Sexton and Rich has to date received scant attention.
The thesis bases this approach on the work of a number of theorists of the emotions. Because of the development of theories of the emotions in the last fifty years, our appreciation of the cognitive dimensions of the poetry has flourished. This thesis reasons that the emotion depicted in the poetry of Plath, Sexton and Rich makes evident their cognitive reactions to specific happenings. As a result of analysing the poetry of these three female poets, it is possible to see the shaping spirit and the cognitive dimension of emotion in their poetry and the way in which the individual emotions contributed to the structuring of the poetry...Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text
13
McKenna, Edward Francis. "Live or Die unmasking the mythologies of Anne Sexton's poetry /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/mckenna/McKennaE0508.pdf.
Full text
14
Thomine, Angélique. "Écrire le désenchantement : opacité et transparence dans l’œuvre des poètes « confessionnelles » Anne Sexton et Sylvia Plath." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040131.
Full textAbstract:
Cette thèse de doctorat a pour but d’analyser l’œuvre des poètes américaines Anne Sexton et Sylvia Plath à l’aune des études féminines et de genre en s’attachant à la question du mythe et du désenchantement. Plath et Sexton ont été étiquetées « poètes confessionnelles » ; il s’agit dans un premier temps de comprendre les mécanismes sur lesquels repose cette appellation qui participe de la construction de mythes autour des deux poètes et de les déconstruire. Plath et Sexton se sont connues à la fin des années 50, s’influençant l’une l’autre. Elles ont en commun une poétique du désenchantement, de leurs poèmes « confessionnels » à leurs réécritures de contes de fées et de mythes que l’on peut qualifier d’ « anti-contes ». Si leur style poétique diffère, les thèmes qu’elles abordent se répondent en écho, du trauma incestueux au corps féminin, de la femme au foyer à la représentation dichotomique de « la femme » en Madone et putain. Nous abordons ces sujets dans un deuxième temps en les reliant aux notions de voile et de pudeur. L’injonction à la pudeur provient en partie de la scène poétique bostonienne des années 50 à 70, de l’influence puritaine du poète Robert Lowell et des critiques misogynes. Cette étude s’applique dans un troisième temps à relier littérature et société en mettant en lumière l’influence du contexte patriarcal et poétriarcal sur et dans l’œuvre de Plath et de SextonThis Ph.D. thesis analyzes the literary works of American poets Anne Sexton and Sylvia Plath in light of Women’s and Gender Studies and considers the notions of myth and disenchantment. Plath and Sexton were labeled “confessional” poets; this study’s first section seeks to understand the underlying mechanisms of this appellation and how it participated in the construction of myths around the two poets and also aims to deconstruct these myths. Plath and Sexton met at the end of the ‘50s and influenced each other. Their poetics of disenchantment are a common trait in their literary works, from their “confessional” poems to their rewriting of fairy tales and myths which may be called “anti-tales.” Although their poetic styles differ, the themes they pursue are similar, from the incestuous trauma to the female body, from the American housewife to the representation of women through the Madonna/slut dichotomy. In this thesis’s second section, these topics are scrutinized and considered in relation to the notions of veil and modesty. Appeals for modesty stem in part from the Bostonian poetic stage of the 50s-70s, the puritan influence of New England poet Robert Lowell and the misogynistic critics of the time. This study’s third section links literature and society and emphasizes the influence of patriarchal and “poetriarchal” context on and in Plath’s and Sexton’s poetry and prose
15
Stegborn, Blixt Emelie. "Transcendent Gud och döende människa? : Gudsbild och människosyn i Anne Sextons The Awful Rowing Toward God." Thesis, Uppsala universitet, Teologiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-339978.
Full text
16
Earles, Kristofer. "Mutation in blossom: an antithetical reading of the poetry of Anne Sexton through the aesthetics of D. H. Lawrence." Thesis, Boston University, 2009. https://hdl.handle.net/2144/28563.
Full textAbstract:
Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
17
Iannone, Ami M. "You Can't Go Home Again." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275585545.
Full text
18
Casto, Estella Kathryn. "Reading feminist poetry : a study of the work of Anne Sexton, Adrienne Rich, Audre Lorde, and Olga Broumas." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1226003868.
Full text
19
Boswell, Marta. "Mustang Sally pays her debt to Wilson Pickett /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3025604.
Full text
20
Al-Obaidi, Mohammed F. R. "My landscape is a hand with no lines : representations of space in the poetry of Robert Lowell, Sylvia Plath and Anne Sexton." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/27992.
Full textAbstract:
This thesis is the first study using contemporary spatial theory, including cultural geography and its precursors, to examine and compare representations of space in the poetry of three mid-twentieth century American poets: Robert Lowell, Sylvia Plath, and Anne Sexton. Because of the autobiographical content often foregrounded in their work, these poets have been labelled Confessional. Previous criticism has focused primarily on the ways in which they narrate (or draw on) their personal lives, treating accompanying descriptions of their surroundings primarily as backdrops. However, these poets frequently manifest their affective states by using the pathetic fallacy within structures of metaphor that form a textual mapping of the physical space they describe. This mapping can be temporal as well as spatial; the specific spaces mapped in the poem s present are often linked to memories of earlier life or family. These spaces include psychiatric, general, and penal institutions, parks and gardens, nature (especially coastal settings), and the home (almost always a place of tension or conflict). Each poet addresses these broad types of space differently according to their evolving subjective relationship to them. These relationships are in turn strongly influenced by their social class and gender: for the two women, their experience of their own bodies as prescribed space, in relation to the restrictive and objectifying female role that was imposed on them, is critical. Also, critical in shaping the poets experience of space are post-World-War II socio-cultural and demographic changes in the United States, notably suburbanisation, consumerisation and the consolidation of a therapeutic culture . Interwoven with these influences are major political concerns of the period such as the Cold War with its accompanying surveillance and conformism and the threat of nuclear annihilation. In the work of all three poets, awareness of these modern fears fused with traditional Gothic motifs to permeate their descriptions of spaces with anxiety, bitterness, and even dread in a rejection of the synthetic optimism of the American Century and commercial culture. Other criticism has touched on many of these themes in relation to one or another of the poets, but this study, by way of the theme of space, offers comparison and synthesis that aims to shed new light on their work and its relation to the period during which they wrote.
21
Little, Philippa Susan. "Images of self : a study of feminine and feminist subjectivity in the poetry of Sylvia Plath, Anne Sexton, Margaret Atwood and Adrienne Rich, 1950-1980." Thesis, Queen Mary, University of London, 1990. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1501.
Full textAbstract:
The thesis explores the poetry (and some prose) of Plath, Sexton, Atwood and Rich in terms of the changing constructions of self-image predicated upon the female role between approx. 1950-1980.1 am particularly concerned with the question of how the discourses of femininity and feminism contribute to the scope of the images of the self which are presented. The period was chosen because it involved significant upheaval and change in terms of women's role and gender identity. The four poets' work spans this period of change and appears to some extent generally characteristic of its social, political and cultural contexts in America, Britain and Canada. (Other poets' work, for example Rukeyser, Lorde, Levertov, is included too. ) The poets were not chosen to illustrate a pre-feminist vs. feminist opposition since a major concern is to explore what I see to be the symbiotic relation between femininity and feminism (as also between orthodoxy and heresy). However the thesis is organised chronologically because periodisation is important for a consideration of the poetry's social setting. In wanting to connect the poetry with cultural and political circumstances as much as possible I have taken Edward Said's assertion of a text's position of 'being in the world', its potential as a cultural product to help reshape reality, and its value as a 'powerful weapon of both materialism and consciousness'. This is the starting point for the study which is circular and cumulative in shape, fundamentally thematic, though each chapter is a chronological exploration of the work of one specific poet, beginning with Plath and completing with Rich. A conclusion attempts to pull the strands of each together and consider the implications raised. The thesis has four general concerns which run through its particular focus on each poet. The first involves the relations between cultural practice and ideology; the second involves the ideology of gender (through exploration of femininity and feminism); the third involves authorial ideology (through the construction of self-image in relation to femininity and feminism) while the fourth involves these concerns in terms of the overall arena of women's struggle for meaning and selfdetermination in cultural practice. More specific elements of the study include collating and comparing self-images and attempting to make connections or chart changes where images such as witch, queen, handmaid, shamaness, goddess, earth mother, whore, madwoman, etc., re-occur. Usage of myth (particularly Persephone). the Gothic, 'and articulation of lesbian desire are also explored. The emergence of a female 'hero' self-image, in opposition to 'victim', seems to be a corollary of the impact , of feminism in Rich's poetry particularly, but this tendency can be traced back through Plath. I explore the celebration of nature and the power of essentialism in the construction of heroic female images, particularly in the figure of the mother flowing with milk at the centre of 'ecriture feminine'. The concluding chapter suggests that femininity did not constitute such a repressive constraint on self-image and writing practice for women as perhaps might be supposed; and that feminism, while opening up many empowering changes for women, has raised further disturbing and unresolved questions about identity, and even helped, in some of its aspects, to create a new 'orthodoxy' in which various aspects of experience cannot easily be articulated. My example is Rich's later work where it seems to admit itself limited by its own initially liberating strategies and looks further on towards new 'heresies.'
22
Du, Plessis Jeanne Catherine. "Poetry portfolio : Things I’ll never say and Mini-dissertation : The fragmented self : female identity in personal poetry, with particular reference to selected poems by Anne Sexton, Antjie Krog and Finuala Dowling." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30351.
Full textAbstract:
This mini-dissertation examines selected poems by three female poets who deal with what I have termed ‘the personal’ in relation to specifically female concerns in their poetry, namely Anne Sexton, Antjie Krog and Finuala Dowling. There has been a considerable rise in personal and autobiographical writing in the last few decades, and this trend shows no sign of decreasing. This kind of writing has provoked much heated debate, both regarding its content and its style(s). Many critics and poets, such as Robert Lowell or James Dickey, disapprove of the frankness with which female poets discuss subjects which are specific to women, and consider the poems to be too graphic or crude. Personal poems which are not graphic are also criticised as being boring, irrelevant or lacking in artistic craft. Those in favour of poetry of the personal, such as Collette Inez and Alicia Ostriker, believe that contemporary poets’ freedom to examine any topic they like is a positive development. Instead of considering these poems to be irrelevant to readers, they believe that personal poetry can be a means for both writers and readers to explore identity and to navigate various female roles. This mini-dissertation argues in defence of personal poetry, and addresses the common criticisms of this type of writing briefly mentioned above. It highlights women’s issues and questions of female identity throughout. The different ways in which female writers approach personal poetry are also examined, and the mini-dissertation compares the controversial aspects of Sexton’s writing with Krog’s candour and Dowling’s understated humour. Through close textual analysis, the mini-dissertation highlights both similarities and differences in the work of these poets, in support of the value of such poetry for both readers and writers. The mini-dissertation is accompanied by a portfolio of my own creative work. My poems also fit into the category of female poetry of the personal, so while I do not directly discuss my own work in the mini-dissertation, the portfolio and mini-dissertation are thematically linked.Dissertation (MA)--University of Pretoria, 2010.
English
unrestricted
23
Keller, Matthew J. "DANCENOISE DECLARES OPEN SEASON ON THE DOCILE BODY: DANCE STUDIES AND FEMINIST THEORY." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1493393510333692.
Full text
24
Gill, Joanna Ruth. "'The cracked mirror' : Anne Sexton's poetics of self representation." Thesis, University of Gloucestershire, 2001. http://eprints.glos.ac.uk/3019/.
Full textAbstract:
This thesis re-evaluates the work of the poet Anne Sexton (1928-1974), concentrating, in particular, on the indeterminacies, contradictions and aporia which it finds to be characteristic of her ostensibly frank and self-revelatory writing. The study is based on a close textual analysis of Sexton's writing, is informed by oststructuralist theories, and is sustained by an examination and discussion of archive collections of her previously unpublished papers. In seeking an understanding of Sexton's poetics, the thesis identifies and interrogates the strategies of denial and obfuscation apparent in her own explication of her work - principally, by scrutiny of the unpublished, and previously unresearched, drafts of a series of lectures which she delivered in 1972. Chapters One and Two consider the origins of 'confessional' or - Sexton's preferred term - 'personal' poetry and reassess her place within contemporary poetry. They suggest that Sexton's writing is engaged in a process of negotiation and contestation, both with the boundaries and expectations of confessionalism, and with the strictures of T. S. Eliot's theory of 'impersonality'. In support of these arguments, Chapter Two offer a reading of Sexton's little-known poem, 'Hurry Up Please It's Time', alongside its intertext, Eliot's The Waste Land. Chapter Three reassesses received views of the supposedly beneficial interrelationship between confessional speaker and reader. It examines Sexton's appropriation of dramatic masks and personae and her use of metaphors of striptease and prostitution, and suggests that these are employed simultaneously to appease and to repel an intrusive audience. Similarly, Chapters Four and Five trace Sexton's problematisation of two previously-accepted tenets of confessional poetry: its status as autobiography and its truthfulness, drawing attention to the techniques employed in order to give the impression of both. Chapter Six considers Sexton's problematic engagement with a language which is not malleable, transparent, and referential but, rather, is experienced as uncooperative and occlusive. Finally, the thesis recuperates Sexton from the common charge of narcissism, arguing that it is the writing, rather than the poet, which is self-reflexive and self-conscious. In this respect, it concludes that her work - perhaps unexpectedly - anticipates many of the tendencies of postmodernist writing.
25
Lima, Ana Cecilia Acioli. "The shattering of myth : Anne Sexton's transforming view of fairy tales." reponame:Repositório Institucional da UFSC, 1992. https://repositorio.ufsc.br/xmlui/handle/123456789/157769.
Full textAbstract:
Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T17:55:44Z (GMT). No. of bitstreams: 1 88418.pdf: 6889975 bytes, checksum: 48e998361a7c8bed1d32ad4ea71abf10 (MD5) Previous issue date: 1992
A presente dissertação examina o processo de transformação de 16 contos de fadas, dos Irmãos Grimm, em versos feitos por Anne Sexton. Baseando-me essencialmente na idéia de que mudanças de significado efetuadas por versões alternativas de contos de fadas podem nos dizer muito sobre a cultura que lhes deu origem, analiso seis dos poemas revisionistas de Sexton em termos das transformações que as identidades sociais e sexuais da mulher estavam sofrendo à época da publicação do livro 1971.
26
Richardson, Julie. "At a loss for words, probing subjectivity in Anne Sexton's The book of folly." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20984.pdf.
Full text
27
Badia, Janet L. "Private detail, public spectacle: Sylvia Plath's and Anne Sexton's confessional poetics and the politics of reception." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250266949.
Full text
28
Badia, Janet. "Private detail, public spectacle : Sylvia Plath's and Anne Sexton's confessional poetics and the politics of reception /." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1250266949.
Full text
29
Laranjeira, Antonio Eduardo Soares. "Há amor em sexo?" Programa de Pós-Graduação em Letras e Lingüística da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11151.
Full textAbstract:
144f.Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-17T12:08:56Z No. of bitstreams: 1 dissertacao Antonio Laranjeira.pdf: 846540 bytes, checksum: 886ead3b0f2fc931dff06c7ce9d2bc51 (MD5)
Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-20T18:07:59Z (GMT) No. of bitstreams: 1 dissertacao Antonio Laranjeira.pdf: 846540 bytes, checksum: 886ead3b0f2fc931dff06c7ce9d2bc51 (MD5)
Made available in DSpace on 2013-05-20T18:07:59Z (GMT). No. of bitstreams: 1 dissertacao Antonio Laranjeira.pdf: 846540 bytes, checksum: 886ead3b0f2fc931dff06c7ce9d2bc51 (MD5) Previous issue date: 2007
Fala-se muito sobre sexo e menos sobre amor. O sexo passa a ser um dos protagonistas da cena pós-moderna, transformado em espetáculo. Para Roland Barthes, no século XX, o amor é obsceno, em lugar do sexo. Ao amor, reserva-se um espaço exíguo, enquanto que, para o sexo, a excessiva publicidade. Muitos exemplares da literatura pop contemporânea, como Sexo, de André Sant´Anna (1999), exibem esse panorama descrito. No romance em questão, o amor encontra apenas um espaço ínfimo destinado a si. O amor e o desejo sexual estão voltados para o que há de mais fragmentário no corpo. Com o ser humano transformado em coisa e o sexo convertido em espetáculo, os relacionamentos deixam de ser orientados pelo ideal romântico de amor e passam a ser pautados pela busca de prazer sexual. A partir da leitura de Sexo, pretende-se observar, por um viés interdisciplinar, como o sentimento amoroso se configura no âmbito da sociedade pós-moderna de consumo. No mundo pós-moderno, como o que é habitado pelas personagens de Sexo, o vínculo amoroso é transitório, passível de ser rompido a qualquer instante. O prazer é a meta estabelecida por aqueles que desejam construir conexões. Perdendo o caráter subversivo, o corpo é submetido a um excesso de estímulos e a sexualidade é manifestada como mais um estilo de vida a ser consumido.
Salvador
30
Flegler, Andreas [Verfasser], Gerhard [Gutachter] Sextl, Matthias [Gutachter] Busse, and Anke [Gutachter] Krüger. "Kathoden für Metall-Luft Batterien / Andreas Flegler ; Gutachter: Gerhard Sextl, Matthias Busse, Anke Krüger." Würzburg : Universität Würzburg, 2019. http://d-nb.info/1200355512/34.
Full text
31
Castro, Barnechea Claudia Lucía. "El matrimonio igualitario: Marcando un hito en la lucha contra la discriminación. El derecho a la igualdad y no discriminación por orientación sexual aplicado al acceso al matrimonio en el Perú." Master's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9738.
Full textAbstract:
El derecho a la igualdad y no discriminación constituye un pilar importante para el Derecho y para institucionalidad democrática de los Estados. Es, además, esencial para una sociedad respetuosa de los derechos humanos y de las diferencias que nos hacen únicos y valiosos. Una sociedad que respeta las diferencias y garantiza igualdad para todos y todas es una sociedad más cercana a la protección de la dignidad del ser humano. Debido a esto, la presente investigación se centra en la aplicación de este derecho en relación con una población vulnerable en específico, me refiero a las personas no heterosexuales y a las relaciones de pareja que forman y que, actualmente, no tienen forma jurídica de protección en el Perú. A diferencia de
las parejas heterosexuales, las parejas que no lo son no tienen ningún tipo de
institución jurídica que les garantice derechos y obligaciones, pues han sido
excluidos de las formas jurídicas existentes que otorgan estos derechos. Esto ha
redundado en la discriminación de las que son víctimas en la sociedad, ahondado en las formas de invisibilización, desvaloración y falta de reconocimiento que sufren como individuos y como parejas. En este sentido, he analizado las obligaciones que tiene el Estado peruano derivadas del sistema universal de derechos humanos y del sistema interamericano, comparando estas obligaciones con las normas existentes y las medidas actuales a nivel nacional que se refieren en específico a la igualdad y
no discriminación aplicadas al matrimonio como institución jurídica. Luego de un
extensivo y profundo análisis de las normas y pronunciamientos a nivel universal,
interamericano y nacional, puedo concluir que el Estado peruano tiene una
obligación específica de protección sobre las personas que sufren de discriminación en la sociedad y, por lo tanto, deben adecuar la normativa nacional para hacer efectivos los derechos de todos y todas y garantizar que los puedan ejercer en un marco de igualdad. Por esto, el Estado peruano, a través de sus instituciones y normas, está obligado a respetar este derecho y modificar o crear los medios necesarios para hacerlo real, incluyendo en esto la normativa de todo tipo. Esta obligación implica necesariamente que no exista institución jurídica alguna que genere diferencias no objetivas basadas en la orientación sexual de las personas, el matrimonio no puede escapar a esta obligación. Se debe tener en cuenta que, tanto la Constitución peruana como las obligaciones del Derecho Internacional de
Derechos Humanos, indican una noción de familia amplia y más allá del modelo
tradicional. Es, entonces, consecuencia directa de las obligaciones de igualdad
y de la noción amplia de familia que concluyo en la necesidad de adaptar las normas internas peruanas para eliminar las restricciones de las parejas no heterosexuales a instituciones como el matrimonio para garantizar los derechos que les corresponde como familia y que les han sido negados por tanto tiempo. Es hora de que la sociedad y el Derecho avancen de la mano y se busque la protección de todos los seres humanos por igual.Tesis
32
Ortiz, Quiero Oliver B. "Análisis crítico del proyecto de ley que reconoce y da protección a la identidad de género a la luz de su discusión ante la comisión de derechos humanos del Senado." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/143995.
Full text
33
Williams, Ian. "The poetics of tone and voice in the poetry of Anne Sexton." 2005. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=370796&T=F.
Full text
34
Rice, Lydia Whitt. "Ellen Gilchrist and Anne Sexton sympathy and self-knowledge, revision and redemption /." 2006. http://purl.galileo.usg.edu/uga%5Fetd/rice%5Flydia%5Fw%5F200608%5Fphd.
Full text
35
Hood, James Devin. "Revealing the wizard behind the curtain : deconstructivist fairytale politics in the works of Margaret Atwood, Anne Sexton, and Angela Carter /." 2009. http://hdl.handle.net/10288/1243.
Full text
36
Steffen, Jorge [Verfasser]. "Das perspektiverzeugende Medium in der "Confessional Poetry" am Beispiel von Sylvia Plath, Anne Sexton, Robert Lowell und John Berryman / vorgelegt von Jorge Steffen." 2009. http://d-nb.info/992486424/34.
Full text
37
Lopes, Elisabete Cristina Simões. "Desmontando narrativas e corpos : uma reflexão sobre o corpo no gótico feminino na obra poética de Sylvia Plath e Anne Sexton, e na obra fotográfica de Francesca Woodman e Cindy Sherman." Doctoral thesis, 2012. http://hdl.handle.net/10400.2/2372.
Full textAbstract:
Tese de Doutoramento em Literatura na especialidade de Literatura Norte-Americana apresentada à Universidade AbertaO objectivo desta investigação é o de examinar o modo como Sylvia Plath, Anne Sexton, Francesca Woodman e Cindy Sherman exploraram a representação do corpo da mulher, à luz do gótico, mais especificamente, dentro do enquadramento do gótico feminino. Consequentemente, a obra poética de Sylvia Plath e de Anne Sexton, tal como a obra fotográfica de Francesca Woodman e Cindy Sherman, são exploradas dentro das várias vertentes do gótico: feminino, materno, paterno, doméstico e marital. Elementos tradicionais do gótico, tais como as ruínas, os fantasmas, os monstros, o dopplegänger, o anjo ou a “madwoman” do período vitoriano, conjugam-se com elementos de carácter surrealista (os peixes, as luvas, os espelhos, os cadáveres esquisitos), de forma a ilustrar o modo como o corpo feminino estabelece um diálogo com a geografia do espaço. Neste contexto, é igualmente importante analisar de que forma essas mesmas representações comportam um pendor feminista e determinar como operam enquanto resposta e revisão relativamente ao paradigma patriarcal. No âmbito deste estudo, conceitos operacionais intrinsecamente ligados ao estudo do gótico, tais como o grotesco, o abjecto ou a estranheza, são convocados com o intuito de enriquecer esta análise, no seio da qual o corpo feminino se encontra em permanente flirt com a presença da morte.
This research aims at examining the way Sylvia Plath, Anne Sexton, Francesca Woodman and Cindy Sherman have carried out female’s body representation, in the light of the gothic, specifically within the female gothic setting. Therefore, both Sylvia Plath’s and Anne Sexton’s poetic oeuvre and Francesca Woodman’s and Cindy Sherman’s photography are explored within the various gothic types: female gothic, maternal gothic, paternal gothic, domestic gothic and marital gothic. In this analysis, traditional elements of the gothic, such as ruins, ghosts, monsters, dopplegängers, the angel and the madwoman of the Victorian epoch, combine with surrealist imagery (fishes, gloves, mirrors, cadavres exquis) in order to convey the ways in which the female body engages in a dialogue with the geography of space. In this context, it is important likewise to analyse the feminist essence inherent in those representations, and unveil to what extent they constitute an answer and revision regarding patriarchy. In this research, we resort to theoretical concepts intimately linked to the gothic genre, such as the grotesque, the abject and the uncanny, so as to illustrate a female body which appears constantly flirting with death.
38
Hsiung, Tzu-chen, and 熊子禎. "Death Wish and Madness in Anne Sexton’s Poetic Labyrinth." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/38310282974280037598.
Full textAbstract:
碩士中國文化大學
英國語文學研究所
97
In this thesis, Death Wish and Madness in Anne Sexton’s Poetic Labyrinth, I try to discuss Anne Sexton’s poems that are full of death wishes and madness. When the writing of poetic labyrinth stops, the act of affirming life also perishes. For Sexton, poetry is the opposite dying suggests a kind of poetics. Sexton’s narrator finds the salvation only in the art. First, I am appalled by her poetic arrangement to the emotional truth and the see-through attitude toward the death wish and the suicidal attempt. Second, the portrayals of the speaker’s possession of madness are witnessing the horrifying breakdown in a lively way. The purpose of my thesis is to analyze and systematize the poetic components of Sexton’s poems in these styles in order to comprehend more about her poetic labyrinth in the use of condensed words as spiritual transformation. “Labyrinth” is a kind of circle and no way out, and in her self-destructive state, the poet alienates from her own self. She turns into a possession of madness or death. Sexton frequently adopts a persona speaking in the first person from the point of view of an imagined character. She records her psychiatrist’s plea, “Don’t kill yourself. Your poems might mean something to someone some day.” It is as if she senses a mission yet to be completed. She imposes the stuff of her experience about referring a time at the mental hospital. The impulse of direct statement and subject is highly personal and intensely felt. It is also a tactic arousing the readers’ recognition and curiosity. She makes an effort to escape the self and the outer world by getting through the image in words. She sees and finds the precise words to articulate her inner sights which intensify the vision and are coupled with the increasingly personal experiences and images taking away the archetypal dimensions. The structures of sentences and the images to words enable us to see what the poet sees.