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Journal articles on the topic 'Anne Sexton'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Clement, Tanya E. "Anne Sexton Listening to Anne Sexton." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 387–92. http://dx.doi.org/10.1632/pmla.2020.135.2.387.

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Anne Sexton Met Her Psychiatrist, Martin Orne, in 1956, After Her Second Suicide Attempt. They Started Recording Their twice- (sometimes thrice-)weekly therapy sessions in early 1961, continuing until 1964, and Orne advised Sexton to listen to these recordings and write down her responses while listening and later relistening to them. Several hundred recordings of these therapy sessions have survived and reside in the Sexton collection at the Arthur and Elizabeth Schlesinger Library on the History of Women in America at the Radcliffe Institute for Advanced Study, and Sexton's responses have been preserved in four handwritten and typed journals, dating from January 1961 to August 1964, held at the Harry Ransom Center at the University of Texas, Austin. Arguably, playing the sessions back to herself shaped Sexton's memories, her evolving understanding of her past, and her sense of identity. The extant ensemble of texts, comprising the audio recordings, typed and handwritten journal entries, and poetry, illustrate how playback influenced this evolution.

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2

Gómez, Juan Ariel. "Anne Sexton." Cuadernos Literarios 2, no. 4 (December 1, 2005): 191–203. http://dx.doi.org/10.35626/cl.4.2005.175.

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Otra voz, segmento dedicado a las traducciones, compendia una selección de poemas de Anne Sexton, polémica poeta norteamericana del llamado grupo “confesionista”. Su respetiva versión en castellano estuvo a cargo de Juan Ariel Gómez, estudioso de poesía norteamericana.

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3

Majmudar, Amit. "To Anne Sexton." Prairie Schooner 89, no. 1 (2015): 90–91. http://dx.doi.org/10.1353/psg.2015.0095.

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4

Johnson, Greg, and Diane Wood Middlebrook. "Anne Sexton: A Biography." American Literature 64, no. 2 (June 1992): 408. http://dx.doi.org/10.2307/2927873.

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5

O'Brien, Sharon, and Diane Wood Middlebrook. "Anne Sexton: A Biography." New England Quarterly 65, no. 1 (March 1992): 142. http://dx.doi.org/10.2307/365988.

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6

GOODWIN, DONALD W. "Anne Sexton: A Biography." American Journal of Psychiatry 148, no. 12 (December 1991): 1741–42. http://dx.doi.org/10.1176/ajp.148.12.1741.

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7

Serlin, Ilene. "The Anne Sexton complex." Humanistic Psychologist 21, no. 3 (1993): 325–40. http://dx.doi.org/10.1080/08873267.1993.9976926.

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8

Lewin, Barbara R. "The Anne Sexton controversy." Society 29, no. 2 (January 1992): 9–11. http://dx.doi.org/10.1007/bf02698511.

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9

Pellegrino, Edmund D. "Secrets of the Couch and the Grave: The Anne Sexton Case." Cambridge Quarterly of Healthcare Ethics 5, no. 2 (1996): 189–203. http://dx.doi.org/10.1017/s0963180100006939.

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In 1991, Diane Wood Middlebrook, a professor of English at Stanford University, published a biography of the poet Anne Sexton in which, among other things, she used as source material some 300 tapes of Sexton's psychotherapeutic sessions with her psychiatrist, Dr. Martin Orne. After some years of reluctance and with the concurrence of Sexton's daughter and literary executor, Linda Gray Sexton, Orne released the tapes to Professor Middlebrook. Middlebrook's picture of Sexton drew heavily on the tapes, supplemented by scrapbooks, letters, photos, clippings, unpublished poems, and hospital records.

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10

Miller, Nancy K., Maxine Kumin, and Diane Middlebrook. "Remembering Anne Sexton: Maxine Kumin in Conversation with Diane Middlebrook." PMLA/Publications of the Modern Language Association of America 127, no. 2 (March 2012): 292–300. http://dx.doi.org/10.1632/pmla.2012.127.2.292.

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When diane middlebrook began the research for her biography of anne sexton (1928–74), she interviewed maxine kumin twice. Kumin and Sexton had been great friends and collaborators, and Kumin wrote the introduction to Sexton's Complete Poems (1981). The excerpt below is based on Middlebrook's typed transcript of a recording of a conversation that took place in Kumin's home on 9 October 1980. I abridged the transcript and submitted it to Kumin for her approval. The ellipses are part of the transcript, but the bracketed interpolations are mine. The complete interviews Middlebrook conducted for Anne Sexton: A Biography will be deposited in the Feminist Theory Archives of the Pembroke Center at Brown University.

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11

Demetrakopoulos, Stephanie, Diana Hume George, and Anne Sexton. "Oedipus Anne: The Poetry of Anne Sexton." Tulsa Studies in Women's Literature 6, no. 2 (1987): 366. http://dx.doi.org/10.2307/464293.

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12

Dickie, Margaret, and Diana Hume George. "Oedipus Anne: The Poetry of Anne Sexton." American Literature 59, no. 3 (October 1987): 475. http://dx.doi.org/10.2307/2927148.

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13

Ostriker, Alicia, Diana Hume George, and Anne Sexton. "Oedipus Anne: The Poetry of Anne Sexton." New England Quarterly 60, no. 4 (December 1987): 652. http://dx.doi.org/10.2307/365435.

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14

Mason, David, and Diane Wood Middlebrook. "Anne Sexton and Her Times." Hudson Review 45, no. 1 (1992): 167. http://dx.doi.org/10.2307/3852113.

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15

Gill, J. "Anne Sexton and Confessional Poetics." Review of English Studies 55, no. 220 (June 1, 2004): 425–45. http://dx.doi.org/10.1093/res/55.220.425.

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16

Guimarães Barboza, Beatriz Regina. "Traduzindo The Awful Rowing Toward God, de Anne Sexton, para o português brasileiro através da perspectiva dos estudos feministas de tradução." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 2 (May 31, 2019): 115–26. http://dx.doi.org/10.5007/2175-8026.2019v72n2p115.

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This paper aims to share results of my translation to Brazilian Portuguese, through the Feminist Translation Studies approach of the book The Awful Rowing Toward God (1975), written by Anne Sexton,. When I did the commented translation of this book, part of my theoretical reflections went through this field of research, which demonstrates how grammatical gender can reflect hierarchies of sexual gender and, therefore, it is a topic of feminist debate and criticism. This sort of problematic is very relevant regarding language pairs such as English and Portuguese, for the first one does not have grammatical gender marking, except for pronouns and some nouns, and the second one has. As Anne Sexton is valued by the feminist literary criticism and by other feminist authors, I recognize that it is necessary that the translation of Anne Sexton's book ought to be done with a consciousness of gender for a non-sexist translation.

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17

Muhammad, Inst Dr Ruwayda Jassim. "Anne Sexton's Poetry: Reflections on Death." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 2 (September 1, 2015): 25–36. http://dx.doi.org/10.36473/ujhss.v214i2.630.

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Anne Sexton was encouraged by her therapist Dr. Martin Orne to take up poetry about her experiences in her therapist's treatment of her mental illness as this might help others with similar difficulties to feel less alone, thus, there must be a focus on these thoughts or what is related to it, ie, death. The events of Sexton's life are revealed in her poems such as her therapy. Yet, the poems are not as autobiographical as they seem, that they are poems, not memoirs, in which there are recurrent symbolic themes and poetic techniques that make Sexton's work impressive. Sexton seems obsessed with the idea of death. She wrote about wanting to die, the nature of suicide, and about her suicide attempts before she carried them out. Death to her is horrifying and unpleasant though she viewed death as a state which exists in life; it is "here", ie, in life and all the time ; so, to her , death and life are inseparable— in her heart lies nothing but damage, annihilation, ie, death. Death offers her a refuge as much as her poetry does.

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18

Bojan, Rajesh, and M. Muthukumar. "Poetry as Therapy in Anne Sexton." Dawn Journal 8, no. 2 (December 15, 2019): 1415–18. http://dx.doi.org/10.56602/tdj/8.2.1415-1418.

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19

Chaffin, Daniel S., and Robert Lloyd Goldstein. "The Anne Sexton Case: Protecting Confidentiality?" Psychiatric Annals 22, no. 11 (November 1, 1992): 586–88. http://dx.doi.org/10.3928/0048-5713-19921101-16.

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20

Reich, Angela, and Diane Wood Middlebrook. "Anne Sexton: Discipline Forced upon Madness." Contemporary Literature 33, no. 3 (1992): 556. http://dx.doi.org/10.2307/1208483.

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21

Horne, Jennifer, Linda Gray Sexton, Anne Sexton, and Lois Ames. "Anne Sexton: A Self-Portrait in Letters." South Atlantic Review 61, no. 1 (1996): 139. http://dx.doi.org/10.2307/3200777.

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22

Cam, Heather. ""Daddy": Sylvia Plath's Debt to Anne Sexton." American Literature 59, no. 3 (October 1987): 429. http://dx.doi.org/10.2307/2927127.

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23

Czach, Marie. "Diane Arbus, Sylvia Plath and Anne Sexton." History of Photography 19, no. 2 (June 1995): 100–106. http://dx.doi.org/10.1080/03087298.1995.10442404.

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24

Kempinska, Olga. "A poesia de Anne Sexton e a indústria cultural." outra travessia 2, no. 32 (October 3, 2022): 152–65. http://dx.doi.org/10.5007/2176-8552.2021.e84233.

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Esse artigo busca interpretar a importância da reflexão poética acerca da indústria cultural na obra de Anne Sexton. Não raramente comparada à Sylvia Plath, Sexton elabora, com efeito, uma dicção poética fortemente marcada pelo neo-surrealismo, procurando pelos elementos do discurso da indústria cultural, tais como o horóscopo, o conto maravilhoso, a linguagem das marcas. Nesse sentido, a poesia de Sexton revela também seus traços não românticos e mais atentos à poética do objeto surrealista remanescente do ready-made. A poética do horror, inerente ao caráter indizível da situação surrealista do objeto participa dessa dicção poética dilacerada pela violência simbólica. Estabelecendo uma relação com a função mágico-religiosa, a linguagem da indústria cultural reivindica também o impacto real na realidade.

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25

Hussein Keif, Wasan, and Shireen Hihab Hamad. "Écriture Fèminie in Anne Sexton's Selected Poems." Journal of Education College Wasit University 48, no. 1 (August 1, 2022): 455–64. http://dx.doi.org/10.31185/eduj.vol48.iss1.2992.

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Abstract: Écriture féminine, or "feminine writing," is a prominent theoretical concept in feminist critique, particularly in France. It describes a distinct feminine style that deviates from standard male styles .This paper aims to highlight the concept of écriture féminine in a selection of Anne Sexton's poems. She bravely tackles topics like pregnancy, the female body, and marriage from a feminine perspective. Her works can be analysed through the eyes of French feminist writers such as Helene Cixous, Luce Irigaray, and Julia Krestiva because of their strong emphasis on the female body. Sexton enters a traditionally male-dominated field, bringing new talent and perspective to the craft of poetry.

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26

Lester, David. "Dark-Shading in the Poems of Anne Sexton." Perceptual and Motor Skills 73, no. 2 (October 1991): 366. http://dx.doi.org/10.2466/pms.1991.73.2.366.

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27

Damon, Maria, Anne Sexton, and Frances Bixler. "Original Essays on the Poetry of Anne Sexton." South Central Review 7, no. 1 (1990): 99. http://dx.doi.org/10.2307/3189227.

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28

Weissberg, Josef H. "Therapeutic Responsibility in the Case of Anne Sexton." Journal of the American Academy of Psychoanalysis 20, no. 4 (December 1992): 633–38. http://dx.doi.org/10.1521/jaap.1.1992.20.4.633.

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29

Chodoff, Paul. "The Anne Sexton Biography: The Limits of Confidentiality." Journal of the American Academy of Psychoanalysis 20, no. 4 (December 1992): 639–43. http://dx.doi.org/10.1521/jaap.1.1992.20.4.639.

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30

Viorst, Judith. "Listening at the Keyhole: The Anne Sexton Tapes." Journal of the American Academy of Psychoanalysis 20, no. 4 (December 1992): 645–53. http://dx.doi.org/10.1521/jaap.1.1992.20.4.645.

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31

Hare-Mustin, Rachel T. "Cries and whispers: The psychotherapy of Anne Sexton." Psychotherapy: Theory, Research, Practice, Training 29, no. 3 (1992): 406–9. http://dx.doi.org/10.1037/h0088543.

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32

George, Diana Hume. "How we danced: Anne Sexton on fathers and daughters." Women's Studies 12, no. 2 (January 1986): 179–202. http://dx.doi.org/10.1080/00497878.1986.9978636.

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33

Jo Gill. "Anne Sexton: Teacher of Weird Abundance (review)." Biography 32, no. 3 (2009): 557–59. http://dx.doi.org/10.1353/bio.0.0123.

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34

Franzosa, Susan Douglas. "A Review of “Anne Sexton: Teacher of Weird Abundance”." Educational Studies 45, no. 5 (October 7, 2009): 503–5. http://dx.doi.org/10.1080/00131940903190550.

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35

Pérez, Ashley Hope. "Anne Sexton in Search of “an Accident of Hope”." New England Review 34, no. 1 (2013): 20–31. http://dx.doi.org/10.1353/ner.2013.0051.

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36

Rodrigues, Julia Cortes. "Poetas e martinis: uma leitura de The Barfly Ought to Sing de Anne Sexton." Em Tese 25, no. 3 (March 20, 2020): 113. http://dx.doi.org/10.17851/1982-0739.25.3.113-132.

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O suicídio da poeta Sylvia Plath abalou o universo literário em 1963. As associações entre poesia e autossacrifício na obra de poetas vinculados ao rótulo “confessional” foram cimentadas, mitificou-se a morte de Plath, e surgiram debates éticos que jamais cessaram. No calor desse momento, ainda em 1966, Anne Sexton, que conhecera Sylvia Plath brevemente anos antes, publica um texto memorialístico no periódico Tri-Quarterly. Essas memórias de Sexton, registradas sob o título “The Barfly Ought to Sing” [“O Bebum Deve Cantar”], são o tema deste artigo: heterogêneo em sua feitura – já que alterna recordações de Plath, leitura de sua poesia e dois poemas inéditos de Sexton –, o texto tampouco é homogêneo no sentido de sua homenagem, pois não procura ocultar uma tensão competitiva que perpassa o elo afetivo. Acredita-se que o texto possua uma dimensão crítica que foi frequentemente subestimada. Através da escrita das memórias, Sexton parece ter buscado formular uma visão da poesia confessional: inclui ela própria e Plath enquanto referências dessa poética e nomeia, a seu modo, alguns de seus elementos fundamentais.

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37

Snoj, Vid, and Jožef Muhovič. "Vincent van Gogh, Starry Night, and Anne Sexton, Starry Night." Monitor ISH 19, no. 2 (December 4, 2017): 173–216. http://dx.doi.org/10.33700/1580-7118.19.2.173-216(2017).

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38

Rees‐Jones, Deryn. "Consorting with angels: Anne Sexton and the art of confession." Women: A Cultural Review 10, no. 3 (December 1999): 283–96. http://dx.doi.org/10.1080/09574049908578400.

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39

Levin, Charles, and Dawn Skorczewski. "The Poetics of Boundary Violation: Anne Sexton and Her Psychiatrist." Psychoanalytic Dialogues 30, no. 2 (March 3, 2020): 206–21. http://dx.doi.org/10.1080/10481885.2020.1722569.

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40

Gad, Barsoom Fikry Barsoom. "Anne Sexton’s Confessional Tradition and Individual Talent." CLEaR 3, no. 1 (March 1, 2016): 10–26. http://dx.doi.org/10.1515/clear-2016-0002.

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Abstract In his influential essay “Tradition and the Individual Talent,” T. S. Eliot emphasizes the significance of tradition as well as the inevitability of the present talent of the artist. He argues that every artist has his own original and individual themes and techniques that separate him from and link him with his predecessors at the same time. Anne Sexton, the Confessional American woman poet, is a good example that proves this everlasting notion of the allusion to “the dead poets” of the past together with the inevitable existence of the innovative original talent of the poet. Chiefly, Sexton is labeled “Confessional” and is compared with the most remarkable Confessional poets. However, the Confessional mode is not a new movement; it has its roots in the British tradition of the Metaphysical lyrics. It is also manifest in the American tradition of Puritan Poetry. Moreover, Confessional themes and techniques can be seen in the poetry of some Modernists. Meanwhile, Anne Sexton’s exceptional Confessional “individual talent” makes her a unique Confessional poet: the uncommon imperfect raw confessions, the unconventional bold sexual imagery, the fearful and astonishing religious symbols and the excessive degrees of “impersonality” are all characteristic examples of Sexton’s creative Confessional art.

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41

Honsalies-Munis, Svitlana. "BODY IMAGES IN THE POETRY BY ANNE SEXTON, SYLVIA PLATH, ADRIENNE RICH." English and American Studies 1, no. 16 (September 7, 2019): 143–50. http://dx.doi.org/10.15421/381920.

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The research is an attempt to analyze female body images in the poetry by Anne Sexton, Sylvia Plath and Adrienne Rich. Special attention is paid to the concept of women’s writing, modern theories of corporeality, sexuality and the problems of the body and the language, which have been considered as major features of women’s poetry in the second half of the 20th century. The theoretical background of the article is based on the works of Hélène Cixous, Luce Irigaray, Julia Kristeva, Jane Gallop, Alicia Ostriker, Christina Britzolakis, Jacqueline Rose, in which they defined the concepts of women's writing and language, women's subject, bodiness and corporality. The article analyzes a number of related issues: firstly, it determines how well-known theories of women's writing are consistent with the peculiarities of the female experience and its realization in a poetic text, especially on the level of the themes and motifs; secondly, it studies how the female body images are expressed in the poetry by Anne Sexton, Sylvia Plath and Adrienne Rich, what are the similarities between their corporeal imagery and what are the differences. The article analyses modern feminist works as well as gender studies.

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42

KAYIŞCI AKKOYUN, Burcu. "Rewriting “That Story:” Anne Sexton, Carol Ann Duffy, and Margaret Atwood." Gaziantep University Journal of Social Sciences 20, no. 2 (April 27, 2021): 562–73. http://dx.doi.org/10.21547/jss.816169.

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43

Middlebrook, Diane W. "Psychotherapy as theme and influence in the work of Anne Sexton." Psychotherapy: Theory, Research, Practice, Training 29, no. 3 (1992): 401–6. http://dx.doi.org/10.1037/h0088542.

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44

Sameer, Ali, and Hasan Hadi Ali. "Creativity and its Psychological Traits in Emily Dickinson’s and Anne Sexton’s Selected Poems." International Journal of Arts and Humanities Studies 2, no. 1 (September 19, 2022): 109–15. http://dx.doi.org/10.32996/ijahs.2022.2.1.15.

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This paper aims to analyze and explain two significant poems written by two female poets: Emily Dickinson and Ann Sexton, to disclose the relationship between creativity and unstable psychological state of mind. This study will examine Dickinson’s poem “I felt a funeral in My Brain’’ and Sexton’s poem “Wanting to Die” to reveal their themes of death, madness, and suicide to detect the mental depression and bipolar disorder they suffered from. Moreover, it is proven that there is a direct connection between creativity and mental disorder, according to some modern studies by psychologists like Kay Redfield Jamison and psychiatrist Nancy Andreason. The study will answer the following two questions: do the female poets: Emily Dickinson and Anne Sexton suffer from a mental disorder in their lives? And what is the impact of their poetic creativity on their fate?

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45

Mehta, Jessica. "Picture Perfect: Anne Sexton’s "The Double Image" Reflects the Poet as Daughter, Mother, and Anorectic." Journal of Critical Studies in Language and Literature 1, no. 2 (July 1, 2020): 26–36. http://dx.doi.org/10.46809/jcsll.v1i2.8.

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Anne Sexton’s poem “The Double Image” is explored, delving into the complexities of the role of the author as confessional poet, daughter, mother, and anorectic. This piece begins by noting the differences between the final published piece and the earlier drafts of the poem, focusing on the subtle differences and attempting to decipher why these changes were made. The significance of Sexton’s childhood home in the poem is noted, as this is seen to infantilise the author and creates a narcissistic regression often seen in anorectic patients. Sexton’s recurrent mouth imagery is addressed, as it is the gateway for food (or lack thereof) and plays a crucial role in the works of Sexton throughout her work and life. This topic is further developed into using hunger and eating metaphorically by Sexton, noting that as a daughter she engulfed everything in her mother’s world. The placement of the portraits in the poem is another aspect that Sexton changes consistently throughout the drafts and this piece delves into theories of the significance the position of the portraits might have had. This piece ends with the importance the color green has for the author in her work, possibly linking it to the choice of using green for the wicked within the original technicolor version of The Wizard of Oz (LeRoy & Fleming, 1939).

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46

Gill, Joanna. "?My Sweeney, Mr. Eliot?: Anne Sexton and the ?Impersonal theory of Poetry?" Journal of Modern Literature 27, no. 1-2 (September 2003): 36–56. http://dx.doi.org/10.2979/jml.2003.27.1-2.36.

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47

Michailidou, Artemis. "Gender, body, and feminine performance: Edna St.Vincent Millay's impact on Anne Sexton." Feminist Review 78, no. 1 (November 2004): 117–40. http://dx.doi.org/10.1057/palgrave.fr.9400150.

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48

Salvio, Paula M. "TEACHER OF 'WEIRD ABUNDANCE': PORTRAITS OF THE PEDAGOGICAL TACTICS OF ANNE SEXTON." Cultural Studies 13, no. 4 (October 1999): 639–60. http://dx.doi.org/10.1080/095023899335086.

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49

MICHAILIDOU, ARTEMIS. "Edna St. Vincent Millay and Anne Sexton: The Disruption of Domestic Bliss." Journal of American Studies 38, no. 1 (April 2004): 67–88. http://dx.doi.org/10.1017/s0021875804007911.

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Popular perceptions of Edna St. Vincent Millay do not generally see her as a poet interested in so-called “domestic poetry.” On the contrary, Millay is most commonly described as the female embodiment of the rebellious spirit that marked the 1920s, the “New Woman” of early twentieth-century feminism. Until the late 1970s, the subject of domesticity seemed incompatible with the celebrated images of Millay's “progressiveness,” “rebelliousness,” or “originality.” But then again, by the 1970s Millay was no longer seen as particularly rebellious or original, and the fact that she had also contributed to the tradition of domestic poetry was not to her advantage. Domesticity may have been an important issue for second-wave feminists, but it was discussed rather selectively and, outside feminist circles, Millay was hardly ever mentioned by literary critics. The taint of “traditionalism” did not help Millay's cause, and the poet's lifelong exploration of sexuality, femininity and gender stereotypes was somehow not enough to generate sophisticated critical analyses. Since Millay seemed to be a largely traditional poet and a “politically incorrect” feminist model, second-wave feminists preferred to focus on other figures, classified as more modern and more overtly subversive. Scholarly recognition of Millay's significance within the canon of modern American poetry did not really begin until the 1990s.

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50

Mosher, Paul W., and Jeffrey Berman. "Book Review: An Accident of Hope: The Therapy Tapes of Anne Sexton." Journal of the American Psychoanalytic Association 61, no. 4 (August 2013): 848–54. http://dx.doi.org/10.1177/0003065113493181.

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