Relevant bibliographies by topics / Autobiographies of poets

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Academic literature on the topic 'Autobiographies of poets'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Autobiographies of poets"

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Swiss, Thomas. "That's Me in the Spotlight: rock autobiographies." Popular Music 24, no. 2 (May 2005): 287–94. http://dx.doi.org/10.1017/s0261143005000504.

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Autobiographies: the contemporary catalogue is huge and bookstore shelves are heavy with the weight of life-stories. Ex-Presidents, actors, cooks, criminals, Nobel prize winners, preachers, poets and CEOs all write them. Rock stars write them, too – ‘marquee names’ like Tina Turner, Melissa Etheridge, Grace Slick, and Meatloaf, but also minor figures such as Dallas Taylor, the former drummer for Crosby, Stills, Nash and Young. And plenty of others, including – to name just a handful – Chuck Berry, Ronnie Spector, Anthony Kiedis of the Red Hot Chili Peppers, both Ray and Dave Davies, Dee Dee Ramone, Martha Reeves, Eric Burdon, and John Cale.
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Boyd, Melba Joyce. "Biographies, Autobiographies, and Memoirs, Taking Poetic License: a Poet Writing About Poets." Black Scholar 38, no. 2-3 (June 1, 2008): 10–13. http://dx.doi.org/10.1080/00064246.2008.11413448.

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Long, Duane. "‘Bhí,’ Arsa Mise, ‘Agus Tá Go Fóill’: Fiannaíocht in the Writings of the Mac Grianna Family." Studia Celtica Posnaniensia 7, no. 1 (April 17, 2023): 1–17. http://dx.doi.org/10.14746/scp.2022.7.1.

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Clann Mhic Grianna (the Greene family) are a famous family of writers, poets, storytellers, composers, and performers of traditional songs from Rann na Feirste in northwest Donegal. Their works are widely studied and discussed to this day. Saturated in Gaelic culture, their works draw from a well of language and heritage and they frequently refer to history, pseudohistory, myth, and legends. Among that discussed are traditions around saints and references to the mythological cycles of Ireland. This paper looks at how various members of the family used the tales and poetry of one such cycle, Fiannaíocht (translated as Fenian, Ossianic, or Finn-Cycle tales), in their novels, short stories, and autobiographies. They also spoke about the folklore of their area on various occasions and some tales have been recorded by Roinn Bhéaloidis Éireann. Some of this material was later published, Amhráin Hiúdaí Fheilímí agus Laoithe Fianaíochta as Rann na Feirste (Ó Baoighill 2001) for one example. The multi-faceted nature of their legacy results in several Ossianic tales being discussed in different genres by various combinations of the siblings and these varied viewpoints allow us to raise and discuss a number of questions regarding Fiannaíocht. This paper compares sources from a number of these siblings and question what their works tell us about when and why people told Fiannaíocht tales.
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Gambert, Justyna. "Confession et autobiographie." Poétique 176, no. 2 (2014): 221. http://dx.doi.org/10.3917/poeti.176.0221.

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Dr. Pratap Kumar Dash and Dr. Susanta Kumar Panda. "The Rippling of Dalit Consciousness in Contemporary Odiā Poetry." Creative Launcher 8, no. 4 (August 31, 2023): 26–40. http://dx.doi.org/10.53032/tcl.2023.8.4.04.

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Dalit literature has been influential in the rising awareness for protest or creating literature of social consciousness. The broad domain of Dalit writings includes the depravation and trauma of certain category of people for some socio-cultural, traditional biases. Maybe one of the tenets of it could be the so-called social stratification or formation of social class. Thus, like writings in many languages in India, in Odia, lots of writing account for the evidences and experiences associated with Dalit consciousness. It also envisages feminine perspectives giving the account of the autobiographies and plights and traumatic evidences of Dalit authors underlining the issues of caste, class, and gender in the backdrop of social exclusion. Dalit Literature in Odia has a rich history that can be traced back to the fifteenth century. In Odia literary creations such as Bouddhagāna, and Dohā, Charyāgeetikā, the anecdotes of social discrimination and casteism are noticed. There is potentiality in contemporary Odia poetry in reflecting on various themes of Dalit consciousness. As it is evident, it starts with saint poet Bhimbhoi who is said to be the first Dalit poet of Odishā in the mid-19th century. Along with glorification of humanitarian attributes, he has outlined the plights of the depraved community. The motifs of Ekalavya, Sanatan, Kalia, Ghinua, Jara Shabara; musical instruments such as baja; the untouchables; Sriya Chandaluni in Laxmi Purana; fingertip print are common in reflecting Dalit issues variously. In this context, this paper focuses on the critical dimensions of Dalit poetry in Odia by including some of the well-known authors such as Gopinath Bag, P.K. Mishra, Nilamani Parida, Ashutosh Parida, Jayadrath Suna, Basudev Sunani, Pitambar Tarai, Akhil Nayak, and Hrushikesh Mallik. Such poets have applied the skills varieties of versification to focus comprehensively on the sensitivity of the traumatic issues of oppression; racial discrimination; socio-cultural taboos; loss of indigenous culture; evil effects of urbanization and politics; existential crisis; victimization of the poor and innocents; loss of ecological harmony; nostalgia and effects of displacement.
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Kindermann, Martin. "Beyond the Threshold – Autobiography, Dialogic Interaction, and Conversion in Gerard Manley Hopkins’s and W. Abdullah Quilliam’s Poetry." European Journal of Life Writing 10 (July 9, 2021): SV57—SV74. http://dx.doi.org/10.21827/ejlw.10.37639.

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The intertwinement of poetic life writing and theological reflections has a long-standing history in British literature. This paper shows how two Victorian poets – Gerard Manley Hopkins and W. Abdullah Quilliam – use dialogic strategies to establish an autobiographic voice, which becomes an essential poetic means of the text. Through the representation of dialogic encounters, the poems establish an autobiographic mode of speaking, which is used to articulate individual conversion experiences and to negotiate conversion as an encounter with God. Based on the works of Martin Buber and Emmanuel Levinas, I will show how a dynamic understanding of text and conversion experience is essential to a reading that seeks to explore the poetic construction of Hopkins’s as well as Quilliam’s works. The representation of the dynamic encounter of the self and the Divine in the contact zone of the text provides a frame in which the authors locate themselves with regard to the religious majority of Victorian Britain. The texts link the spiritual journey of conversion to the self as being caught in the world, responding to God’s call as an answer to the world’s condition.
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Zuseva-Ozkan, V. B. "Heine-esque. Timur Kibirov." Voprosy literatury, no. 2 (July 29, 2020): 89–114. http://dx.doi.org/10.31425/0042-8795-2020-2-89-114.

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Amongst the commonly recognized qualities of Timur Kibirov’s poetry is its extensive usage of quotations, occasionally resulting in a cento. While his scholars have been limiting their search to the references to Russian poetry, this article explores Kibirov’s reception of the work and personality of Heinrich Heine in an attempt to prove that the latter influenced Kibirov greatly at the start of his career, as described in Kibirov’s autobiographic Crones, Deceased [Pokoynye starukhi], an epic poem in prose. The author points out indirect evidence of Kibirov’s enthusiastic reading of Heine (quotations, allusions, etc.), analyzes Kibirov’s poems directly referencing Heine’s work (‘Heine’ [‘Geyne’], ‘From Heine’ [‘Iz Geyne’]), and describes the principal similarities between the two poets’ poetics and philosophy, also noting their differences. Zuseva-Ozkan argues that Heine dominates Kibirov’s output, but if in the 1980s-1990s this ‘obsession’ with Heine’s spirit manifested itself mostly in reminiscences and allusions, the early 2000s saw a more vivid introspection, later turning into Kibirov’s self-identifi ation with the German poet.
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Samodelova, Elena A. "The United States of America in Nikolay Chernyshevsky’s What Is to Be Done? and Sergey Yesenin’s Biography: the Way over the Ocean and the Folklore Motif of Wanderings." Literature of the Americas, no. 16 (2024): 228–54. http://dx.doi.org/10.22455/2541-7894-2024-16-228-254.

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The article discusses possible sources of Yesenin’s acquaintance with Nikolay Chernyshevsky’s novel What Is to Be Done? and its critical evaluation. Deep comprehension of the the novel on a subconscious level could lead to the fact that the poet’s personal life began to resemble the fate of literary heroes. Yesenin's trip with Isadora Duncan through Western Europe and the United States of America is to some extent reminiscent of Chernyshevsky's characters’ travels abroad; descriptions of their travels in the novel influenced the poet’s attitude to the way of life in different countries. In his autobiographies, Yesenin mentions his trips to America and Western Europe – the fact that emphasizes the importance of these continents in his biography and work; letters from different countries indicating geographic places of stay find parallels with the toponymy in Chernyshevsky’s novel. There is a certain similarity the names in Chernyshevsky’s novel and in Yesenin’s works: Charles and Charin, Jim. Mentioning Ryazan and Tambovskaya guberniia in connection with Lopukhov-Beaumont should have attracted Yesenin’s attention, who was a native of Ryazan region that he praised in his poems; he also wrote about the neighboring Tambov province. Political and economic questions of America raised by Chernyshevsky, Yesenin considered in his Iron Mirgorod.
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Teńczyńska, Anna. "Émigrés on an émigré: Poetic portraits of Chopin." Chopin Review, no. 2 (April 27, 2023): 8–25. http://dx.doi.org/10.56693/cr.109.

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This article is devoted to analysis of the mechanisms behind the creation of the cultural image of Fryderyk Chopin in selected verse by twentieth-century Polish poets in exile, such as Kazimierz Wierzyński, Jan Lechoń, Stanisław Baliński and Czesław Miłosz. Verse (and excerpts from autobiographic texts) by those poets helps to forge and renew the ‘Chopin legend’ in various ways, through references to the most important moments in the composer’s biography and selected features of his music. From analysis of this verse, we learn that these poets looked at Chopin and his music primarily through the prism of the role assigned to them by history – similar to the role in which Chopin had tried to find his bearings a hundred years earlier on his departure from Poland. The attitude adopted by émigré writers towards Chopin and his music, representing one of the most important symbols in Polish culture, is not unequivocal. Its distinct affirmation is accompanied by reflection on the conditions and limitations of émigré mythology. The poems discussed show the significant currency in émigré circles especially of that aspect of the Chopin legend which refers to the image of a distant and enslaved homeland. That currency distinguishes the émigrés from their peers back home, who wished to see a different symbolism in Chopin and his music, especially one that was free from conventionalised patriotic references. This last observation may also be referred to the analysed poem by Miłosz, which from the proposed comparative perspective comes across as the reverse of the other works discussed in the article. An interesting perspective could no doubt be opened up by comparative studies of a broader scope, showing how this theme functioned and was functionalised in the output of foreign writers, within the constellation of other cultural, social and historical relations.
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Chernokova, Yevheniya. "The Semantics and Poetics of Autobiographism in War Poets’ Lyrics." Pitannâ lìteraturoznavstva 89 (November 27, 2014): 71–85. http://dx.doi.org/10.31861/pytlit2014.89.071.

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Dissertations / Theses on the topic "Autobiographies of poets"

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Bilbrough, Paola. "Givers, takers, framers : the ethics of auto/biographical documentary." Thesis, 2015. https://vuir.vu.edu.au/26229/.

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The tensions between ethical practice and aesthetic freedom in documentary film are particularly magnified in auto/biographical films that involve representations of family members or participants from a different cultural background to the artist, both contexts that demand a greater awareness of self and other. In this doctoral thesis I use 'auto/biographical' in its most expansive sense to signify the blurring of autobiographical stories with biographical material - the impossibility of telling the self's story without implicating others and vice-versa. Also accompanying this thesis is a booklet of poems, titles "Porous", which is held in the Victoria University Library. The related URL links to the catalogue entry for this booklet.
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Books on the topic "Autobiographies of poets"

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Raine, Kathleen. Autobiographies. San Rafael: Coracle Press, 2008.

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1971-, Davies Jason Walford, ed. Autobiographies. London: Phoenix, 1998.

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1971-, Davies Jason Walford, ed. Autobiographies. London: J.M. Dent, 1997.

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B, Yeats W. Autobiographies. Edited by O'Donnell William H. 1940- and Archibald Douglas N. New York: Scribner, 1999.

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Wolfgang, Binder, ed. Partial autobiographies: Interviews with twenty Chicano poets. Erlangen: Palm & Enke, 1985.

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Waldrop, Keith. Ceci n'est pas Keith: And, Ceci n'est pas Rosmarie : autobiographies. Providence: Burning Deck, 2002.

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Post, P. F. S., ed. Chimes #s 1, 2, 3. Philadelphia, PA: P.F.S. Post, 2008.

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Journal, Osprey, ed. From Osprey Journal: Chimes #9. Glasgow, Scotland: Osprey Journal (Osprey Poetry), 2008.

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Devil, Stoning the, ed. Chimes #s 7, 10, 13. Philadelphia/Conshohocken, Pa: Stoning the Devil, 2008.

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Gatza, Geoffrey, ed. Chimes (poetry)(2nd, emended edition '18/'21). Buffalo, New York, USA: Blazevox Books, 2009.

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Book chapters on the topic "Autobiographies of poets"

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Grakalić Plenković, Sanja. "Dvije autobiografije u stihovima." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 223–37. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.15.

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Although verses as a form are rarely chosen by autobiographers, the history of Croatian autobiography shows that some writers have had the inclination towards writing autobiographies in verses. The form of a poem can be linked with the beginnings of writing autobiographical texts and with the autobiographical discourse in the works of Croatian writers. Even though it has not been in the focus of interest of autobiographical theory, the autobiographical elements can be found in the period spanning from the 15th- and 16th-century Croatian poetry in the works of the Croatian Latinists up to the present time which represents the golden period of autobiographic writing. Focusing on the autobiographers’ inclination to write in verse (from heterogenous autobiographies, where verses are incorporated into the text itself, to autobiographies poems), this paper shows the marginal place that the form of a poem occupies in the field of researching and defining autobiography as a genre. The fact has been corroborated by providing an outline of verses in autobiographies and autobiographies in verses throughout the history of Croatian literature. Special attention is given to two autobiographies-poems, written by two contemporary writers of Croatian Moderna ‒ Ivana Brlić-Mažuranić (Autoportrait from Rogaška Slatina; 1932) and Vladimir Nazor (Autobiography; 1927). Having in common the form and some themes and motifs (such as looking back at their lives, the author, the narrator and the main character being one and the same person, retrospective perspective), these two autobiographies show how placing emphasis on intimate elements, the form of a poem can be used to write an autobiography. Without putting into question the theme, the place of the narrator/poet in telling about or taking attitude towards the reality or experiences lived, factographic elements which dominate the early 20th century autobiographies, here are largely overshadowed by the more personal and emotional elements.
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Nikolaeva, Alla A. "“...All the Brief Things That I Can Say about Myself ”: the Features of S. A. Esenin’s Autobiographies." In Sergey Esenin in the Context of the Epoch, 170–99. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-170-199.

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The article is devoted to the content and stylistic features of S. A. Esenin’s autobiographies. The researcher proves that in five autobiographies, three autobiographical sketches, as well as in the autobiography written by I. N. Rozanov from the words of the poet (February 26, 1921) Esenin appears to readers in the image of a famous talented folk poet, a native of the peasant environment. Despite the fact that Esenin presents life events in autobiographies of different years in different ways (depending on the purpose and time of writing the text), they contain a description of the main episodes for understanding the poet’s work. Stylistically all Esenin’s autobiographies are distinguished by laconicism. At the same time, deviating from the “questionnaire” style, the poet adds detailed descriptions of childhood to the text, comments on certain moments of life, explains views on art or politics. That facts bring the texts of his autobiographies closer to fiction, journalistic and literary critical prose.
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"Writing a Life." In Michael Field's Revisionary Poetics, edited by Jill R. Ehnenn, 232–47. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474448390.003.0007.

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This chapterwraps up this study’s consideration of Michael Field’s revisionary poetics with Michael Field’s Works and Days: The Journal of Michael Field, thinking about Bradley and Cooper’s thirty-year journal in context of queer feminist self-fashioning and the affordances of the nineteenth century journal as a form. The chapter begins by recalling Robert Browning's efforts to console Bradley and Cooper, saying that the world was not ready for their genius, and they should "Wait fifty years." The chapter then considers what might be gained by juxtaposing Michael Field’s sense of themselves as subjects with Victorian fictional autobiographies. This return to the diaries shifts the project’s focus to theories of the archive and to Michael Field's readers, not just fifty years on, but now. What innovations and revisions might scholars and students, captivated by the self-proclaimed "Poets and Lovers" engage in today? Where might Michael Field lead us in fifty or more years?
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Lee, A. Robert. "The Business of Poetry." In Harold Norse, 27–42. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781638040163.003.0004.

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How best to “see” and “hear” Norse’s poetry? Reading across the work brought together in In the Hub of the Fiery Force: Collected Poems 1934-2003, and the collections that feed into it, this chapter seeks to establish the unique pitch of Norse’s verse from the more formal early writing to the freer later compositions. Taking a point of departure from the poem “The Business of Poetry” with its celebration of “music and love” as against the ravage of “savage and brutal men,” it so addresses four main arenas: love(s) and sex, geographies, pieces given over to other poets and to visual artists, and those reflexively taken up with poetry about itself. To this end emphasis is centred on issues of fashioning, measure, rhythm, spacing, the due recognition of Norse’s command of voice. Poems like “Paper Bodies,” “I See America Daily,” “Walt Whitman Called Today” and “Why I Am a Poet” supply bearings in this respect. Much as Norse rightly commands notice for his boldness as an out gay poet, a traveller and autobiographer, a key postwar countercultural presence, he left no doubt in design and practice of his commitment to working craftsmanship. The reading at hand explores that forte.
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"27. If You Were an English Poet." In One Hundred Autobiographies, 49–50. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501746468-028.

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"PART II. Poet, Lyricist, Autobiographer." In Better Git It in Your Soul, 113–58. University of California Press, 2019. http://dx.doi.org/10.1525/9780520963740-003.

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Pooler, Mhairi. "A Twofold Experiment with Time." In Writing Life: Early Twentieth-Century Autobiographies of the Artist-Hero, 109–39. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781781381977.003.0005.

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Chapter 4 examines how Siegfried Sassoon’s deeply entrenched divided self formally and thematically shapes his autobiographical trilogy as a poet’s journey from Romanticism to Modernism. The second prose trilogy by Sassoon is ‘the story of my effort to become a famous poet’. Although more explicitly Wordsworthian than James, Sassoon’s final undercutting of the Künstlerroman form in his so-called ‘straight autobiography’ is also more drastic, revealing the impact of war on artistic identity. The chapter discusses Sassoon’s self-theorising throughout the texts and his desire to write himself into something more than a soldier poet, which these texts achieve with ease. The chapter concludes that much like poetry, the structure of the text embodies equal meaning to the words, so that Sassoon’s ‘factual’ prose works invite literary interpretation and even poetic comparisons.
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"AUS DEM NACHLASS POSTHUMOUS POEMS." In Alois Vogel, Eine lyrische Autobiographie. An Autobiography in Lyrics. University of Otago, Dept. of Languages and Cultures, German Section, 2008. http://dx.doi.org/10.11157/ogs-vol23id313.

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"A Visiting Distance: Patrick Anderson, Poet, Autobiographer, and Exile." In The Rhetoric of Canadian Writing, 237–57. BRILL, 2002. http://dx.doi.org/10.1163/9789004489134_016.

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Joyce, Joyce A. "Hughes and Twentieth-Century Genderracial Issues." In A Historical Guide to Langston Hughes, 119–40. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195144338.003.0005.

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Abstract In an essay on Langston Hughes in Blackness and the Adventure of Western Culture, George Kent, I believe, offers useful insight into the timelessness of Hughes’s literary contributions and thus answers the questions not only why Hughes was referred to during his time as the “Shakespeare of Harlem” but also why his poems and fiction continue to stimulate oral and written dialogues at the forefront of African American literature. Although Kent’s comments refer primarily to Hughes’s autobiographies, they also characterize what I refer to as Langston Hughes’s sensibility. Kent writes, “Hughes is consistent with what I have called the is-ness of folk vision and tradition—life is lived from day to day and confronted by plans whose going astray may evoke the face twisted in pain or the mouth open in laughter.
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