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Relevant bibliographies by topics / Autobiography – Poetry

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Academic literature on the topic 'Autobiography – Poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Autobiography – Poetry"

1

Gill, Jo, and Melanie Waters. "Poetry and Autobiography." Life Writing 6, no. 1 (April 2009): 1–9. http://dx.doi.org/10.1080/14484520802550262.

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Fast, Piotr. "(Pseudo-)Autobiography in Brodsky's Lyrical Poetry." a/b: Auto/Biography Studies 11, no. 2 (January 1996): 125–39. http://dx.doi.org/10.1080/08989575.1996.10846746.

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Gildenhard, Ingo, and Andrew Zissos. "Inspirational Fictions: Autobiography and Generic Reflexivity in Ovid's Proems." Greece and Rome 47, no. 1 (April 2000): 67–79. http://dx.doi.org/10.1093/gr/47.1.67.

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When the first edition of theMetamorphosesappeared in the bookshops of Rome, Ovid had already made a name for himself in the literary circles of the city. His literary début, theAmoves, immediately established his reputation as a poetic Lothario, as it lured his tickled readers into a typically Ovidian world of free-wheeling elegiac love, light-hearted hedonism, and (more or less) adept adultery. Connoisseurs of elegiac poetry could then enjoy hisHeroides, vicariously sharing stirring emotional turmoil with various heroines of history and mythology, who were here given a literary forum for voicing bitter feelings of loss and deprivation and expressing their strong hostility towards the epic way of life. Of more practical application for the Roman lady of the world were his verses on toiletry, theMedicamina Faciei, and once Ovid had discovered his talent for didactic expositionà la mode Ovidienne, he blithely continued in that vein. In perusing the urbane and sophisticated lessons on love which the self-proclaimederotodidaskalospresented in hisArs Amatoria, his (male and female) audience could hone their own amatory skills, while at the same time experiencing true Barthianjouissancein the act of reading a work, which is, as a recent critic put it, ‘a poem about poetry, and sex, and poetry as sex’. And after these extensive sessions in poetic philandering, his readers, having become hopeless and desperate eros-addicts, surely welcomed the thoughtful antidote Ovid offered in the form of the therapeuticRemedia Amoris, a poem written with the expressed purpose of freeing the wretched lover from the baneful shackles of Cupid.

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Fairweather, Janet. "Ovid's autobiographical poem, Tristia 4.10." Classical Quarterly 37, no. 1 (May 1987): 181–96. http://dx.doi.org/10.1017/s000983880003175x.

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Ovid's Tristia4.10 has in the past chiefly been considered as a source of biographical information rather than as a poem, but increasing interest in the poetry of Ovid's exile has now at last started to promote serious efforts to appreciate its literary qualities. The poem presents a formidable challenge to the critic: at first reading it seems a singularly pedestrian account of the poet's life and, although one may adduce plenty of parallels for details in its phrasing elsewhere in the poetry of Ovid and the other Augustans, it is clear that Ovid's thought-processes are not to be explained solely in terms of the main stream of Greco-Roman poetic tradition. Prose biography and autobiography, rhetorical apology and eulogy, subliterary epitaphs and inscriptional lists of achievements: all these types of writing could have influenced Ovid's selection of data.

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Bodenheimer, Rosemarie. "AUTOBIOGRAPHY WITHOUT BORDERS." Victorian Literature and Culture 27, no. 1 (March 1999): 317–25. http://dx.doi.org/10.1017/s1060150399271173.

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WHERE IS “Victorian autobiography” in the late 1990s? Everywhere and nowhere. Always contested as a genre, autobiography has stretched its fragile boundaries and diffused itself among the many forms of self-representation that interest contemporary critics: travel narratives, letters, journals, fiction, poetry, essays, biography. This diffusion is in many ways a fruitful development, although it raises the question of whether “Victorian autobiography” is still a meaningful category to use in describing critical work. Although I concentrate here on a number of recent books that flourish the word “autobiography” in their titles, I come to this review with a sense that some of the most vital work on Victorian self-representation may be flying under different banners.

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Goswami, Dr Karabi. "Radical Voices in Indian English Poetry: A Study of the Poetry of Kamala Das." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i12.10241.

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The creative genius of Kamala Das, one of the most prominent voices of protest in Indian English Literature is often compared to the American poet Sylvia Plath and Anne Sexton as both of them used the confessional mode of writing in their poetry. Kamala Das, born in 1934 in Thrissur district of kerela emerged as a distinctive poetic voice with the publication of the first volume of her poetry Summer in Calcutta. In her poems Kamala Das has always raised a voice against the conventionalized figure of a woman, seeking a more dignified and honourable position for woman as an entity. In fact her poetry addresses the most critical issue in the contemporary society-the need to awaken the women. Her poetry collections include- Summer in Calcutta (1965), The Descendents (1967), The Old Playhouse and Other poems (1973), Tonight, This Savage Rite (1979), The Collected Poems (1984). My Story published in 1976 is her autobiography

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Goswami, Dr Karabi. "Radical Voices in Indian English Poetry: A Study of the Poetry of Kamala Das." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 10, 2020): 9. http://dx.doi.org/10.24113/ijellh.v8i1.10322.

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The creative genius of Kamala Das, one of the most prominent voices of protest in Indian English Literature is often compared to the American poet Sylvia Plath and Anne Sexton as both of them used the confessional mode of writing in their poetry. Kamala Das, born in 1934 in Thrissur district of kerela emerged as a distinctive poetic voice with the publication of the first volume of her poetry Summer in Calcutta. In her poems Kamala Das has always raised a voice against the conventionalized figure of a woman, seeking a more dignified and honourable position for woman as an entity. In fact her poetry addresses the most critical issue in the contemporary society-the need to awaken the women. Her poetry collections include- Summer in Calcutta (1965), The Descendents (1967), The Old Playhouse and Other poems (1973), Tonight, This Savage Rite (1979), The Collected Poems (1984). My Story published in 1976 is her autobiography.

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Kim, Yeon-Gyu. "Newman’ and Hopkins’ Poetry as a Spiritual Autobiography." STUDIES IN HUMANITIES 60 (March 31, 2019): 137–64. http://dx.doi.org/10.33252/sih.2019.3.60.137.

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Dale, Stephen F. "The Poetry and Autobiography of the Bâbur-nâma." Journal of Asian Studies 55, no. 3 (August 1996): 635–64. http://dx.doi.org/10.2307/2646449.

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Literary biography is a difficult art to practice when the subject is a premodern Muslim poet. Even in the work of such explicitly autobiographical western writers as the twentieth-century Russian poet Anna Akhmatova the relationship between art and life can be tantalizingly ambiguous. In the case of most well-known classical Muslim poets, though, the connection between life and literature is usually indeterminable. To personalize the lyrics of the great fourteenth-century Persian poet Hafiz is as problematic as trying to glean autobiographical details from Shakespeare's sonnets. The reasons are essentially the same. Little is known of these poets' lives, and their poems exemplify lyric and panegyric genres that were not intended to be autobiographical or idiosyncratic. Neither Hafiz nor Shakespeare were Romantics, and they did not write introspective or self-revealing poems.

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Materer, Timothy. "Confession and Autobiography in James Merrill's Early Poetry." Twentieth Century Literature 48, no. 2 (2002): 150. http://dx.doi.org/10.2307/3176015.

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Dissertations / Theses on the topic "Autobiography – Poetry"

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Squire, Sarah. "Poetry and autobiography in the work of Robert Browning." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315964.

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Brazda, Carolyn Paulette. "Fame." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1023.

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"Fame" is a series of poems in four parts: A., B., C., and &. The first section explores both the concept of autobiography and adoption. The second section concerns itself with biographical poetry as it explores Boar Girl. The third section aims to rethink the confessional poem, and the final section is a playful engagement with music and literature.

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Price, Deidre Dowling. "Confessional poetry and blog culture in the age of autobiography." Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-03242010-001512/.

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Thesis (Ph. D.)--Florida State University, 2010.
Advisor: Andrew Epstein, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed on July 16, 2010). Document formatted into pages; contains vi, 130 pages. Includes bibliographical references.

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Quinn, Patrick J. "Robert Graves and Siegfried Sassoon : from early poetry to autobiography." Thesis, University of Warwick, 1988. http://wrap.warwick.ac.uk/34812/.

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Both Robert Graves and Siegfried Sassoon achieved their first real poetic successes during the Great War. Linked together as fellow officers and friends, and flushed with the promise of greater poetic achievement ahead, both writers perceived the war initially as a vehicle by which they could rid themselves of Victorian influences and produce startling results as realists. But as the war continued and both men began to suffer its effects, they realized that their verses had failed to alert a victory-determined British populace to its jingoistic mentality. By mid 1919, both poets were trying to adjust to civilian status and to re-organize their lives after the upheaval of the war: Graves attempted at first to expiate his memories of the Western Front by moving to the Oxfordshire countryside and by writing sentimental verse, but dissatisfaction with his marriage and an inability to exorcise his neurasthenic nightmares led him to experiment with psychological self-analysis in his poetry. Sassoon's response to the war, in contrast, motivated largely by a homo-erotic attachment to the enlisted men under his command and a conviction of social injustice, turned him briefly to socialism and social satire for a thematic approach to his poetry in the early Twenties. In their joint discontent, Sassoon and Graves searched throughout the mid-Twenties for personal order and artistic direction. Graves delved into Eastern philosophy and biblical exegesis until, with the arrival of Laura Riding, his domestic and creative life was turned around; from Riding, Graves gained the strength to reject the values imposed upon him by his background and his literary peers. Similarly, Sassoon struggled to find a poetic cause commensurate with his talents, but his disillusionment with the modern world caused him to turn inward for inspiration. This introspection led Sassoon to a contemplation of his past, through which he was eventually to find the symmetry and positive cultural values that were lacking in the modern world. Thus, in their individual searches for creative inspiration, both Graves and Sassoon severed relations with contemporary British society and each turned to his own form of self-imposed exile. Graves chose to escape into the uncharted brave new world of the then undiscovered Majorca, while Sassoon opted for the bucolic world of rural England in remembrance of things past. The roads chosen at this juncture were to determine the direction and tone of both writers' future works. The recent publication of two biographies of Graves and of Sassoon's diaries (1915-1925), together with collections of their unpublished letters, allow a much clearer understanding of the two poets' work throughout the war years and the Twenties, and reflect the inexorable road to self-exile and autobiography that was eventually to provide the only means of exorcising the war from their personal lives and artistic endeavours.

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Reford, Mark. "Faith in works : autobiography and history in the poetry of W.B. Yeats." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335710.

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Boden, Helen. "Autobiography and eighteenth-century psychology in the early poetry of William Wordsworth." Thesis, University of Newcastle Upon Tyne, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239684.

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Botha, Maria Elizabeth. "Die outobiografiese kode in Antjie Krog se poëtiese oeuvre." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1534.

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This study primarily investigates the autobiographical code in Antjie Krog's poetical oeuvre, spanning from 1970 to the present. Krog's poetry collections may be read as offering life writing through poetry, while the prose works mostly present the reader with a mixture of autobiographical fact plus creative reworkings of fact and fiction. Even though her 10 volumes of poetry follow her biological development from young girl to grandmother, uncertainty still exists about about where truth ends and fiction begins in this poet and autobiographer's interwoven tapestry of multiple and varied perspectives. Furthermore, autobiographical (as utilised and adapted in Krog's oeuvre, in combination with the conventioans from other genres), offers a variety of creatively innovative, experimental strategies and possibilities exploited adroitly by Krog. Reading her poetry with the focus on autobiographical markers leads to another, mostly untapped, dimension of interpretation. This literary approach is in stark contrast to the approach prescibed by N.P. van Wyk Louw in "Die 'mens' agter die boek" ["The 'Person' behind the Book] (1956), in which he states clearly that a text should be interpreted as not "about the human behind the text". To a large extent Krog as poet is inviting the reader to consciously break the taboo that Louw placed on the reader intent on "searching the actual person behind the text". My hypothesis is that in Krog's poetry there is a distinct interrelationship between the perceptions, experiences and sensual impressions of the lyrical "I" in the poems and that of the authobiographical "I" writing. It would be irresponsible to declare the poet and the speaker as one and the same, but in instances where the poet purposefully integrates autobiographical elements into her poems, she is implicitly requesting the reader to interpret her work in this way. This fictive and implicit request is referred to by Philippe Lejeune as the autobiographical poet. Krog's poetry can be divided into four categories: "direct autobiographical", "indirect autobiographical", "universal" and "general" poems. The first category involves criteria that are linked to the poet, such as the use of the names, initials and dates. Indirect autobiographical poems can be read against the background of knowledge (previously published information) about the poet. Poetry with no apparent autobiographical element, but with universal themes such as love, loss and transience, fall into the third category of "universal" poetry. If poems do not fit into the mentioned categories, they are deemed "general".

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Balderas-Laignelet, Christelle. "La poésie comme sublimation du vécu. Pour une étude de l'œuvre de Sandro Penna." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30051.

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L’étude proposée dans cette thèse concerne l’œuvre du poète italien Sandro Penna (1906-1977) et a pour but d’élaborer une lecture critique et chronologique. Penna, dont on peut dire qu’il est une figure isolée des courants poétiques de son époque, présente en effet dans ses poésies et ses récits en prose, pour la majorité extrêmement courts, une vision atemporelle de l’existence et essentiellement centrée sur l’amour des jeunes garçons – thème récurrent et obsessionnel dès ses premières compositions. Il est ainsi difficile de certifier que son œuvre est un « roman autobiographique écrit en vers ». Aussi les recueils Poesie, Confuso sogno, Peccato di gola. (Poesie al fermo posta) et Un po’ di febbre seront-ils analysés afin de retracer l’itinéraire singulier de Penna et de confirmer que l’amour pour les jeunes garçons est l’expression d’un amour plus universel pour la vie ; cette vie « sans dates » dans laquelle nous entendons en écho la voix de certains de ses contemporains, comme Saba, Montale, Ungaretti et Pasolini ou bien encore celle de certains de ses prédécesseurs, tels que Leopardi et Pascoli. Il apparaît que la quête poétique et existentielle de Penna vise finalement à retrouver un dialogue harmonieux avec l’Origine – ce mythe de l’enfance primordiale dont les souvenirs sont immédiatement absorbés par le mal de vivre propre à la Modernité – et à envisager l’existence humaine comme un cycle infini. Dans cette perspective, les œuvres de Platon et de Nietzsche, bien connues de Penna, nous permettent d’approfondir ce questionnement, grâce auquel le poète parvient finalement à sublimer le vécu
This thesis deals with the work of the Italian poet Sandro Penna and intends to be a critical and chronological reading and analysis. Penna stands apart from the poetical movements of his time; therefore most of his poems and prose narration works are very short and present a timeless view of Life mainly focused on love for young men (from 13 to 16 y.o). From his very first writings this topic is recurrent and obsessional. This is the reason why it is difficult to establish his work as “an autobiographical novel in verse”. Consequently the collections Poesie, Confuso sogno, Peccato di gola. (Poesie al fermo posta) and Un po’ di febbre are analysed in order to relate the uncommon Penna’s personal path and to confirm that love for young men expresses a more universal love for Life. In this “out of time” life an echo of voices of his coevals, such as Saba, Montale, Ungaretti and Pasolini and of his predecessors like Leopardi and Pascoli can be heard. Two aims appear in the poetical and existential quest by Penna: - restoring a harmonious dialog with the Beginning (which is considered as the myth of the original childhood from which memories are immediately absorbed by the spleen of Modernity); - seeing human life as an infinite cycle. From this viewpoint, Platon and Nietzsche’s works, which were well known by Penna, allow us to go further into this questioning through which the poet succeeds in sublimating Real Life

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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.

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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 testimonial
Although 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

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Dias, Taís Helena Fernandes. "Entre um e múltiplos Eus: a poesia de Adília Lopes." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19618.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-10T11:33:22Z No. of bitstreams: 1 Taís Helena Fernandes Dias.pdf: 1789393 bytes, checksum: 1262df4f1eb87b73c026b1b97d0ffeef (MD5)
Made available in DSpace on 2017-01-10T11:33:22Z (GMT). No. of bitstreams: 1 Taís Helena Fernandes Dias.pdf: 1789393 bytes, checksum: 1262df4f1eb87b73c026b1b97d0ffeef (MD5) Previous issue date: 2016-12-12
This dissertation intends to analyze the poetic production of Portuguese poet Adília Lopes. Based on poetic procedures, our objective is to outline this poet's project and to capture the configuration of the Self that emanates from her text. The question that arises is: To which extend does Adília Lopes' poetry shape the personal experience of the lyric subject with characters and stories, showing the intimacy that exists between them? How do counter fictional and anti-lyrical technique used in Adília Lopes' poetry reveal a mixed and unstable territory in her writings? To answer this question, we discuss how the Self is built from the historical, philosophical, social, cultural and literary point of view. The theoretical framework regarding the Self in literature can be found in authors, such as Lejeune, Barthes, Nietzsche, Novalis, Friedrich, and others. For the poetic procedure characterization we used critical studies by Rosa Maria Martelo and Flora Süssekind, as well as Adília Lopes' short stories and interviews. Her poetry presents a diversity of Selves, a multitude of voices. Each poem seems to use a poetic procedure and sustains the question of who is actually speaking, whether it is the author, the poet, the author-character or the poet-character
Esta dissertação se propõe a analisar a produção poética de Adília Lopes. Pretende delinear, a partir de procedimentos poéticos, o projeto dessa poeta portuguesa, apreendendo as configurações do Eu que emanam de seu texto. Assim problematiza: Até que ponto a poesia de Adília Lopes configura a experiência pessoal do sujeito lírico com personagens e histórias, evidenciando um pacto de intimidade entre eles? Como procedimentos contra-ficcionais e antilíricos, empregados na poesia adiliana, revelam um território misto e instável em sua escrita? Para tanto, tece considerações sobre o acontecimento do Eu em perspectivas: histórica, filosófica, social, cultural, literária. Como fundamentação teórica acerca do Eu na literatura, apoia-se em autores como Lejeune, Barthes, Nietzsche, Novalis, Friedrich, entre outros; para a caracterização dos procedimentos poéticos, utiliza-se dos estudos críticos de Rosa Maria Martelo e Flora Süssekind, assim como das crônicas e das entrevistas de Adília Lopes. Entre as considerações notase que sua poesia apresenta uma diversidade de Eus, caracterizando-se por uma polifonia de vozes. Cada poema parece utilizar um procedimento poético, mantendo sempre a dúvida de quem é que fala: a autora, a poeta, a personagem autora, a personagem poeta

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Books on the topic "Autobiography – Poetry"

1

Hawley, Anthony. Autobiography/oughtabiography. Denver, Colo: Counterpath Press, 2007.

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Autobiography--oughtabiography. Denver, Colo: Counterpath Press, 2007.

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Zither & autobiography. Middletown, Conn: Wesleyan University Press, 2003.

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Cronenwalt, Lee. Autobiography in verse. Oakland, OR: Elderberry Press, Inc., 2009.

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Bright felon: Autobiography and cities. Middletown, Conn: Wesleyan University Press, 2009.

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Lipstick, sex, and poetry: An autobiography. London: P. Owen, 1991.

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Rider, Bhanu Kapil. Autobiography of a Cyborg. San Francisco, CA: Renee Gladman, 2000.

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Truth: An autobiography in poetry and prose. [Place of publication not identified]: iUniverse Com, 2014.

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Neilson, John Shaw. John Shaw Neilson: Poetry, autobiography, and correspondence. St. Lucia, Qld., Australia: University of Queensland Press, 1991.

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Organ music: Parts of an autobiography. Windsor, Ont: Black Moss Press, 2012.

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Book chapters on the topic "Autobiography – Poetry"

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Schenck, Celeste. "14. All of a Piece: Women's Poetry and Autobiography." In Life/Lines, 281–305. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501745560-017.

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McGowan, Matthew M. "Ovid’s autobiography (Tr. 4.10): Poetic identity and immortality in the poetry of exile 1." In Pushing the Boundaries of Historia, 185–201. First edition. | London ; New York, NY : Routledge/Taylor & Francis Group, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315171487-17.

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Alabi, Adetayo. "The auto/biographical images of Africa in udje and Tanure Ojaide's poetry 1." In Oral Forms of Nigerian Autobiography and Life Stories, 181–206. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158219-8.

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Marsh, David. "Poggio and Alberti Revisited." In Atti, 89–102. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-6453-968-3.08.

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The careers of the Curial secretaries Poggio Bracciolini (1380-1459) and Leon Battista Alberti (1404-1472) reveal many parallels. In 1437-1438 the Este court of Ferrara, where Eugenius IV convoked a church council, provided a focal point for their friendship. It was to the Ferrarese canon Francesco Marescalchi that Poggio dedicated Book 1 of his Latin epistles (1436), and Alberti his Hundred Apologues (1437). Both men were inspired to critiques of contemporary society by the Greek satirist Lucian, and both indulged in composing brief witticisms that expose human vice: Poggio in his Facetiae (Jests) and Alberti in his Apologi (Fables) and Vita (Autobiography). From Lucian, they also learned to dramatize human foibles on the imagined stage of the theatrum mundi, or theater of the world: Poggio in his dialogues, and Alberti in both the Intercenales and Momus. Despite such literary affinities, their approach to ethical questions differed, especially concerning the validity of allegory, which Poggio rejected but Alberti embraced. As a tribute to his colleague, Alberti dedicated Book 4 of his Intercenales to Poggio; he prefaced the work with an ironic Aesopic fable that asserts the superiority of recondite scientific research over commonplace humanistic studies. Eventually, Alberti’s status as an outsider in Florence was reflected in the deterioration in his relations with Poggio. The rift was widened in 1441, when Alberti organized the Italian poetic competition called the Certame Coronario that was held in the Florence cathedral on October 22. Poggio was a member of the jury that, to Alberti’s chagrin, refused to declare a winner.

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Morgan, Christopher. "Poetry as autobiography." In R. S. Thomas. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526137616.00008.

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"3.6 Autobiographical/Autofictional Poetry." In Handbook of Autobiography / Autofiction, 473–84. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110279818-062.

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Turner, Paul. "History, Biography, Autobiography." In Victorian Poetry, Drama and Miscellaneous Prose 1832–1890, 311–41. Oxford University Press, 1990. http://dx.doi.org/10.1093/acprof:oso/9780198122395.003.0016.

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"The Self's Perfect Mirror: Poetry as Autobiography." In The Vitality of the Lyric Voice, 71–102. Princeton University Press, 1987. http://dx.doi.org/10.1515/9781400858385.71.

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Ledda, Giuseppe. "22. Truth, Autobiography and the Poetry of Salvation." In Vertical Readings in Dante's Comedy (three-volume set), 237–58. Open Book Publishers, 2016. http://dx.doi.org/10.11647/obp.0100.12.

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Reed, Anthony. "Alightings of Poetry." In A Political Companion to W. E. B. Du Bois. University Press of Kentucky, 2018. http://dx.doi.org/10.5810/kentucky/9780813174907.003.0004.

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This essay by Anthony Reed examines the ways that Du Bois explored his asymmetrical relationship to the world at large through his writing, particularly through his usage of double-consciousness. Du Bois stretches the limits of autobiographical writing to figuratively express race by transforming the discrepancy between his subjective lived experience—his relation to the world—and the objective facts of the world’s relation to Du Bois. Reed argues that Du Bois exceeds the limits of textual representation using the words themselves as well as their physical relationship to the page, but focuses on the lyric mode and first-person pronoun “I” to analyze the literary context of Du Bois’s work. Double-consciousness allows Du Bois to both imitate and elevate the reflective nature of autobiography and lyric poetry, disrupting the flow of time and sympathetic identification with the speaker.

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