Journal articles: 'Autobiography – Poetry'

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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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8

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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Lang, Candace. "Poetry, Ontology, and Autobiography in Gide and Sartre." Life Writing 6, no. 1 (April 2009): 111–24. http://dx.doi.org/10.1080/14484520802550437.

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Materer, Timothy. "Confession and Autobiography in James Merrill’s Early Poetry." Twentieth-Century Literature 48, no. 2 (2002): 150–73. http://dx.doi.org/10.1215/0041462x-2002-3005.

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Stein, Richard L. "Milk, Mud, and Mountain Cottages: Ruskin's Poetry of Architecture." PMLA/Publications of the Modern Language Association of America 100, no. 3 (May 1985): 328–41. http://dx.doi.org/10.2307/462086.

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The Poetry of Architecture, Ruskin's first collection of essays, is even more “deformed by assumption” than his autobiography admits. Architecture is defined as poetic for genteel tourists, who forget that the buildings whose beauty they admire required human labor and embody distinctions of class. Indeed, architectural poetry expresses a myth of class harmony: buildings blending into the landscape, landowners welcomed by loving tenants. Yet this vision, though apparently sanctified by nature, is threatened—by industrial landscapes, cities, and less appealing aspects of nature itself. Without poetry, architecture might seem little more than the sort of instinctive shelter building we observe in the lower animals, hence suggestive of biological kinship between human beings and “brutes.” At the heart of Ruskin's architectural dreams is a feared disappearance of all distinctions, biological as well as social—a pre-Darwinian nightmare.

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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.

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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.

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Hellerstein, Kathryn. "“A Word for My Blood”: A Reading of Kadya Molodowsky's “Froyen Lider” (Vilna, 1927)." AJS Review 13, no. 1-2 (1988): 47–79. http://dx.doi.org/10.1017/s0364009400002294.

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In her autobiography, My Great-Grandfather′s Inheritance, the Yiddish poet Kadya Molodowsky (1893/94–1975) recalled her feeling upon publishing her first book of poetry, Kheshvandike nekht (“Nights of Heshvan”) in 1927.

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Costelloe, Timothy M. "Liars by Profession: The Poetry of History and Autobiography." Eighteenth-Century Life 40, no. 3 (August 30, 2016): 108–14. http://dx.doi.org/10.1215/00982601-3629396.

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Pratt, William, Thom Gunn, and Clive Wilmer. "The Occasions of Poetry: Essays in Criticism and Autobiography." World Literature Today 60, no. 3 (1986): 473. http://dx.doi.org/10.2307/40142305.

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Cardonne Arlyck, Elisabeth, and Gwendolyn Wells. "Mind Your Tongue: Autobiography and New French Lyric Poetry." New Literary History 33, no. 3 (2002): 581–601. http://dx.doi.org/10.1353/nlh.2002.0024.

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Menelaou, Iakovos. "‘My Verses Are the Children of My Blood’: Autobiography in the Poetry of Kostas Karyotakis." International Journal of Comparative Literature and Translation Studies 5, no. 3 (July 31, 2017): 5. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.3p.5.

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Kostas Karyotakis (1896-1928) is one of the most important Modern Greek poets. His poetry not only influenced several other poets, but it also attracted critics’ interest. Former critics dealt with Karyotakis’ poetry and spoke about the relation between life and work in his poems. Nevertheless, they did not analyse extensively certain poems, which reflect clearly the poet’s personal experience. In addition, other critics attempted to analyse and see Karyotakis’ poems as independent entities, isolated from the poet’s life. While the results of such an approach were interesting, indeed, in fact they do not show the real meaning of the poems. Although such theories are useful and productive, when reading poets who made their life an important part of their poetry, biography is a key element for the interpretation of their works; thus a New Historicism approach is preferred. My purpose in this paper is to show the close relation between life and work in Karyotakis’ poetry through a parallel focus on life and poetry. Going beyond the results of previous critique, I intend to show how Karyotakis’ poetry alludes to his personal experience.

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Kuhn-Treichel, Thomas. "A Man Completely Devoid of Falsehood?" Vigiliae Christianae 74, no. 3 (June 2, 2020): 289–302. http://dx.doi.org/10.1163/15700720-12341435.

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Abstract Gregory of Nazianzus is an important case study for the development of autobiography, not only because he is one of the first Christians to write extended autobiographical texts, but also because he does so in verse. This paper addresses two interwoven questions: which strategies does Gregory employ in his autobiographical poems in order to create credibility for his literary self, and which of the motifs that he uses are innovative or specific to his autobiographical poetry? I suggest that Gregory constructs credibility mainly through his relationships with different entities (persons, objects, ideas …) represented in the poems. In some of the relationships (e.g., with his opponents) one can find clear parallels with pagan poets while in others, specifically Christian elements come into play (sometimes blended with pagan traditions). Gregory’s most original idea appears in his relationship with his medium of communication, where one can find a justification for poetic autobiography as a genre.

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Reiss, Timothy J. "Reclaiming the Soul: Poetry, Autobiography, and the Voice of History." World Literature Today 68, no. 4 (1994): 683. http://dx.doi.org/10.2307/40150610.

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Lucifora, María Clara. "“Palabras escritas con orgullo”. Autoficción y compromiso en "Vista cansada" de Luis García Montero." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 19 (March 28, 2012): 319. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201319588.

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Este trabajo se propone pensar cómo se produce la puesta en marcha del mecanismo autoficcional en un poemario de Luis García Montero: Vista cansada. Para ello, en primer lugar, planteará algunos de los puntos álgidos en el debate sobre la autoficción y su posible desplazamiento hacia el ámbito de la poesía. Luego, se detendrá en el análisis de este poemario que recorre, casi al modo de una autobiografía, las cinco primeras décadas de vida del poeta español, para pensar en el gesto que implica poner la vida en la escritura. This paper seeks to explore how autofictional mechanism gets underway in a collection of poems by García Montero: Vista cansada. In first place, it raises the main points of the debate on the autoficción and its possible use in the field of poetry. Then, the article analyses carefully the poems, which runs, almost in the manner of autobiography, the first five decades of life of the spanish poet, in order to think what it means to put life in writing.Keywords: Autofiction; autobiography; García Montero; contemporary spanish poetry; Vista cansada

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Beenstock, Zoe. "Reforming Utilitarianism: Lyric Poetry in J. S. Mill’s “Thoughts on Poetry and Its Varieties” and Autobiography." Journal of the History of Ideas 81, no. 4 (2020): 599–620. http://dx.doi.org/10.1353/jhi.2020.0027.

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Almeida Neto, Antonio Simplício de. "A improvável poesia concreto-visual acontece: relato afetivo e reflexões desautorizadas / The Unlikely Concrete-Visual Poetry Happens: Affective Account and Unauthorized Reflections." Revista do Centro de Estudos Portugueses 40, no. 63 (April 8, 2020): 33. http://dx.doi.org/10.17851/2359-0076.40.63.33-40.

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Resumo: Esse artigo apresenta um relato autobiográfico no qual o autor procura recuperar seus primeiros contatos com a poesia visual-concreta-experimental ao longo dos anos 1980 em função de deslocamentos provocados por diferentes sujeitos presentes nas relações estabelecidas no meio universitário do curso de graduação em História. Escapando de uma perspectiva histórica teleológica e de supostos encadeamentos lógicos e objetivos de causa e efeito, entende sua trajetória lítero-poética como decorrente de improváveis intercorrências no campo social em que se inseria. Ressalta, por isso mesmo, a importância dos processos educativos básicos e acadêmicos na promoção dos deslocamentos criativos e poiéticos. Traz, finalmente, um poema-visual de sua autoria em que relaciona história, memória e o fazer poético.Palavras-chave: poesia visual; poesia experimental; concretismo; autobiografia; memória.Abstract:This article presents an autobiographical account in which the author seeks to recover his first contacts with visual-concrete-experimental poetry throughout the 1980s due to displacements caused by different subjects present in the relationships established in the undergraduate course in History. Avoiding a teleological historical perspective and supposed logical links and objectives of cause and effect, he understands his literary-poetic trajectory as a result of unlikely complications in the social field to which he belonged. It therefore emphasizes the importance of basic and academic educational processes in the promotion of creative and poietic dislocations. Finally, he brings a visual poem of his own in which he relates history, memory and poetic making.Keywords: visual poetry; experimental poetry; concretism; autobiography; memory.

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Alawneh, Sharif Raghib. "Qurad bin Hanash Al-Morri›s (Pre-Islamic poets) Autobiography & Poetry." Journal of Human Sciences 2016, no. 02 (January 1, 2016): 170–86. http://dx.doi.org/10.12785/jhs/20160206.

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Alawneh, Dr Sharif Raghib. "Qurad bin Hanash Al-Morri›s (Pre-Islamic poets) Autobiography & Poetry." Journal of Human Sciences 2015, no. 27 (June 1, 2016): 169–86. http://dx.doi.org/10.12785/jhs/20162706.

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Dubey, Prachi, and Dr Charu Chitra. "Study of Identity Crises of Kamala das in her Autobiography “My Story”." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i11.10136.

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It is true that only a language is a universally recognized means of speech through which an author strives to pour in the rich pearls of his imagination and the great struggle to find compromise through uncompromising wilderness, making the real tale of true identity literature ,Kamala Das protested against the society's prevailing systems. Her insulted feminine self went on emotional wanderings seeking to discover an identity and liberation expressly for her own and for the entire tradition of women in general. Her compassionate interpretation and description of the Indian woman's problem generally naturally turn her into a feminist. The world of "vacant ecstasy" and sterility was vividly visualized by Kamala Das through numerous functional images and symbols in her poetry. She finds herself catapulted into a series of situations where in the hands of male dominance she became merely a puppet.Being bold, through the medium of poetry and writing, she protested and expressed her frustrations, rancor and loneliness. Her poems epitomize the dilemma of modern Indian women trying to liberate her from the role bondage that patriarchal society sanctioned her sexually and domestically Therefore, Kamala Das's voice to seek her own identity is women's voice to fight for better living conditions and equal human rights.

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van Hyning, Victoria. "Expressing Selfhood in the Convent: Anonymous Chronicling and Subsumed Autobiography." British Catholic History 32, no. 2 (October 2014): 219–34. http://dx.doi.org/10.1017/s0034193200032180.

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Convent autobiography took many forms. We find it in conversion narratives and vidas por mandato, as well as in less obvious places, including chronicles, trans-lations, poetry, saints’ lives and the myriad forms of governance documents that structured convent life. Sometimes nuns wrote under their own names, but frequently they composed anonymously. How do we locate autobiographical acts within anonymous texts? This article proposes a new genre called ‘subsumed autobiography’ to describe anonymously composed texts whose authors shape and influence their work around themes that grow out of their personal interests, theology, politics and so on. It analyses the authorial strategies deployed by the first chronicler of the English Augustinian community of St Monica's (Louvain), and pays particular attention to the themes of Catholic education, Latinity, and the legacy of Sir Thomas More. This work is predicated on an earlier article in which the anonymous author of the chronicle was identified as Mary Copley (1591/2–1669).

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Myk, Małgorzata. "Life Fictions: Radicalization of Life-Writing in Leslie Scalapino’s Zither & Autobiography and Dahlia’s Iris: Secret Autobiography & Fiction." Studia Anglica Posnaniensia 50, no. 2-3 (December 1, 2015): 127–40. http://dx.doi.org/10.1515/stap-2015-0028.

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Abstract The paper discusses radicalized aesthetics and politics of structure and form in the experimental autobiographical writing of American avant-garde author Leslie Scalapino. Associated with the innovative protocols of the “Language School” poetry movement, Scalapino’s oeuvre emerges as simultaneously a poststructuralist and phenomenologically oriented poetics in which writing performs a thoroughgoing scrutiny of how one’s implication in linguistic and cultural matrices determines one’s being in the world. Scalapino’s Autobiography, framed by Paul de Man’s remarks on autobiographical writing as always controlled by the external expectations of self-fashioning, sets out to examine and deconstruct the autobiographical project as in itself constructive of one’s life. In Zither the poet complicates her take on life-writing by interrogating and reconceptualizing hidden mechanisms of the genre and confronting it with its own fictional status, while in Dahlia’s iris Scalapino juxtaposes detective fiction with a Tibetan form of written “secret autobiography”, based on a radical departure from the chronology of one’s biography toward a phenomenological horizon of what she refers to as “one’s life seeing”, a practice of attempting to see one’s mind’s constructions as they are formed by the outside as well as by one’s internalization of the outside.

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Pattinson, David. "Autobiography and Symbolic Capital in Late Imperial China." Ming Qing Yanjiu 22, no. 1 (November 14, 2018): 45–69. http://dx.doi.org/10.1163/24684791-12340020.

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Abstract This essay explores the use of autobiography to enhance symbolic capital in seventeenth-century China as exemplified by the chronological autobiography of the writer and geomancer Peng Shiwang 彭士望 (1610–1683). Peng was one of the Nine Masters of Changes Hall, a group of Ming loyalist scholars based in Ningdu in south-eastern Jiangxi province who gained a reputation among the cultural elite of the early Qing dynasty. Peng was not a major figure in the Ming–Qing transition period, and his own active participation in the Ming resistance to the Qing conquest was slight. Nevertheless, the economic effects of the Qing conquest, and his decision not to seek employment under the new dynasty, left him and his family in a financially and socially precarious position. When, in 1666, Peng published his collected poetry, he prefaced it with a chronological autobiography remarkable for devoting about half its space to the names of people he met during his peripatetic life. These names include a significant number of loyalists, even though Peng cannot have known some of the more famous ones very well. This essay argues that, through his autobiography, Peng sought to leverage his loyalist connections to create a form of symbolic capital which could be used to shore up his status among the educated elite of his time by increasing sales and circulation of his works and by expanding the social network he could draw upon for work as a geomancer or teacher, or for other support on his travels.

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Dolmányos, Péter. "Under (Re)Construction – Belfast in the Poetry and Prose of Ciaran Carson." Ars Aeterna 6, no. 1 (June 1, 2014): 26–32. http://dx.doi.org/10.2478/aa-2014-0004.

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Abstract Ciaran Carson’s poetry is deeply concerned with the city of Belfast, as many of the poems unfold their twisting itinerary against the active background of this northern urban location. In addition to the poems Carson has published a fair number of prose pieces and a tentative autobiography, which also resurrects the city in its dynamism, though on a different timescale. The poems and the prose pieces together constitute a narrative of the changing city with the conclusion that the most apparent element of permanence in the context of the city is change itself, which leads to a strained relationship between the city and the map representing it.

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Bonafous-Murat, Carle. "Autobiography or case study? Rethinking Ciaran Carson's poetry in the light of hypermnesia." Études anglaises 66, no. 4 (2013): 482. http://dx.doi.org/10.3917/etan.664.0482.

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Labriola, Albert C. "‘Betwixt God and My Soul’: Spiritual Autobiography and the Poetry of George Herbert." Ultimate Reality and Meaning 19, no. 3 (September 1996): 162–67. http://dx.doi.org/10.3138/uram.19.3.162.

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Oumarou, Chaibou Elhadji. "<i>Kirari</i> as Autobiography in Hausa Praise Poetry." Advances in Literary Study 06, no. 03 (2018): 120–34. http://dx.doi.org/10.4236/als.2018.63010.

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King’ei, Kitula. "Aspects of Autobiography in the Classical Swahili Poetry: Problems of Identity of Authorship." Folklore: Electronic Journal of Folklore 16 (2001): 87–96. http://dx.doi.org/10.7592/fejf2001.16.swahili.

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Kotásek, Miroslav. "Terre I. Bl.: Ivan Blatný a (re)konstrukce jeho místa v české kultuře." Slavica Wratislaviensia 173 (October 7, 2020): 371–82. http://dx.doi.org/10.19195/0137-1150.173.30.

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The article analyzes the relationship between the official cultural discourse, “lifeˮ and “workˮ of Ivan Blatný in his British exile. While pointing at several forms of the said relationship the specifics of Blatnýʼs writing in exile are being disclosed, especially concerning the role of memory, body, and autobiography. The article sees the key strategy of writing in Blatnýʼs treatment of proper names. It especially concentrates on the signature “I. Bl.ˮ, which points at its own ambivalence, in a way questioning the institution of authorship. Through his writing, Ivan Blatný is leaving the predominantly hermeneutic sphere of meaning and sense (aesthetics and art) and in a surrealistic gesture uses poetry writing as an existential act, embodying the material, bodily, visceral aspects of “lifeˮ. The analysis is grounded in a brief outline of the differences between poetry and prose “memoryˮ witing.

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de Looze, Laurence. "“Pseudo-autobiography” and the Body of Poetry in Guillaume de Machaut’s Remede de Fortune." L'Esprit Créateur 33, no. 4 (1993): 73–86. http://dx.doi.org/10.1353/esp.1993.0061.

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Gibbs, James. "Biography Into Autobiography: Wole Soyinka and the Relatives Who Inhabit ‘Ake’." Journal of Modern African Studies 26, no. 3 (September 1988): 517–48. http://dx.doi.org/10.1017/s0022278x00011757.

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In fact, What became Ake started out with me wanting to write a biography of an uncle, a very remarkable uncle of mine, who is mentioned here, Daodu, Rev Kuti. I think some of you have heard of Fela, the Nigerian musician. Daodu was his father and a very remarkable individual.Wole Soyinka in Jo Gulledge (ed.), ‘Seminar on Ake with Wole Soyinka’, in The Southern Review (Baton Rouge), 23, 3, July 1987, p. 513.The publication of Ake: the years of childhood (London, 1981) won Wole Soyinka admirers among those who had never read his poetry, novels, newspaper articles, or criticism, never seen his films or plays. In a seminar on Ake which he gave in Louisiana during March 1987, Soyinka said that the autobiography had started from a desire to write a biography. He went on to say that he had ‘received letters about the book from the strangest parts of the world’.1 The autobiography was widely and favourably reviewed, it was awarded prizes and contributed to the elevation of Soyinka's reputation throughout the world—including Sweden, where he was subsequently presented with the Nobel Prize for Literature.

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WATKIN, WILLIAM. "“Let's Make a List”: James Schuyler's Taxonomic Autobiography." Journal of American Studies 36, no. 1 (January 2002): 43–68. http://dx.doi.org/10.1017/s0021875802006771.

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August 21, 1970A few sound[s] are embedded in the fog – a gull mewing, different far off fog horns – like unset polished stones laid out in cotton wool.Tuesday, March 5, 1985At six AM the heavy gray burns a heavier blue. Rain, water drops clinging to the balcony.There is an ethical consideration in James Schuyler's Diary. While we have spent the last fifty years grappling with the aesthetic problems of how to represent the unrepresentable, how to present the unpresentable, and how to signify the significant, little time has been spent considering the status of representations of the unremarkable. There is a whole history in American poetry and literature of validating the everyday, making it special, but Schuyler never really does that. Are things special just because we say so, or rather because we note them down? Do we name things into being, at least linguistic or literary being? The Diary asks these questions and in doing so it broaches the kind of postmodern ethical questions that one finds in the recent work of Lyotard, Derrida, and Nancy. These questions are significant not in the normal sense of the reasons for such interrogations or the answers expected, but rather because they represent a desire on the part of Schuyler to ask after otherness, to try to elicit a response from the other while respecting that such a response may not be comprehensible even if it is forthcoming. I would like here to posit a desire to ask after the other first before one asks after oneself, to enquire without any hope of a satisfactory answer as such as the postmodern ethical position, and to suggest that the autobiographical slant of Schuyler's work is, paradoxically considering the nature of autobiography, just such a positioning of his self in relation to the world.

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Meihuizen, E. "Richard Murphy: a life in writing." Literator 27, no. 3 (July 30, 2006): 157–74. http://dx.doi.org/10.4102/lit.v27i3.205.

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The Irish poet Richard Murphy published his autobiography “The kick: a life among writers” in 2003. From a slightly different perspective the subtitle of this work could be rewritten as “A life in writing” since it is an account of the agencies that moulded a life devoted to creative writing which forms the book’s essential impetus. The memoir is based on notebooks which Murphy kept throughout his life “to hold the scraps of verse, elusive images, dreams, desires and revelations” to be developed into poetry. Apart from contextualising his poetry by registering the relationships, circumstances and landscapes from which it germinated, Murphy also tells of the creative process itself and the personal poetics underlying this process. This article explores what is regarded as the central determining feature of Murphy’s identity as poet, namely the relationship between the creative self and a particular place, where the concept of “place” is seen as a cultural palimpsest which represents not only physical qualities, but also the shaping and development of the landscape through time according to a certain way of life.

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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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Kragh, Ulrich Timme. "Chronotopic Narratives of Seven Gurus and Eleven Texts: A Medieval Buddhist Community of Female Tāntrikas in the Swat Valley of Pakistan." Cracow Indological Studies 20, no. 2 (December 31, 2018): 1–26. http://dx.doi.org/10.12797/cis.20.2018.02.02.

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Modern South Asian women’s writing wells up to the stirring surface of contemporary literature in now globally recognizable forms of fiction and memoir, inter alia, the novel, the poem, the biography, the autobiography. Yet, beneath these topmost layers of colonial and post-colonial literary tides flow undercurrents of precolonial women’s writing, often in radically other figurations of lettered expression. Even further down than the familiar temporal strata of the Vaiṣṇavite and Śaivite religious poetry written by the dozen authoresses ranging from Muktābāi to Rūpa Bhavānī between the thirteenth and eighteenth centuries, there exists another place in the deep, like an underwater lake, of a much older women’s writing penned by Tantric women gurus. The majority of this archaic Buddhist literature streamed out of the Swat valley in Pakistan, a locality for no less than seven known female gurus, who lived, taught, or wrote there between the eighth and eleventh centuries. After a short prologue on Swat and its recent history, the essay surveys eleven female-authored medieval Tantric works, which range in genre from ritual treatises, meditation practice-texts, and mystic poems, to literary forms that even seem evocative of contemporary women’s gendered voices: spiritual biography and autobiography empowered by a place.

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Prigarina, N. I. "Linking the poetical text and the doctrines of Sufi brotherhoods: Sufi poetry of A. Lahuti." Orientalistica 2, no. 4 (January 16, 2020): 1021–37. http://dx.doi.org/10.31696/2618-7043-2019-2-4-1021-1037.

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The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical works of an early period, which constitute a special section in his collection of poems, the Divan. It was published in Teheran as early as in 1979 by 'Ali Bashiri under the title As'ar-e mazhabi va 'erfani («Religious and Sufi verses»). The revolutionary, patriotic and lyrical poetical works by A. Lahuti published since 1909 are well-known. However, his early poetry, which reflects the time when he was in contact with various Sufi brotherhoods remains almost a terra incognita for most scholars who have been studying his poetry ever since. Moreover, the existence of such poetry of his was hardly even accounted for, at least by the Soviet scholars who made attempts to reconstruct Lahuti’s biography as a poet. Usually, it is difficult to link an author of a poetical piece (ghazal) with a certain Sufi brotherhood or school unless there is a direct indication left by his biographers that he was taught by certain sheiks. One of the least researched questions in the text studies remains, whether an ideology of a given brotherhood can be traced in the poetic features of a given ghazai. The section from the Divan by A. Lahuti contains traditional “genres”, such as the tawhid (the Unicity of the Almighty); na't (praise to the Prophet Muhammad, praise to 'Ali and Hussain); lamentation on the events in Karbala; praise to Sheikh Hayran Kurdistani and some other works. The second part of the section comprises 107 ghazals. As A. Lahuti mentions in his autobiography, he became a member of a Sufi brotherhood. The article explores the connection between the early poetry by A. Lahuti and the doctrine of Sufi brotherhoods as reflected in the poetics of his ghazais. His work of this period reveals his awareness of the doctrines of ne'matallahi and ahl-i haqq (or 'Aii- ilahi) Sufi orders. The poet had three mentors, each of whom represented the following types of the Sufi Path: ecstatic and visionary one; a militant one; and a humble one praising holy behaviour and being content with little. The early ghazais by A. Lahuti respectively reflects these types of the Sufi Path.

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Svetlova, Anna. "The poet who failed his best play? Podmiot mówiący w utworach zespołu Nightwish wobec paradygmatu romantycznego." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 72–87. http://dx.doi.org/10.24917/20837275.10.3.6.

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The poet who failed his best play? Speaking subject in the tracks of Nightwish in the face of the romantic paradigm The article gives an insight into the problem of lyrical subject in songs recorded by Nightwish, along with the myth of the damned poet led by the group’s leader, Tuomas Holopainen, and romantic concepts of poetry, love and nature. It raises issues of autobiography and authenticity of artists, as well as the multidisciplinary narrative in rock music led on literary, iconic and musical levels. This text focuses primarily on the early Nightwish songs, the Century Child concept album and the End of an Era concert as the last live performance of Nightwish with Tarja Turunen as the lead singer.

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Künstler-Langner, Danuta. "Kobieta w dawnej literaturze polskiej. Inspiracje, wzorce, twórczość." Studia Interkulturowe Europy Środkowo-Wschodniej, no. 13 (November 25, 2020): 153–81. http://dx.doi.org/10.31338/2544-3135.si.2020-13.8.

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This paper presents the images of women in European culture and Old Polish Literature. The works devoted to women from the Middle Ages to Baroque focused on their social and political duties or artistic creation. The authors chose different literary forms: chronicles, poems, epigrams, laments, odes, sonnets, or epic works. The created characters included: a saint, a beloved lady, a donna angelicata, a hero of a chronicle or an autobiography. The works described their life, creative activity, or artistic aspirations. Some of them are panegyric poems, religious works, meditations, or love poetry. Women with an amazing sense of observation were discovering the space of literature and were participating in a world in its dynamic changes. They were excellent creators of humanistic and religious literature, referring to ancient tradition and European values.

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Amal, Robancy. "Feministic Approach in Kamala Das’s My Story." Shanlax International Journal of English 9, no. 3 (June 1, 2021): 54–56. http://dx.doi.org/10.34293/english.v9i3.3882.

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The role of the readers in reading a novel or a poem is to look through the eye of the author and to enjoy the beauty of the literary works. Kamala Das’s poetry, novels and short stories have always carried self-transformation and women empowerment asserting her rights freedom and desire to liberate her from the clutches of traditions and cultures which suppress women in the Indian society. This paper tries to analyze the outspoken and controversial autobiography and an unheard cry for freedom of many Indian women and depicts how revealing the inner self of a woman free her from the oppression of Caste, class, race and sex. It has become a cult classic in the 20th century. It attempts to see the feministic approach of the novel.

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Pietrych, Krystyna. "Iwaszkiewicz’s Venice." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 155–77. http://dx.doi.org/10.18778/2299-7458.09.07.

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The article offers an overview of Iwaszkiewicz’s Venice works, starting with his early poems from his first visit in the city on a lagoon, and all the way to a work in his final poetry collection. This overview helps one realise that the writer’s autobiography is the key to all of them. Both poems and prose works followed the writer’s rhythm of existence. The presented images not so much extract the features of the city but rather refer to the author’s age, mood, and mental disposition. Another major factor that shaped the image of Venice in Iwaszkiewicz’s works were the conventional topoi consolidated in culture which build the artistic means of symbolising actual spaces. Iwaszkiewicz’s text, which developed for nearly sixty years is a praise of art understood, per modernist principles, in an absolutist manner.

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Korkka, Janne, Lydia Kokkola, and Elina Valovirta. "“An autobiography in which I do not appear”: The Seductive Self in the Poetry of Robert Kroetsch." English Studies 97, no. 5 (June 13, 2016): 510–27. http://dx.doi.org/10.1080/0013838x.2016.1168650.

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Vautier, Marie. "Autobiography, Bilingualism and Poetry: Writing in English and French in Canada to Address Personal and Political Challenges." ATHENS JOURNAL OF PHILOLOGY 2, no. 4 (November 30, 2015): 215–26. http://dx.doi.org/10.30958/ajp.2-4-1.

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Szwarcman-Czarnota, Bella. "Kadia Mołodowska." Studia Judaica, no. 2 (46) (2021): 390–404. http://dx.doi.org/10.4467/10.4467/24500100stj.20.019.13662.

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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].

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Journal articles on the topic 'Autobiography – Poetry'

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