Relevant bibliographies by topics / Confessional poems

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Confessional poems'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Confessional poems"

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Raoufzadeh, Narges, Sharzad Mohammadhosein, and Shiva Zaheri Birgani. "Analysis of Love, Death, Rebirth and Patriarchy in Two Contemporary Poetess Forough Farrokhzad and Sylvia Plath’s Selected Poems." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (2019): 56–64. http://dx.doi.org/10.33258/birci.v2i4.607.

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ForoughFarrokhzad and Sylvia Plath’s poems are closely linked to their personal life and their marriage. Their poems are confessional in style. Farrokhzad criticizes Iranian male dominant society in which women are marginalized and haven’t any voice in the society, so seeking their voice and identity in modern literature, especially in modern Persian poetry. Sylvia Plath attempts to resist patriarchy in her society through her poems too. Two poets highlighting and expressing the lack of interest in life and the sole desire to die in most of their poems. Not only poetic imagery and themes like
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Быстров, Никита. "ИСПОВЕДАЛЬНОСТЬ В ПОЭЗИИ ВЯЧЕСЛАВА ИВАНОВА: ПРЕДВАРИТЕЛЬНЫЕ ЗАМЕЧАНИЯ". Conversatoria Litteraria, № 14 (10 липня 2020): 139–50. http://dx.doi.org/10.34739/clit.2020.14.12.

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The article traces parallels between some confessional situations in the poetry of Vyacheslav Ivanov and the Confessions of St. Augustine. The question is raised about the ability of Ivanov`s symbolism to reproduce the existential uncertainty (ignorance of the further path, the actual rejection of its foreshadowing by culture and intellectual experience), to which the confession should lead the subject, if s/he follows the principle of Augustine`s „transcende te ipsum”. When the state of confession is pre-established by a system of symbols with a „ready” meaning, it risks losing its uniqueness
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Koch, Jonathan. "‘No Empty Place for Complementing Doubt’: The Spaces of Religious Toleration in Andrew Marvell’s ‘Flecknoe’." Review of English Studies 71, no. 301 (2019): 687–708. http://dx.doi.org/10.1093/res/hgz132.

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Abstract Andrew Marvell’s ‘Flecknoe, an English Priest at Rome’ (1646) is a striking document in early modern debates over toleration and an exemplar of their rhetoric and design. Considering ‘Flecknoe’ together with Upon Appleton House (1651), I argue that Marvell uses spatial terms and satiric forms to present confessional rivalry and complementarity. Satire itself might be thought of as a practice of toleration in these poems, at once mocking the languages and gestures of opposing religious confessions and allowing the poet to draw close to—to contrive a surprising intimacy with—the convict
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Herring, Terrell Scott. "Frank O'Hara's Open Closet." PMLA/Publications of the Modern Language Association of America 117, no. 3 (2002): 414–27. http://dx.doi.org/10.1632/003081202x60378.

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This essay explores the relays of publicity and privacy structuring Frank O'Hara‘s “Personism: A Manifesto” and his personal poetry. Though these works have recently been celebrated for their candid expression of homosexual desire during a cultural moment set on silencing queer voices, I argue the inverse. Focusing on O'Hara‘s ambivalent relation to a calcified poetics of impersonality promoted by New Critics and confessional poets, I suggest that O'Hara does not simply reject the New Critical creed of public poetry. He instead reformats New Critical tenets to create a fantastic space of close
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Álvarez Romero, Ana Lourdes. "De la confesión a la autobiografía en Desierto Mayor: hacia una autopoética de Abigael Bohórquez." Literatura Mexicana 32, no. 2 (2021): 151–74. http://dx.doi.org/10.19130/iifl.litmex.2021.32.2.29156.

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This article analyzes the passage from confessional enunciation to autobiographical enunciation in Desierto mayor (1980) by Abigael Bohórquez’s (1936-1995), linking it to autopoetics. To carry this out, Bohórquez’s work is contextualized in the poetic panorama of his time in order to understand some lines that could have influenced his writings of the self linked to memory. Subsequently, a framework is created by which we conceptualize confessional and autobiographical poetry in Desierto mayor. Finally, the poems are analyzed, giving an account of their confessional and autobiographical marks,
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Grobe, Christopher. "The Breath of the Poem: Confessional Print/Performance circa 1959." PMLA/Publications of the Modern Language Association of America 127, no. 2 (2012): 215–30. http://dx.doi.org/10.1632/pmla.2012.127.2.215.

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This essay offers an early chapter in the conjoined history of poetry and performance art, literary criticism and performance studies. Beginning in the mid-1950s and with increasing fervor through the 1960s, American poetry lived simultaneously in print, on vinyl, and in embodied performance. Amid this environment of multimedia publicity, an oddly private poetry emerged. The essay locates confessional poetry in the performance-rich context of its birth and interrogates not only its textual voice but also its embodied, performed breath. Focusing on early confessional work by Robert Lowell and A
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Farquhar, Alexander J. K. "Promoting Civility in the Republic of Letters: Three Sedan Scholars and the Secular Muse." Erudition and the Republic of Letters 3, no. 2 (2018): 113–54. http://dx.doi.org/10.1163/24055069-00302001.

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In the Reformed academy of Sedan in the early seventeenth century a manuscript was compiled containing poems which have remained largely understudied, despite the manuscript’s publication in 1913. The poems were the work of Arthur Johnston, Andrew Melville, and Daniel Tilenus, two Scots and a Silesian; all were professors in the Huguenot Academy. As teachers there they operated in the world of Reformed scholasticism, and historiography has understandably tended to view their lives, therefore, through a religious lens. The poems in this manuscript suggest, however, that such a perspective is mi
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Erin Belieu. "The Poem That Answers Why I Never Write Poems in Which You Appear, and: Confessional 12-Step Poem." Prairie Schooner 83, no. 3 (2009): 33–36. http://dx.doi.org/10.1353/psg.0.0262.

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Mai, Anne-Marie. "Märta Tikkanen’s gender and alcohol saga." Nordic Studies on Alcohol and Drugs 34, no. 4 (2017): 289–98. http://dx.doi.org/10.1177/1455072517720100.

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Märta Tikkanen’s poetry collection Århundradets kärlekssaga ( The love story of the century, 1978) is a confessional book on life in a family where the husband and father is an alcohol abuser. It is also a love story about a married couple who love one another despite the terrible challenges posed to the relationship by alcoholism. The poetry collection became one of the most influential books in contemporary Nordic fiction, its themes on gender roles and alcohol abuse setting the trend in the Nordic discussion of women’s liberation. Märta Tikkanen’s courage to tell her own private story inspi
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Badia, Janet L. "Viewing Poems as “Bloodstains”: Sylvia Plath's Confessional Poetics and the Autobiographical Reader." a/b: Auto/Biography Studies 17, no. 2 (2002): 180–203. http://dx.doi.org/10.1080/08989575.2002.10815291.

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Dissertations / Theses on the topic "Confessional poems"

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Crosbie, Lynn. "Contextualizing Anne Sexton, confessional process and feminist practice in the Complete Poems." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ35433.pdf.

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Werner, Eric. "Thank You for Visiting: Collected Poems with a Critical Introduction." Wittenberg University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1398962916.

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Jaynes, Michael A. "Don't Ever Stop." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275674470.

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Walter, Lauren. "New Rust." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2205.

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A poetry thesis exploring issues of loss, death, creation, imagination, family, interpersonal relationships, nature, sexuality, and writing. The manuscript includes a preface that discusses literary influences such as Ai, H.D., and Sharon Olds, as well as writing in forms such as the dramatic monologue, imagistic poem, and confessional poem. Three main sections organize the manuscript's poems.
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Burnett, Sarah E. "Pocketful Confessions: Poems to Read While Chewing Your Lips." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1433539031.

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Rossiter, Rebecca J. "The Apple Speaks: Reclaiming “Self” While Bridging Worlds in Confessional Mennonite Poetry." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180379152.

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Montjoy, Ashley Nicole. "Lost in Perception." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42648.

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Lost in Perception is a manuscript of narrative poems that are unflinching honest explorations of the selfâ emotional states-of-mind such as anxiety and anger, and states-of-being such as feelings of self-worthlessness. Confessional in nature these poems derive from familial relationships, domestic abuse, desire, sex and/or a combination of the aforementioned. To an extent, Lost in Perception is a manuscript of a diarist. It features a number of poems concerning a romantic relationship with an alcoholic that present a cohesive narrative within the collection. The narrator in Lost in Perc
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Weyer, Christine Louise. "Confession, embodiment and ethics in the poetry of Antjie Krog and Joan Metelerkamp." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80362.

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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This thesis examines the work of two contemporary South African poets, Antjie Krog and Joan Metelerkamp. Through an analytical-discursive engagement with their work, it explores the relationship between confession and embodiment, drawing attention to the ethical potential located at the confluence of these theories and modes. The theory informing this thesis is drawn from three broad fields: that of feminism, embodiment studies and ethical philosophy. More specifically, foundational insights will come from the work of Simo
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Bellarsi, Franca. "Confessions of a Western buddhist "Mirror-Mind": Allen Ginsberg as a Poet of the Buddhist "Void"." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211366.

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James, Ann Juli. "Figures in fine print and Hindustani hopes and fears : identity and expectations in the poetry of Kamala Das." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27007.

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Kamala Das is one of the best-known contemporary Indian women writers, albeit largely for the controversy that her candid, confessional writing has sparked in the relatively traditional context of Indian academia. Since the publication of her first collection of poetry, Summer in Calcutta (1965), Das has been considered an important voice of her generation. Her provocative poems are known for their unflinchingly honest explorations of the self and female sexuality, urban life, and women’s roles in traditional Indian society. Critics have expressed a range of opinions on her work: some laud her
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Books on the topic "Confessional poems"

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Huisken, Jesse. The first confessional poems of the Toronto poetry and painters guild. BookThug, 2004.

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Huisken, Jesse. The first confessional poems of the Toronto Poetry and Painters Guild. BookThug, 2003.

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Crosbie, Lynn. Contextualizing Anne Sexton: Confessional Process and Feminist Practice in the Complete Poems. National Library of Canada = Bibliothêque nationale du Canada, 1996.

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Herbert, Mary Kennan. Succulent confessions: Poems. Ginninderra Press, 2000.

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Croft, Julian. Confessions of a Corinthian: Poems. Angus & Robertson, 1991.

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Darr, Ann. Confessions of a skewed romantic: Poems. The Bunny and the Crocodile Press, 1993.

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Haque, Habib. A confession: Poems of many years. Writers Workshop, 1996.

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Leonard, Joseph A. True confession love poems and others. W.I.M.I.S. Music Publisher, 1990.

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Johnson, Louis. True confessions of the last cannibal: New poems. Antipodes Press, 1986.

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1912-, Aaron Daniel, ed. The Inman diary: A public and private confession. Harvard University Press, 1985.

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Book chapters on the topic "Confessional poems"

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Faulkner, Sandra L. "Mother-Poems: Using the Confessional as Critique in Autoethnographic Poetry." In Creative Selves / Creative Cultures. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47527-1_7.

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Grobe, Christopher. "The Breath of a Poem." In Art of Confession. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829170.003.0003.

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Today, we may know confessional poetry as a set of texts that are printed in books, but in its time it was also a performance genre. This chapter demonstrates how the performance of poems—in the privacy of the poet’s study, at public poetry readings, and in the studios of recorded literature companies—shaped this genre, determined its tactics, and influenced its style. An extended comparison of Robert Lowell and Allen Ginsberg shows that breath was a key medium for confessional poets, and a study of Anne Sexton’s career—both on the page and at the podium—shows how she “breathed back” dead poems in live performance. Throughout, this chapter focuses on the feelings of embarrassment confessional poetry raised, and the uses to which poets could put such feelings. It also highlights contemporary trends in “performance” and their impact on confessional poets—e.g., Anne Sexton’s debt to the acting theories of Konstantin Stanislavsky and to Method acting as theorized by American director Lee Strasberg.
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Rafael, Vicente L. "The Poetics of Praise and the Demands of Confession in the Early Spanish Philippines." In The Spanish Pacific, 1521–1815. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720649_ch13.

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This chapter combines two very different but intimately related texts. On the one hand, it reproduces three dalits, devotional poems by Tagalog natives praising the work of Catholic missionaries. On the other, it provides a questionnaire from an eighteenth-century confessional manual used by missionaries to administer the sacrament of Penance. Vicente L. Rafael argues that each text embodies a different attitude toward the written word in the religious life of the colonial Philippines. For the Tagalog authors of the dalits, the book becomes a magical talisman of sorts. For the missionaries, it provides the tactics of an intimate disciplinary strategy meant to alter the behavior of Filipino natives.
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Hunter, Walt. "Let Us Go." In Forms of a World. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282227.003.0003.

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The second chapter explores global citizenship as a practice of exclusion undertaken in part through policies of liberal multiculturalism. In Citizen: An American Lyric (2014), Claudia Rankine writes an experimental “American lyric” in which the confessional lyric voice is made to contain the micro-aggressions and minoritarian struggles situated within the US but created by a US-manipulated global capitalist economy. The poems in Citizen offer both a diagnosis of the failures of citizenship as an ideal and a staging of the violent “beauty” that emerges from these failures. The poetic transit of Citizen across the Atlantic, and implicitly across the Mediterranean as well, creates the conditions for imagining solidarity between anti-racist movements in the US and ongoing anti-colonial struggles in France and North Africa.
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"American Confessional Poets, and Others." In A Little History of Poetry. Yale University Press, 2020. http://dx.doi.org/10.2307/j.ctvxkn77c.38.

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Grobe, Christopher. "Interlude." In Art of Confession. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829170.003.0002.

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As each art form turned confessional, the first artists to attempt it had unusual amounts of social privilege—e.g., among poets, Robert Lowell, a Boston Brahmin. That, perhaps, is why confessional artists have tended to be white, at least in early, pivotal moments in each art form. And yet, over and over, these white, confessional artists have adopted the voices of ethnic and racial others, credentialing their angst through appropriation. Not only is confessionalism unbearably white as a movement, but confessional artists tend to find their own whiteness unbearable. Nonwhite confessional artists, though, do something similar—e.g., in comedy, Richard Pryor—blending personal expression with persona performance, fostering identifications across identitarian boundaries.
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"Poems of Felicity (1) and St Augustine’s Confessions:." In Voluble Soul. The Lutterworth Press, 2021. http://dx.doi.org/10.2307/j.ctv1rdv21k.7.

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"The Confession of the Monk Struck Blind by Lightening." In Poems Written Abroad. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wm5n.19.

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"Reluctant Confession." In The Complete Poetical Works of Thomas Hardy, Vol. 3: Human Shows; Winter Words; Uncollected Poems. Oxford University Press, 1985. http://dx.doi.org/10.1093/oseo/instance.00226477.

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Waters, Melanie. "Anne Sexton, Sylvia Plath and Confessional Poetry." In The Cambridge Companion to American Poets. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cco9781316403532.029.

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Conference papers on the topic "Confessional poems"

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Андреев, Дмитрий Андреевич, and Андрей Евгеньевич Крашенинников. "THE CREATIVE PATH OF TILL LINDEMANN." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.87.93.005.

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В статье рассматривается становление немецкого рокмена Тилля Линдеманна как творческой личности. Он входит в число известных немецких музыкантов, но не всем известно, что Т. Линдеманн еще и поэт. Его произведения написаны в традиционном для Германии стиле экспрессионизма. В своих стихотворениях Т. Линдеманн поднимает темы любви, творчества, жизни и смерти. Чувства у Т. Линдманна обычно преподносятся от лица лирического героя, носят характер исповеди и наполнены трагизмом. The article examines the formation of the German rockman Till Lindemann as a creative person. He is one of the famous Germa
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