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Journal articles on the topic 'Confessional poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Sharma, Pradip. "Poetic Politics in the Confessional Poetry of Lowell and Plath." Literary Studies 35, no. 01 (2022): 89–97. http://dx.doi.org/10.3126/litstud.v35i01.43683.

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This paper critically examines the cultural shifts the confessional poets mainly Robert Lowell and Sylvia Plath brought in post war American poetry. Under the rubric of postwar isolation ongoing developmental practices induced by Fordist culture whatever psychic disturbances the contemporary generations encountered, are reflected in Lowell and Plath’s poetry. Unlike St. Augustine’s sacramental confession, confessional poetry primarily aims at autobiographical self-exploration in essence. Yet, the confessional poetry departs from the life writing with its sharp delving into the poet’s life. The

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2

Intekhab, Sadia. "Exploring the Intersection of Feminist and Psychoanalytic Theory in the Confessional Poetry of Anita Nair and Kamala Das." East Asian Journal of Multidisciplinary Research 2, no. 10 (2023): 4321–30. http://dx.doi.org/10.55927/eajmr.v2i10.5552.

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The genre of confessional poetry is defined by the poet's personal and frequently extremely emotional experiences. It first appeared in the middle of the 20th century and is characterised by a personal tone and the first-person point of view. This paper shall examine the confessional elements in the poetry of two prominent Indian poets, Anita Nair and Kamala Das, through a feminist and psychoanalytic perspective. In order to examine themes of love, relationships, and identity in their poetry, Nair and Das use personal experiences, emotions, and thoughts in their poems. The paper will examine t

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3

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

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Abstract In his influential essay “Tradition and the Individual Talent,” T. S. Eliot emphasizes the significance of tradition as well as the inevitability of the present talent of the artist. He argues that every artist has his own original and individual themes and techniques that separate him from and link him with his predecessors at the same time. Anne Sexton, the Confessional American woman poet, is a good example that proves this everlasting notion of the allusion to “the dead poets” of the past together with the inevitable existence of the innovative original talent of the poet. Chiefly

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Pandey, Emily. "Understanding Confessionalism: Psychological Insights in the Poetry of Kamala Das and Sylvia Plath." Journal of Studies in Dynamics and Change (JSDC) 9, no. 2 (2022): 15–25. https://doi.org/10.5281/zenodo.12803422.

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<em>Kamala Das and Sylvia Plath are distinguished poets of confessional poetry. Confessional poetry is a branch of post-modern poetry. It has heralded a new era of English poetry. In confessional poetry poets bare their hearts to have psychic reliefs. Plath is an American confessional poet and Kamala Das is a traditional Indian woman writing poetry to exude her intense repressive feeling of sexual exploitation and humiliation in her conjugal life as well as in her society. Both poets have written poems to articulate their strong mortified emotions. They have defied taboos and showed their cour

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Smriti, Dr Richa. "Confessional Poetry Revealing Contemporary Realities Through Self Agonies." International Journal of English Literature and Social Sciences 9, no. 5 (2024): 073–76. http://dx.doi.org/10.22161/ijels.95.10.

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Poetry is the communication of experiences in the form of art. The experiences which defined as poetry of the personal is called confessional poetry. Confessional poetry is the frank expression of personality. This poetry is of self-revealing in nature as it seeks to reveal the poets' state of mind and their feelings. Sylvia Plath, Kamala Das, Anne Sexton and Andrienne Rich are best examples of confessional poets. They universalized the sufferings and surmounting pain of womanhood through the lens of their own experiences in their lives. Their works demonstrate the tragedy of life of being a w

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6

Abdel Rahim, Rania Saber Ahmed. "A STUDY OF HISTORICAL ASPECTS OF THE CONFESSIONAL POETRY IN ROBERT LOWELL’S LIFE STUDIES." ENGLISH JOURNAL OF INDRAGIRI 5, no. 1 (2021): 81–111. http://dx.doi.org/10.32520/eji.v5i1.1284.

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Robert Lowell, the iconic American Poet, moves with his Confessional poetry, notably the poetic volume Life Studies (1959) from the “raw” to the “cooked”. Confessional poetry is similar to the art of confession. Moreover, the historical poetic pieces implied more than the mere gathering of fact and figures. For Lowell history manifested itself in the affairs of men and it is a persistent and violent force. Such a view is not entirely optimistic, springing directly from this view is Lowell's deep sense of loss, failure, alienation, helplessness and a feeling of entrapment in a world not of his

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7

LERNER, LAURENCE. "What is confessional poetry?" Critical Quarterly 29, no. 2 (1987): 46–66. http://dx.doi.org/10.1111/j.1467-8705.1987.tb00077.x.

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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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9

Beamish, Shelly. "Confessional Poetry Is Trauma Speaking." International Journal of Literary Humanities 22, no. 3 (2024): 79–94. http://dx.doi.org/10.18848/2327-7912/cgp/v22i03/79-94.

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10

Boksh, Shanjida Khatun. "The Confessional Poetry of Robert Lowell:." Crossings: A Journal of English Studies 4 (August 1, 2014): 27–36. http://dx.doi.org/10.59817/cjes.v4i.242.

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The “grace of accuracy” (“Epilogue” Day by Day 127) serves as a credo for Robert Lowell’s art and for confessional poetry in general; it is the art of describing experiences in words, it is the artist’s reward of love, both to the art and to the fact. The cardinal force behind this artistic intention in writing even the most confessional of poems of Life Studies is Lowell’s formal mastery of New criticism stimulated by T.S. Eliot. Tellingly, Lowell broke away from the culpability of making confessional poetry a by-word for limp infatuation, and hence restored his position as an avant-garde poe

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Ganvir, Dr Vijay S. "Kamala Das: A Confessional Poet." International Journal for Research in Applied Science and Engineering Technology 12, no. 4 (2024): 4810–12. http://dx.doi.org/10.22214/ijraset.2024.61063.

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Abstract: Kamala Das is a great female poet in contemporary Indo-Anglian Literature. Her poetry has been considered as a confessional poetry because it is a record of her individual experiences. The autobiographical elements strongly determine the tone and the contents of her poems. This paper aims to note the confessional mode in Das’s poetry. In exploring personal relationship, Kamala Das broods and always her eye is focused on the pathos of her own predicament. She depicted every personal experience, feelings in her poems which are universal. She raises her voice against patriarchal culture

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12

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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Dr., P. Kadhirvelu. "QUEST FOR LOVE AND THIRST FOR DEATH IN THE POETRY OF KAMALA DAS AND SYLVIA PLATH." International Journal of Current Research and Modern Education 1, no. 2 (2016): 122–25. https://doi.org/10.5281/zenodo.159081.

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<em>Confessional literature sincerely conveys the secrets of love and death. The themes are open declarations of aspirations and ugliness of life at the cost of its pleasure and beauty. Sylvia Plath and Kamala Das have made a sincere quest in search of Love and Death which turned materials for Confessional Genre. All her life she has come across only physical love and has never enjoyed genuine love. Her wish for spiritual love has made her write confessional poetry. Plath’s love for Ted Hughes, his desertion and her wish for resurrection to slaughter all men in the world for their untrue love

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14

Dubois, Martin. "Hopkins’s Confessional Notes and Desire: A Reconsideration." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 06 (June 5, 2008): 1–12. http://dx.doi.org/10.2218/forum.06.595.

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Since their publication in 1989, the confessional notes Gerard Manley Hopkins (1844-1889) kept as an undergraduate have been a major influence in shaping criticism of his work. The sexual indiscretions and longings the confessional notes record have been central to recent studies of eroticism in Hopkins’s poetry, corroborating the suggestion that his poems allowed for the homoerotic expression his religious vocation denied him. While not questioning the seriousness of Hopkins’s attraction to other men, this article seeks to establish the broader moral scrupulousness the confessional notes evid

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15

Bonasera, Carmen. "Bodies and self-disclosure in American female confessional poetry." European Journal of Life Writing 10 (July 9, 2021): SV33—SV56. http://dx.doi.org/10.21827/ejlw.10.37638.

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Far from being a mere thematic device, the body plays a crucial role in poetry, especially for modern women poets. The inward turn to an intimate autobiographical dimension, which is commonly seen as characteristic of female writing, usually complies with the requests of feminist theorists, urging writers to reconquer their identity through the assertion of their bodies. However, inscribing the body in verse is often problematic, since it frequently emerges from a complicated interaction between positive self-redefinition, life writing, and the confession of trauma. This is especially true for

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16

Guseynov, Malik Alievich. "CONFESSIONAL LYRICS BY TEMIRBULAT BEYBULATOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 36–39. http://dx.doi.org/10.31029/vestiyali21/6.

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The article considers one of the aspects of confessional lyrics of T. Beybulatov, reflecting the deep spiritual drama of the poet during his stay in prison. These works, with the dominant lyrical, soulful intonations, pain and anxiety of the lyrical hero, reflect the multi-vector development of Kumyk, all Dagestan poetry of the first years of the Soviet period.

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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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Դադյան, Քրիստինե. "Էնն Սեքսթըն. խոստովանական պոեզիան որպես ես-ի բացահայտման միջոց". Foreign Languages in Higher Education 28, № 1 (36) (2024): 235–48. https://doi.org/10.46991/flhe/2024.28.1.235.

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This article dwells upon the changes in American culture and especially in the overall landscape of American poetry in the 60s of the 20th century. It focuses on the peculiar features of confessional poetry and prominent poets who followed that artistic movement in post-war America. The paper also touches upon Anne Sexton’s life, McLean – a hospital also conventionally known as America’s most literary mental institution, its patients as well as the poet’s mastery of poetic expression. The research focuses on conducting an analysis of select poems by Anne Sexton. Confessional poet Anne Sexton w

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Yun, Jihyun. "Recuperating the Second Person Pronoun in Confessional Poetry." Journal of English Studies in Korea 46 (June 15, 2024): 5–26. http://dx.doi.org/10.46562/jesk.46.1.

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20

Hagaman, Sarah, and Jay Clayton. "Race, Gender, and Genetic Privacy in Kay Redfield Jamison's An Unquiet Mind and Meri Nana-Ama Danquah's Willow Weep for Me." Literature and Medicine 42, no. 2 (2024): 438–58. https://doi.org/10.1353/lm.2024.a951027.

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Abstract: This essay analyzes two 1990s memoirs of women struggling with hereditary mental illness, who express anxiety about revealing their conditions and about whether their revelations will violate the privacy of their close relations. Midcentury confessional poetry influences the modes of self-disclosure in Kay Redfield Jamison's An Unquiet Mind (1995) and Meri Nana-Ama Danquah's Willow Weep for Me (1998), though the memoirs feature concerns about genetics and biological psychiatry absent from the 1960s confessional poetry. As we show, the language surrounding mental illness structures wo

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Radhi Hummadi, Issa. "Audre Lorde's Who Said It Was Simple Characterized as a Confessional Mode." Journal of the College of languages, no. 42 (June 1, 2020): 266–85. http://dx.doi.org/10.36586/jcl.2.2020.0.42.0266.

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The research explores the confessional aspect in Audre Lorde's poem" Who Said It Was Simple ". Lorde depicts her personality under the stress of race, sex and sexuality. She discloses her own bitter experience concerning racism, sexism and sexuality in her poem to revive the retrospective truth of the Afro-Americans' life in the USA. This publicly manifestation of her personality and tribulation throughthe language ofpoetry has been regarded as the hallmark of confessional poetry.

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Hummadi, Issa Radhi. "Audre Lorde's Who Said It Was Simple Characterized as a Confessional Mode." Journal of the College of languages, no. 42 (June 1, 2020): 257–65. http://dx.doi.org/10.36586/jcl.2.2020.0.42.0257.

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The research explores the confessional aspect in Audre Lorde's poem" Who Said It Was Simple ". Lorde depicts her personality under the stress of race, sex and sexuality. She discloses her own bitter experience concerning racism, sexism and sexuality in her poem to revive the retrospective truth of the Afro-Americans' life in the USA. This publicly manifestation of her personality and tribulation throughthe language ofpoetry has been regarded as the hallmark of confessional poetry.

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Atef Ghalib, Mohammad. "Breaking the Mirror: Anne Sexton’s Poetic Self-Construction: Selected Poems." Wisdom Journal For Studies & Research 4, no. 5 (2024): 22–37. http://dx.doi.org/10.55165/wjfsar.v4i5.416.

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This study analyses Anne Sexton’s poetry using Linda Hutcheon’s theory of narcissism, as presented in “Narcissistic Narrative: The Metafictional Paradox”. Hutcheon's concept of narrative narcissism, highlighting self-referentiality, self-awareness, and the indistinction between the text and the author, provides an insightful framework for examining Sexton's confessional style. However, this paper examines how Sexton’s poems interact with the self as subject and object, revealing the contradictions of narcissism inherent in her work. Sexton’s poetry often intertwines personal tragedy with exten

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Takolander, Maria. "Confessional Poetry and the Materialisation of an Autobiographical Self." Life Writing 14, no. 3 (2017): 371–83. http://dx.doi.org/10.1080/14484528.2017.1337502.

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Yoo, Jeong-Hwa. "Confessional Poetry and the Abject: Focusing on Life Studies." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 87 (February 29, 2024): 137–59. http://dx.doi.org/10.21087/nsell.2024.02.87.137.

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McGowan, Philip. "John Berryman’s Last Prayers." Literature and Theology 34, no. 2 (2020): 184–205. http://dx.doi.org/10.1093/litthe/frz031.

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Abstract This article examines John Berryman’s last two poetry collections, Love & Fame (1970) and Delusions, etc. (1972) as the poetic articulations of Berryman’s intense scholarly engagement with philosophical and theological discourse. In eschewing confessional readings of his work, the article rehabilitates the term ‘confession’ as Berryman understood it: not as part of recurrent and reductive analyses of the Middle Generation but, rather, as a doctrinal node within Berryman’s theological conceptions of selfhood in relation to God and the role of prayer. In addition, this article conne

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Yunusoğlu, Andrada. "The Bodies We Inhabit: Reclaiming Power in the Poetry of Melissa Lozada-Oliva and Olivia Gatwood." Word and Text - A Journal of Literary Studies and Linguistics 12 (2022) (December 30, 2022): 124–41. http://dx.doi.org/10.51865/jlsl.2022.09.

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In this study I shall analyse peluda (2017) by Melissa Lozada-Oliva, and New American Best Friend (2017) and Life of the Party (2019) by Olivia Gatwood, focusing on how feminism and confessional poetry are used as means of empowerment and awareness for non-conforming identities. I shall analyse the most recurrent motifs and themes used by both poets in conjunction with feminist theory, highlighting the relationship between female identity and text. Furthermore, I shall describe how Melissa Lozada-Oliva and Olivia Gatwood reclaim their identity, language and discourse throughout the aforementio

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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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Wedding, Danny. "Cognitive Distortions in the Poetry of Anne Sexton." Suicide and Life-Threatening Behavior 30, no. 2 (2000): 140–44. http://dx.doi.org/10.1111/j.1943-278x.2000.tb01072.x.

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Cognitive therapists have described cognitive distortions that are frequently associated with depression. These distortions include arbitrary inference, selective abstraction, overgeneralization, magnification and minimization, personalization, and dichotomous thinking, which are often present in suicidal individuals. This article suggests it is useful to conceptualize cognitive distortions in literary terms and uses the professional oeuvre of confessional poet Anne Sexton to identify salient examples.

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Ivanov, Andrey. "Three Origins of Poetry." Ideas and Ideals 12, no. 4-2 (2020): 451–72. http://dx.doi.org/10.17212/2075-0862-2020-12.4.2-451-472.

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The article substantiates the existence of three types of poetic creativity: technimatic (gaming), social-confessional and sophian. The personal-subjective aspirations of poet and playing with the language are the sources of technimatic poetry. The social-confessional line in the world poetry originates from the Chinese “Shijin” (“The Book of Songs”). The source of this type of poetry is a deeply personal reaction on the events taking place in the world, and the need to inform other people about personal experiences, contemplations and thoughts. Particular attention in the article is paid to t

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Jamal, Nynu V. "‘Impersonal Personalism’: Kamala Das as a Confessional Poetess." Shanlax International Journal of English 8, no. 3 (2020): 31–33. http://dx.doi.org/10.34293/english.v8i3.3189.

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Kamala Das is a poetess who throws light on the oppression faced by the women folk from the patriarchal dominance through her own experience. The societal expectations or the social barriers were never a hindrance to her confessional attitude. The objective of the paper is to find how Kamala Das has used poetry as a vehicle to express her problems, mental dilemmas, and trauma. The paper explains how the poetess longed for love and affection and how she was deprived of the same.

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Brian Brodhead Glaser. "Fatherhood in Confessional Poetry: One Facet of Men’s Autobiographical Writing." College Literature 36, no. 4 (2009): 25–45. http://dx.doi.org/10.1353/lit.0.0074.

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Rana, Mayur, and Deepika Pant. "Kamala Das: A Radical Voice in Indian English Confessional Poetry." Shanlax International Journal of English 13, no. 2 (2025): 19–24. https://doi.org/10.34293/english.v13i2.8486.

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A seminal figure in the domain of Indian English poetry, Kamala Das is recognized as one of the prominent authors emerging from the third phase of Indian English Literature. Noted for her contentious yet widely acclaimed contributions, she is particularly distinguished for her confessional approach to writing. The exploration of identity has consistently been a predominant focus within her literary oeuvre. In her personal existence, her sense of identity remained perpetually unsettled. Her profound longing for self-identity and her aspirations for love constitute the central motifs present in

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Lawson, Kevin E. "Light from the “Dark Ages”: Lessons in Faith Formation from before the Reformation." Christian Education Journal: Research on Educational Ministry 14, no. 2 (2017): 328–46. http://dx.doi.org/10.1177/073989131701400206.

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This article explores how parish members in the later medieval era in England learned the Christian faith through a variety of means (e.g., preaching, liturgical calendar, art, music, poetry, drama, confessional instruction, spiritual kinship relationships, catechetical instruction) with an eye on what we might learn from this era that could strengthen the church's educational ministry efforts in the present.

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Islam, Nazrul, and Umakant Sharma. "Subverting the Patriarchy: Gender Roles in the Poetry of Sylvia Plath." RESEARCH HUB International Multidisciplinary Research Journal 12, no. 4 (2025): 106–9. https://doi.org/10.53573/rhimrj.2025.v12n4.014.

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Sylvia Plath’s poetry emerges as a profound exploration of gender identity, psychological trauma, and rebellion against patriarchal structures. Writing during a period when women's roles were rigidly defined by domesticity and subservience, Plath uses her poetic voice to interrogate, destabilize, and reimagine these constraints. Through key works such as Daddy, Lady Lazarus, The Applicant, and Ariel, this paper examines how Plath portrays the tension between societal expectations and female autonomy. By investigating her use of metaphor, irony, and confessional voice, the article reveals how P

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Panait, Raluca. "The Western Reception of Forugh Farrokhzad: New Orientalism and Confessional Poetry." Caietele Echinox 45 (December 1, 2023): 214–25. http://dx.doi.org/10.24193/cechinox.2023.45.14.

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The following study proposes to deconstruct the mythologising of Forugh Farrokhzad (1934/5-1967), a poet known mostly as Iran’s Sylvia Plath. This kind of analogy is based on interpretative and cultural preconceptions that connect women’s poetry with personal experience and amount the poetic voice to the empirical reality. Beyond that biographical obsession, reified through the export of confessionalism, comparing the two writers also implies appropriation of Forugh Farrokhzad to a Western cultural and literary field. By analysing a few poems, taking a close look at her interviews, and examini

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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 (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 p

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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 (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 p

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Henning, Peter. "Avskapelsens estetik." Tidskrift för litteraturvetenskap 41, no. 1 (2011): 55–63. http://dx.doi.org/10.54797/tfl.v41i1.11851.

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The Aesthetics of Detachment: Negotiations of Representation in Lars Norén’s Journal. While Lars Norén’s confrontational and confessional En dramatikers dagbok (A Dramatist’s Journal, 2008) has spurred numerous discussions regarding the nature of confession in today’s mediated literary public sphere, less has been said about the aesthetic project of the journal. This article traces the journal’s aesthetic project back to Norén’s poetry of the 1960’s and 1970’s. Utilising comparisons with works by Lyn Hejinian and Kenneth Goldsmith, an ongoing dialectic between subjectivity and textuality

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Wu, Colleen Shuching. "Poetry Lies: Poststructuralism and Robert Lowell’s Idea of Literary Representation." Style 58, no. 1 (2024): 1–21. http://dx.doi.org/10.5325/style.58.1.0001.

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ABSTRACT While Lowell’s private life is put on the spotlight and the signification of his poetry is attached to the trauma and drama of his life, it remains pressing to ask what actually distinguishes Lowell’s poetry. Lowell serves as a touchstone case for criticism on confessional poetry, and poetry in general, because Lowell’s poems negate the definition of writing as literary representation and simple celebration of personal aura, which greatly differs from his real life or the biographical depiction of his life. The distinction between Lowell and the lyric I sometimes might appear blurred

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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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Austenfeld, Thomas. "Razor's Edge: Robert Lowell Shaving." Pacific Coast Philology 47, no. 1 (2012): 1–16. http://dx.doi.org/10.2307/41851031.

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ABSTRACT Poetic evocations of bathrooms and especially of the act of shaving allowed Robert Lowell to explore certain manifestations of his manic-depressive illness in daily life. Particularly prominent in Life Studies but present throughout Lowell's work, references to shaving are linked to psychological turmoil, while bathrooms are explored as heterotopic spaces (Foucault). Confessional poetry finds a hitherto unexamined field in this poetic work.

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Olusegun, Lakanse, Obakanse, Solanke, Stephen Oladele, and Agboola, Olubunmi Tayo. "A PSYCHOANALYTICAL STUDY OF SELECTED NIGERIAN CONFESSIONAL POETS." Lagos Journal of Contemporary Studies in Education 2, no. 03 (2024): 241–62. https://doi.org/10.36349/lajocse.2024.v02i03.019.

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This paper explores some of the poems of four contemporary young Nigerian poets, namely J.K. Anowe, Romeo Oriogun, Logan February and Saddiq Dzukogi. These poets belong to a new school in Nigerian literature that some critics have dubbed ‘confessional poets’ because of the extreme intimacy and self-revelatory nature of their poetry. The poets and their poems are purposively selected to delineate different aspects of Nigerian confessional poetics, namely the foregrounding of the self, an obsessive quest for individuality amid the peremptory demands of the family and society, the use of autobiog

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Boemler, Anne, and Bryan Brazeau. "Tears in Heaven: Tracing the Contours of a Pan-European Transconfessional Genre." Humanities 11, no. 1 (2021): 4. http://dx.doi.org/10.3390/h11010004.

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This article explores the genesis, proliferation, and readership of an understudied genre of religious poetry in early modern Europe. The weeping poem—a devotional literary genre combining elements of epic narrative and Petrarchan lyric that focused specifically on the religious grief of biblical figures—swept across Europe in the forty years around the turn of the seventeenth century. Although this genre was instigated by the Italian Luigi Tansillo’s 1560 Le Lagrime di San Pietro and has often been read as exhibiting a distinctively Counter-Reformation spirituality, our survey of weeping poem

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Ghani, Hana Khalief, and Hussein Kadhum Ghallab. ""I am, I am, I am" Self-Criticism in the Confessional Poetry of Sylvia Plath." JOURNAL OF LANGUAGE STUDIES 5, no. 1 (2022): 207–21. http://dx.doi.org/10.25130/jls.5.1.16.

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This paper aims at examining the theme of self-criticism in selected poems by the American poet Sylvia Plath. In her practice of self-criticism, Plath is influenced by the personal happenings in her life and her adoption of Confessionalism as a means of expression. Thus, her autobiography is of vital importance to the understanding of her poetry. The paper argues that although Plath seeks self-betterment through criticizing the self, this is less visible in her life than in the art she produces and the poetic legacy she left. It is true that her poetry shows a sincere desire for self-construct

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КЦОЕВ, О. Ф., and К. И. ХЕТАГУРОВА. "EXISTENTIALISM AND POETRY OF I.V. DZHANAEV (NIGER)…" Kavkaz-forum, no. 19(26) (September 20, 2024): 16–25. http://dx.doi.org/10.46698/vnc.2024.26.19.001.

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В данной работе на основе литературного анализа впервые рассмотрена так называемая экзистенциальная поэзия И.В. Джанаева (Нигера), получившая широкое распространение в 20-30-е гг. XXв. Авторами в статье поэт представлен как одна из наиболее рельефных фигур в осетинской классике. События, происходившие в первой половине XX в., наложили свой отпечаток на мировоззрение И. Джанаева, что нашло свое отражение в его поэзии в разные периоды жизни. Специфика художественного мышления поэта заключается в соединении разного «типа художественных сознаний»: религиозного, мифопоэтического, философского и, в

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S. Sultan, Sabbar. "Lamie’ah Abbas Imara and the Bitter-Sweet Craft of Poetry." Arab World English Journal For Translation and Literary Studies 7, no. 1 (2023): 33–45. http://dx.doi.org/10.24093/awejtls/vol7no1.3.

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The Iraqi poet, Lamie’ah Abbas Imara (1929-12021) is one of the problematic figures in the 1950s-1960s whose relations with cultural and artistic names in her time raised endless controversy. Some critics find that most of her poetry is confessional and that her poems are written in direct, sometimes shocking, language without any need for a mediator or interpreter. The present paper discusses two tasks simultaneously. The major part rests in giving a translation of five of her major poems written in different times. The other point centers on giving a brief account of this polarizing figure i

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Singh, Ruby, and Aseem Tripathi. "The Poetry of Kamala Das: From Gender Identity to Suffering Humanity." Humanities and Development 20, no. 01 (2025): 66–74. https://doi.org/10.61410/had.v20i1.232.

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Modern feminist concepts entered Indian English Poetry via Kamala Das, a fierce opponent of the patriarchal system that has long dominated Indian society.Among the best Indian English women Poets is Kamala Das. Like many other progressive people from all backgrounds who have helped advance gender equality and women's empowerment in India,Kamala Das has a special place among Indian women poets who have fought for women's rights and their place in society. The poem highlights how identity and violence are intertwined, dismantling cultural norms, assigned identities, and established positions in

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de Leon, J. "Calling Self-Indulgence." TSQ: Transgender Studies Quarterly 6, no. 4 (2019): 620–34. http://dx.doi.org/10.1215/23289252-7771779.

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Abstract Recent works by trans and nonbinary poets, including Oliver Baez Bendorf, Jos Charles, jayy dodd, Joshua Jennifer Espinoza, Paige Lewis, and Danez Smith, gesture to a new mode of trans-confessional poetry. Trans poets practice naming as a form of self-indulgence, and trans names and pronouns are a form of poetry—following Audre Lorde's articulation—read into the world to give it new shape. In trans naming practices and poetry, self-indulgences are also demands made of another, a new name or unexpected pronoun asking for an affirmative repetition, a performative reflection: mirror rest

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Bartczak, Kacper. "Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery." Polish Journal for American Studies, no. 9 (2015) (July 20, 2023): 51–74. http://dx.doi.org/10.7311/pjas.9/2015/4.

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Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of

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