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Journal articles on the topic 'Theodore Roethke'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Laverty, Christopher. "Seamus Heaney and Theodore Roethke: re-evaluating affinities." Irish Studies Review 29, no. 1 (January 2, 2021): 71–83. http://dx.doi.org/10.1080/09670882.2021.1872897.

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2

강방영. "Nature Imagery and the Imperishable Quiet in Theodore Roethke." Studies in English Language & Literature 33, no. 2 (May 2007): 1–19. http://dx.doi.org/10.21559/aellk.2007.33.2.001.

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3

Balakian, Peter. "Theodore Roethke, William Carlos Williams and the American Grain." Modern Language Studies 17, no. 1 (1987): 54. http://dx.doi.org/10.2307/3194752.

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4

Benoit, Raymond. "“A Dolphin's at My Door”: Unpublished Lines by Theodore Roethke." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 14, no. 1 (January 2001): 40–44. http://dx.doi.org/10.1080/08957690109598139.

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5

Benoit, Raymond. "“My Estrangement from Nature”: An Undergraduate Theme of Theodore Roethke." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 11, no. 1 (January 1998): 31–33. http://dx.doi.org/10.1080/08957699809601253.

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6

jin eun-kyung. "The Nature in the Confessional Poetry of Kim Soo-young and Theodore Roethke." Literature and Environment 16, no. 3 (September 2017): 217–41. http://dx.doi.org/10.36063/asle.2017.16.3.007.

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7

Harfitt, Gary, and Blanche Chu. "Actualizing Reader-Response Theory on L2 Teacher Training Programs." TESL Canada Journal 29, no. 1 (February 27, 2012): 93. http://dx.doi.org/10.18806/tesl.v29i1.1091.

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In this article we share our experiences of using poems in teacher-training courses where the students are predominantly second-language learners. We describe how we tried to help learners engage with a creative text through its language and meaning. We share our experiences of helping to facilitate the open expression of opinions and feelings in L2 teachers (both inservice and preservice) on creative texts, specifically the poem “My Papa’s Waltz” by Theodore Roethke. The use of this poem and others like it in teacher education courses in three of Hong Kong’s tertiary institutions has produced consistently impressive outcomes in terms of teachers’ responses to poetry in general. We aim to illustrate a teaching strategy that emphasizes the reader as expert and to show how this process leads EFL/ESL teachers as well as English-language learners (ELLs) to experience more lived, esthetic responses as part of their coursework.

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8

Almon, Bert. "Theodore Roethke, William Stafford, and Gary Snyder: The Ecological Metaphor as Transformed Regionalism by Lars Nordstrom." Western American Literature 25, no. 1 (1990): 81–82. http://dx.doi.org/10.1353/wal.1990.0073.

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9

Sharma, Bam Dev. "An Analysis of Poetic Text and Language: A Reference to Roethke's "My Papa's Waltz"." Humanities and Social Sciences Journal 13, no. 2 (December 1, 2022): 41–51. http://dx.doi.org/10.3126/hssj.v13i2.49801.

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Poetry is sonic language and it is meant for reading aloud with lyrical and musical tone Furthermore, poetry is figuratively rich language where mere linguistic meanings cannot purport the implied meanings of words and poetic contexts and the readers need to explore both covered and overt meanings to make a better understanding of poetry. Readers can grasp overt meanings by reading the outward shape of the poems like word and syntax. The covered meaning of poetry, however, is explored through special treatments to poetic writing. Considering this basic premise, this article tries to analyze poetic art and language by making an analysis of the famous poem, "My Papa's Waltz" by Theodore Roethke, one of the famous American poets. To prove the claim, I have relied on literary views and scholarly arguments by great scholars and eminent poets. This article, therefore, makes an analytical approach of poetic writing, thereby examining distinct poetic elements like linguistic, rhetoric, figurative and sonic in the poem " My Papa's Waltz": exposing why poetic language differs from normal prosaic writing in terms of stylistic corpus and its form and presentation. The analytical part of the article examines aspects of linguistic, rhetorical and sonic elements in the poem to be different from prosaic genre of expression.

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10

Kang,Bang-Young. "Nature and Self in Theodore Roethke’s Poetry." Studies in English Language & Literature 35, no. 2 (June 2009): 1–21. http://dx.doi.org/10.21559/aellk.2009.35.2.001.

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11

Barillas, William. "Meter in Theodore Roethke's MY PAPA’S WALTZ." Explicator 73, no. 1 (January 2, 2015): 9–12. http://dx.doi.org/10.1080/00144940.2014.1000246.

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12

MEYERS, JEFFREY. "The Background of Theodore Roethke's “Elegy for Jane”." Resources for American Literary Study 15, no. 2 (1985): 139–44. http://dx.doi.org/10.2307/26366663.

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13

MEYERS, JEFFREY. "The Background of Theodore Roethke's “Elegy for Jane”." Resources for American Literary Study 15, no. 2 (1985): 139–44. http://dx.doi.org/10.2307/resoamerlitestud.15.2.0139.

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14

Bradley, N. "A Possible Allusion in Theodore Roethke's 'The Small'." Notes and Queries 58, no. 4 (December 1, 2011): 592–94. http://dx.doi.org/10.1093/notesj/gjr144.

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15

Sharp, Ronald A., and Peter Balakian. "Theodore Roethke's Far Fields: The Evolution of his Poetry." American Literature 62, no. 2 (June 1990): 353. http://dx.doi.org/10.2307/2926943.

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16

Kang,Bang-Young. "The Symbolic Meaning of ‘Father’ in Theodore Roethke’s Poetry." Studies in English Language & Literature 36, no. 2 (May 2010): 1–20. http://dx.doi.org/10.21559/aellk.2010.36.2.001.

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17

Floyd-Wilson, Mary. "Poetic Empathy: Theodore Roethke's Conception of Woman in the Love Poems." South Atlantic Review 56, no. 1 (January 1991): 61. http://dx.doi.org/10.2307/3200144.

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18

Chavkin, Allan, and Nancy Feyl Chavkin. "Theodore Roethke’s “The Exorcism”: Manic-Depressive Illness and Poems of Dissociation." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 30, no. 3 (March 21, 2017): 165–69. http://dx.doi.org/10.1080/0895769x.2016.1273752.

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19

McCleery, Nancy. "Theodore Roethke’s Far Fields—The Evolution of His Poetry by Peter Balakian." Western American Literature 25, no. 3 (1990): 269–70. http://dx.doi.org/10.1353/wal.1990.0060.

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20

Rohrkemper, John. ""When the Mind Remembers All": Dream and Memory in Theodore Roethke's "North American Sequence"." Journal of the Midwest Modern Language Association 21, no. 1 (1988): 28. http://dx.doi.org/10.2307/1315126.

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21

Almohammed, Hala, and Amel Mahmoud. "Theodore Roethke’s “The Far Field”: The Spiritual Experiences through Jungian Archetypes." Humanities Journal of University of Zakho 10, no. 3 (September 24, 2022). http://dx.doi.org/10.26436/hjuoz.2022.10.3.844.

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ABSTRACT:This research paper deals with one of the most prominent poems by a modern American poet Theodore Huebner Roethke (1908-1963) and the title of the poem is “The Far Field” (1964). The current paper examines the underlining mystical significance of the images used in Roethke’s “The Far Field.” In this poem, the poet figuratively expresses his spiritual journey to realize God within himself through deep contemplation in nature. Very much similar to the mystic experience of realizing the divine within himself while living in solitude. The discussion explores particular Jungian archetypes in this poem scrutinizing their referentiality both on the aesthetic figurative level of the poem and on the spiritual dimension. For example, Roethke dexterously employs the image of the far field to refer to death but interestingly this far field with which dead animals are strewn about is also a symbol of rebirth where new life is destined to emerge like a garden that decays in September only to flourish back in spring. Thereby, throughout such images drawn from nature, the poet portrays the different stages of spiritual growth he passes through. These stages are; fear of mortality, transcending this fear through realizing the cycle of birth and death which is the reincarnation, and finally the detachment from the physical realism into a union with the divine.

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22

Valčić, Sonja. "Poezija Theodora Roethkea." Radovi. Razdio historije, arheologije i historije umjetnosti 14, no. 6 (May 6, 2018). http://dx.doi.org/10.15291/radovihahu.1937.

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Theodore Roethke, njegov »Ja« i njegova poezija čine jednu nerazdvojnu cjelinu. Kad se čitaju njegove pjesme čovjek neminovno hoće da sazna nešto i o tom čovjeku-pjesniku, nemoguće je sagledati bit njegove pjesničke koncepcije bez poznavanja njega samoga.

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23

"A necessary order: Theodore Roethke and the writing process." Choice Reviews Online 29, no. 03 (November 1, 1991): 29–1351. http://dx.doi.org/10.5860/choice.29-1351.

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24

""My toughest mentor": Theodore Roethke and William Carlos Williams (1940-1948)." Choice Reviews Online 37, no. 05 (January 1, 2000): 37–2644. http://dx.doi.org/10.5860/choice.37-2644.

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25

Mishra, Richa, and Hitesh Raviya. "HISTORY OF CONFESSIONAL POETRY IN INDIAN WOMEN WRITINGS A SHORT OVERVIEW." Towards Excellence, March 31, 2020, 79–89. http://dx.doi.org/10.37867/te120209.

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‘Confessional’ is an adjective first applied to the poems of the American poets Robert Lowell, Anne Sexton, Sylvia Plath, W.D. Snodgrass, John Berryman and Theodore Roethke to refer to the autobiographical nature of their work. The confessional poet considers the world, an extension of herself. All confessional poetry springs from the need to confess; confessional poets bare their soul and body and hide nothing between their self and their direct expression of that self. They put no restrictions on subject matter, no matter how personal. Usually anti-elegant and anti- establishment, confessional poems are almost like war-cries triumphing over pain and defeat. The best confessional poems are more than confessions: they are revelations, about their creator’s personal vexations, dilemmas and predicaments, and above all about the human condition. This review work tries to prove that confessional poetry was always present in Writings by women in India. This work is a literature review of known writings by women in India.

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26

Walker, Luke. "Linda Freedman, <i>William Blake and the Myth of America: From the Abolitionists to the Counterculture</i>." Blake/An Illustrated Quarterly 55, no. 4 (April 27, 2022). http://dx.doi.org/10.47761/biq.308.

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We seem to be living in a golden age of scholarship on Blake’s reception, and Linda Freedman’s William Blake and the Myth of America is a welcome addition to this critical canon. As Freedman notes, the recent scholarly antecedents of her study include the collections Blake 2.0: William Blake in Twentieth-Century Art, Music and Culture (ed. Steve Clark, Tristanne Connolly, and Jason Whittaker, 2012), Blake, Modernity and Popular Culture (ed. Clark and Whittaker, 2007), and The Reception of Blake in the Orient (ed. Clark and Masashi Suzuki, 2006), as well as Colin Trodd’s monograph Visions of Blake: William Blake in the Art World, 1830–1930 (2012) and Edward Larrissy’s Blake and Modern Literature (2006). Freedman’s book, which benefits from sixteen color illustrations embedded throughout the text, also follows hot on the heels of the even more lavishly illustrated William Blake and the Age of Aquarius (ed. Stephen F. Eisenman, 2017). Yet, as she acknowledges, the contents of William Blake and the Myth of America connect it more specifically to William Blake and the Moderns, the 1982 collection edited by Robert J. Bertholf and Annette S. Levitt, which prepared the ground for the current crop of Blakean reception studies; figures from that book who reappear in Freedman’s monograph include Walt Whitman, Hart Crane, T. S. Eliot, Theodore Roethke, Robert Duncan, and Allen Ginsberg.

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27

"The Day after the Dean of Michigan State College Admits Him to Lansing Sparrow Hospital for Rest, a Naked Theodore Roethke Barricades Himself behind a Hospital Mattress." Missouri Review 34, no. 3 (2011): 145. http://dx.doi.org/10.1353/mis.2011.0082.

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28

"Theodore Roethke's far fields: the evolution of his poetry." Choice Reviews Online 27, no. 03 (November 1, 1989): 27–1378. http://dx.doi.org/10.5860/choice.27-1378.

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