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Artykuły w czasopismach na temat "Alcoholism – Poetry"
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Sharma, Pradip. "Poetic Politics in the Confessional Poetry of Lowell and Plath". Literary Studies 35, nr 01 (9.03.2022): 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 kernel point of this paper is to discuss the way the poets debunk the boundary between private and public domain and the way they prefer to write on socially stigmatized issues like alcoholism, mental illness, adultery, suicidal thought, and depression. By exploring these issues, I argue that confessional poetry penetrates into the poetics of politics under postmodernism which blurs the border line of raw and cooked, decent and profane matters. While examining the selected poems of Lowell and Plath, the cathartic motto of the poets has been highly focused when they express their troubled experiences which were indecent in the past.
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Muhammad Ahmed Awan i Abdul Khalique. "An Analytical Study Of Aagha Hashar's Poetry". Dareecha-e-Tahqeeq 4, nr 3 (5.11.2023): 74–79. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.142.
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Aagha Hashar Kashmiri is a renowned poet and dramatist. He is considered one of the pioneers of Modern Urdu theater and his work is known for his poetic language in his dramas. He also wrote many poems i.e. "Shukariya Europe", Moj-e-Zam Zam, Eid Mubarak, Sultan tipu and so on. His poetry has Romanism, socialism, alcoholism, sarcasm, humour and vulgarity. Romanticism was inherent in his poetry and beauty was part of his nature. That is why his poetry is full of romanticism. The essence of speech is prominent in his poems and songs. Imagination, figure carving, subtle elegance, informality, creativity, similes and metaphors are the distinguish characteristics of his Ghazals. He also uses vulgar and immortal words in his poetry but his poetry contains hope and philosophy of life. Aagha Hashar had a lasting impact on Urdu.
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Mai, Anne-Marie. "Märta Tikkanen’s gender and alcohol saga". Nordic Studies on Alcohol and Drugs 34, nr 4 (sierpień 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 inspired other women to confess their gender equality problems to the public. The alcohol abuse of Märta Tikkanen’s husband Henrik Tikkanen was seen as an allegory for the more general problems in the relation between men and women. My essay introduces Märta Tikkanen’s poetry collection and discusses how the poems develop the theme of gender and alcohol. I will also compare her description of their marriage with Henrik Tikkanen’s self-portrait in his autobiographical novella Mariegatan 26, Kronohagen (1977). The analysis refers to contemporary research on gender and alcohol abuse and discusses how the poems contribute to a public recognition of the relationship between gender and alcohol abuse. The essay discusses the reception of Märta Tikkanen’s influential poems and explores her treatment of alcohol and gender in relation to other Nordic confessional or fictional books on alcohol abuse.
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Crammer, J. L. "Editor Creates Journal". British Journal of Psychiatry 173, nr 2 (sierpień 1998): 114. http://dx.doi.org/10.1192/s0007125000150901.
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Every journal has its own character. This is a reflection of the editor's interests and concerns, his conception of what the journal is there to do. He selects out of all the papers offered by contributors those which by subject-matter fit the journal's points of view. A journal may be called Clinical Psychiatry and will then obviously not publish papers on the chemistry of helium or the early poetry of T. S. Eliot, but what about human brain physiology or animal psychology? Observations on homosexuality in dogs, perhaps, but not experimental alcoholism in rats? Behavioural problems in people with diabetes, treatment of the epilepsies, fear of flying, depiction of suicide in opera? Where will the editor be tempted to extend the boundary of acceptance?
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Mulligan, Joseph. "Mediating Andean Modernity: The Literary Oracular in Muerte por el tacto by Jaime Saenz". Bolivian Studies Journal 26 (10.12.2021): 83–106. http://dx.doi.org/10.5195/bsj.2021.252.
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Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism.
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Dr. Upendra Kumar. "Reinterpretation of Alfred Lord Tennyson’s Selected Poetry: A Thematic Analysis". Creative Launcher 5, nr 3 (30.08.2020): 124–29. http://dx.doi.org/10.53032/tcl.2020.5.3.17.
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Alfred Lord Tennyson was the most loved and acclaimed poet of the Victorian Era. He was born on 06 August 1809 in Somersby, Lincolnshire, England. He belonged to an influential family as his father was a clergyman having a large family. Alfred Lord Tennyson had 11 siblings and he showed his interest for writing in his early age. When he was merely thirteen years old, he wrote a 6000-line poem in epic style. His father was suffering from mental breakdowns and had an addiction for alcoholism. One of Tennyson’s brothers would quarrel with his father and another was sent to mental asylum. One more brother had opium addiction like T.S. Eliot. Tennyson entered Trinity College, Cambridge in 1827 and he wrote Poems by Two Brothers in collaboration with his brother there. Tennyson had close friendship with Arthur Henry Hallam and both of them went to Europe tour in 1830 and 1832. Tennyson wrote an elegy In memoriam on Hallam’s death. He dedicated some of his poem to Hallam. He published Poems Chiefly Lyrical in 1830 and then Poems in 1832. People criticized these books and consequently he did not write for nine years. He got emotionally attached with Emily Sellwood. He rose to fame in 1942 and when his elegy published in 1850, he became the most popular poet of England. He became the Poet Laureate of England after the death of William Wordsworth and when Samuel Rogers refused this offer. He got married with Emily Sellwood. He died on October 6, 1892 and was buried in Westminster Abbey. Present paper is an attempt to analyse Tennyson’s selected poems from multiple angles.
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Skorczewski, Dawn. "Unbecoming Archives: Anne Sexton's "Perverse" Imagination". American Imago 80, nr 4 (grudzień 2023): 693–706. http://dx.doi.org/10.1353/aim.2023.a918106.
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Abstract: It is impossible to read much about American poet Anne Sexton before encountering references to her "perverse" imagination. Critics routinely argue that she paints a perverse vision of childhood sexuality, female identity, and adult sexuality in her work, and they often object to her frank discussions of the body, its pleasures, and its dangerous powers. Her depictions of mental illness, initiated in To Bedlam and Part Way Back , also earned the derision of many critics who urged her "not to enquire further." Helen Vendler (1988) argued that "a poem was never better for having a uterus in it," and James Dickey objected to being exposed to so much "naked suffering"; that quote was in Anne's wallet when she killed herself in her garage in 1974. In her interviews and her poetry, Sexton answered these critics as a confessional poet and a cultural critic. But even after her death, accusations of her perversion abound. First, her biographer, Diane Middlebrook, exposed her sexual abuse of her daughter Linda. And then Sexton's sister Blanche referred to the poet's "perverse imagination" in a 1991 letter to the Boston Globe , where she and her daughters objected to how Middlebrook's biography represented Sexton's family as riddled with alcoholism, child neglect and/or abuse, and suicide.
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Radyshevskyi, Rostyslav. "DANYLO BRATKOVSKYI AS A «SPEAKER OF PIETY»: POLISH LANGUAGE POETRY". Polish Studies of Kyiv, nr 38 (2022): 259–78. http://dx.doi.org/10.17721/psk.2022.38.259-278.
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The article analyzes the worldview system of Danylo Bratkowski, presented in his Polish-language poetry. Two vectors of her development in the multicultural space of the border area are indicated - as a citizen of the Commonwealth of Nations and a son of the Ukrainian people, who at that time formed the baroque culture of this state on an equal footing with other peoples, but at the same time defended her own national values. It has been proven that the poet embodied the principles of civilizational proteism, which, according to David Szymchak’s definition, had a moderate character. This was manifested in the image of the Sarmatian hero, who skillfully combined common state values with his own national and religious beliefs in the intercultural space of the borderland. The artist’s «piety» manifested itself not only in religious matters, but also in the moral and social code that he professed. Most of the poems in the collection «The World Considered in Parts» are dedicated to this very topic, framed by baroque conceptualism. The problems of women’s fate, youth and old age, freedom of national expression, moral transgressions in society, political equality, etc., require more detailed consideration. One of the key moral transgressions among representatives of different nationalities was alcoholism. Many poems by Danylo Bratkovskyi are devoted to this problem. The poet condemned this harmful habit, both male and female, which destroyed the person and his environment. A passion for excessive wealth and foreign fashion, which often put a person in a ridiculous position, had similar negative connotations. Laughter combined with satire became a feature of Bratkovsky’s authorial style. The writer’s fascination with Sarmatian ideas influenced the formation of his lyrical hero. He is presented in the spirit of idealization, devoid of negative features, endowed with special virtues. From a political point of view, this image has a more realistic character, since the Polish and Ukrainian nobility preserved the tradition and attributes of their status, but in their actions and habits they deviated far from this ideal. From the collection it appears that the author idealized himself and portrayed himself as an example to follow. Balancing between political ambitions and universal values, expressed in philosophical and religious dimensions, testify to the high level of education and diplomacy of the poet as a representative of the Ukrainian people, Orthodoxy and a citizen of a multicultural state.
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Kubiak, Przemysław. "STAN NIETRZEŹWOŚCI JAKO „AFEKT” W RZYMSKIM PRAWIE KARNYM?" Zeszyty Prawnicze 15, nr 1 (5.12.2016): 33. http://dx.doi.org/10.21697/zp.2015.15.1.02.
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Drunkenness – a “Passion” in Roman Criminal Law?SummarySince ancient times jurists and lawyers have had to handle offencesconnected with alcohol abuse. There are only three texts on drunkenness in the Roman legal sources: two relate to offences committed byinebriate soldiers, and the third contains the basic division into intentional offences, accidental offences, and crimes of passion. In all threecategories drunkenness was a mitigating factor, which may be surprising for modern lawyers. Other Roman sources present public opinionon drinking, which seems to have depended on the circumstances– heavy drinking and alcoholism were disapproved of. A precise analysis of the rhetorical writings shows elaborate distinctions betweenintentional and unintentional acts. Drunkenness was regarded as anemotional state which could influence the penalty, but the specific circumstances of the offence were crucial. The rhetorical works confirmthe views presented in poetry and philosophy. Contrary to the legalsources, the facts seem to show that a judge could sentence an offenderto a severe or mild punishment, or even acquit him if drunkenness hadbeen a factor contributing to the offence. The rhetorical works may beconsidered to provide not only an important theoretical background tothe legal sources, but also crucial supplementary information givinga better insight into Roman criminal law.
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Rzepa, Agnieszka. "Patrick Lane and Lorna Crozier on Gardens and Cats: Memoirs of Loss and Sustenance". Roczniki Humanistyczne 72, nr 11 Zeszyt specjalny (6.06.2024): 97–108. http://dx.doi.org/10.18290/rh247211.8s.
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Patrick Lane and Lorna Crozier, both prominent Canadian poets, spent together over four decades as partners and later as a married couple. While original and unique in their respective visions and concepts they present in their poetry, both often focus on the deep links between human and non-human, people and the world of animate and inanimate nature. This focus is also prominent in their memoirs: Lane’s There Is a Season: A Memoir in a Garden (2004; published in the US as What the Stones Remember: A Life Rediscovered), and Crozier’s Through the Garden: A Love Story (With Cats) (2020). This article focuses specifically on the literal and metaphoric meanings and roles of gardens and cats in the process of coming to terms with loss (in particular death) and change as described in the two memoirs. The former is Lane’s meditation on the process of recovery from alcoholism and drug addiction, which is accompanied by a reflection on his past, in particular his relationship with his mother—all told in the context of his work on developing his garden. One of his poignant conclusions is “What we are is a garden”, picked up by Crozier in Through the Garden, which explores the last two years of Lane’s life, marked by grave illness, and the story of their relationship—a life lived with cats.
Rozprawy doktorskie na temat "Alcoholism – Poetry"
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Pratt, David Camak. ""Too many olives in my martini" W.C. Fields and Charles Bukowski as postmodern carnival kings /". Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1212601300.
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Olofsson, Lilly. "Stuck in a loop : A project about feeling mentally stuck". Thesis, Linnéuniversitetet, Institutionen för design (DE), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96663.
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Combining psychology literature, social media platforms and collaboration with online communities, this visual communication project explores the experiences and struggles of people that have grown up in dysfunctional households. The intent of this project is to share stories from people who struggle with feeling mentally stuck, in order to fight the stigma surrounding mental health related issues.
Książki na temat "Alcoholism – Poetry"
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Hyde, Lewis. Alcohol and poetry: John Berryman and the booze talking. Dallas, Tex: Dallas Institute Publications, 1986.
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Nhoṅʻʺ, Rhaṅʻ. Yacʻ rvhe raññʻ kruikʻ Kui Kui nhaṅʻʹ ʾA rakʻ kabyā myāʺ. Pu jvanʻ toṅʻ, Ranʻ kunʻ: Paṅʻ nī Cā ʾupʻ tuikʻ, 2006.
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1954-, Gorham Sarah, i Skinner Jeffrey, red. Last call: Poems on alcoholism, addiction & deliverance. Louisville, Ky: Sarabande Books, 1997.
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W, Cliff. Faces: A tribute to Marworth. Washington, N.J: Sobriety Press, 1986.
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McKeown, Paul David. Ship slips: Journey of hope. Belleville, Ont: Guardian Books, 2007.
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MacSweeney, Barry. The book of demons. Newcastle upon Tyne [England]: Bloodaxe Books, 1997.
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Inc, Health Communications, red. Bread and roses: A poetry anthology for adult children. Pompano Beach, Fla: Health Communications, 1988.
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Juárez, Salvador. Los más bajos fondos. San Salvador, El Salvador: Ediciones Salvador Juárez, 2012.
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McConville, Brigid. Women under the influence: Alcohol and its impact. New York: Schocken Books, 1985.
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McConville, Brigid. Women under the influence: Alcohol and its impact. London: Pandora, 1995.
Znajdź pełny tekst źródłaCzęści książek na temat "Alcoholism – Poetry"
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Fadiman, Anne. "The Oakling and the Oak: The Tragedy of the Coleridges". W Letter Writing Among Poets. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748681327.003.0006.
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The relationship between Samuel Taylor Coleridge and his elder son, Hartley, was close but fraught. Hartley, also a poet, was immortalized at a young age by the poetry of his father and William Wordsworth, burdened by impossible expectations, damaged by his father’s abandonment of his family, and drained by alcoholism. ‘The Oakling and the Oak’ derives its title from an 1833 review of the only book of poetry Hartley published in his lifetime; it praised the verse for embodying ‘no trivial inheritance of his father’s genius’ but also quoted the old saying that ‘the oakling withers beneath the shadow of the oak.’ Using letters by, to, and about Samuel Taylor Coleridge and Hartley as a framework, this chapter takes us inside the emotional life of their relationship and attempts to explain the breach that kept them apart for the last twelve years of Samuel Taylor Coleridge’s life.
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Burrows, Hannah. "The Mead of Poetry: Old Norse Poetry as a Mind-Altering Substance". W Distributed Cognition in Medieval and Renaissance Culture, 99–119. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438131.003.0006.
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This chapter examines the Old Norse myth of the mead of poetry in light of the distributed cognition hypothesis. It explains how Norse skaldic poetry scaffolds various cognitive processes, and then argues that the myth of the poetic mead, which sees poetry as an alcoholic substance, is exploited by Old Norse poets to understand and describe poetry’s effect on the mind. Examples are given that suggest poets saw poetry as ‘mind altering’ in ways that resonate with certain aspects of the distributed cognition hypothesis: in particular, that poetry is cognition-enabling through feedback-loop processes; that the mind can be extended into the world and over time in poetry; that cognition can be shared and/or furthered by engaging with other minds; that the body plays a non-trivial role; and that poetry performs mental and affective work in the world.
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Ahmed, Omar. "Poetic Fatalism". W Studying Indian Cinema, 51–68. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0004.
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This chapter evaluates Guru Dutt's Kaagaz Ke Phool (Paper Flowers, 1959). A hymn to the golden age of the studio system, actor/director Guru Dutt's greatest achievement was dismissed on its initial release. One of the first Indian films to be shot in cinemascope, the melancholic story of an alcoholic film-maker (Guru Dutt) and the actress he discovers (Waheeda Rehman) makes for a poetic critique of the film-making process. The chapter focuses on the director's status as one of Indian cinema's pre-eminent auteurs, thematic dimensions, and ground-breaking technical aspects. It also looks at the role of lyricist Kaifi Azmi, gender representations, and the unmistakable brand of poetic fatalism that has come to define much of Dutt's cinema.
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Mariani, Paul. "The One Sane Milkman, I Fear". W The Fire That Breaks, 67–92. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954361.003.0005.
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In his lifelong wrestle with what he called his “frenemy” God, John Berryman continually turned to the influence of Gerard Manley Hopkins’s sacramental vision. Amidst his struggles with depression, alcoholism, and self-doubt, Berryman looked to Hopkins as a model for how to express, and how to embrace, difficult belief. A close reading of Berryman’s “Dream Song 377,” a poem that takes Hopkins as a subject and evokes one of his sermons, shows not only that Berryman adopted versions of Hopkins’s stanzaic and stress patterns, but also that he, along with Henry, his poetic alter ego in the Dream Songs, shared with Hopkins a hunger for a still center.
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"Hartley Coleridge (1796-1849)". W A Century of Sonnets, redaktorzy Paula R. Feldman i Daniel Robinson, 196–99. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0071.
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Abstract Hartley Coleridge had a strained relationship with his father, Samuel Tay lor Coleridge, who named him after the associationist philosopher David Hartley (1705-57). As a child, he was precocious and imaginative, but William Wordsworth’s poem “To H. C., Six Years Old” expresses an anxiety for him that proved all-too prophetic. As an adult poet, his favorite form was the sonnet, and his sonnets were greatly admired during his lifetime. Serious literary success, nonetheless, eluded him, primarily because of alcoholism and an insecurity derived in part from being his father’s son.
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Kane, Daniel. "Lou Reed: “In the Beginning Was the Word”". W "Do You Have a Band?", 40–69. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231162975.003.0003.
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This chapter analyzes the ways in which Lou Reed’s vision of himself as a writer informed his music and lyrics for the Velvet Underground and his solo career. I track how Reed’s engagement with Andy Warhol and the New York School of poets complicated and troubled his otherwise relatively traditional views of the Poet as oracular figure. The chapter pays special attention to Reed’s stories and poems published in his collegiate-era mimeographed journal Lonely Woman Quarterly, analyzing how these works ultimately fed into Reed’s music and lyrics in the 1960s, 70s, and 80s. Mixing a world-weary, vernacular tone with bursts of inspired disjunction, or interrupting a straightforward narrative with Joycean free-association, Reed used the journal to sketch the personae that were to prove obstinate presences throughout his career. Reed’s porn-freaks, alcoholics, suburbanite wannabees, drag queens, hustlers, and junkies all got their start at Syracuse University, accompanying Reed on his journey from Lewis to Louis to Luis and, ultimately, Lou.
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Snyder, Michael. "Threshold of Assent". W James Purdy, 141—C9.P49. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197609729.003.0010.
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Abstract This chapter has Purdy reaching the threshold of assent, borrowing a chapter title from The Nephew (1960). He reached a crest of critical praise and received prestigious grants. The Nephew’s reception by poets, writers, and critics is traced, including responses from William Carlos Williams and James Merrill. Outrage and fallout followed the novel’s publication in Bowling Green, Ohio, since characters were based on locals. His father there and mother in Findlay dealt with Richard Purdy’s alcoholism after his acting career nosedived in 1957. In 1961, dramatizations of Purdy’s works including Malcolm were staged in New York involving stars like Ruth Ford and Eli Wallach. A second collection included two short plays that were published in women’s magazines, showing his broad appeal. Edith Sitwell gave Children Is All hosannahs of praise, stoking envy and a desire to question it in some.