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Robert Lowell's Life Studies won the National Book Award for Poetry in 1960 and is credited with initiating the confessional poetry movement, which included followers and students of Lowell such as Anne Sexton and Sylvia Plath. In Life Studies, Lowell channeled his 1950s experiences with bipolar disorder and mental health hospitalizations into poems such as "Man and Wife", "Waking in the Blue", and "Home After Three Months Away". Lowell's hard-won Life Studies triumph, though most recently analyzed through socioeconomic and "divine madness" lenses, can also be understood through Carl Jung's individuation concept which posits that self-realization can be attained through the reconciliation of one's own conscious and unconscious mental processes. This article argues that Lowell's Life Studies poems, when examined through Jungian individuation, enabled Lowell to achieve self-realization, and paved the way for mentally ill individuals to learn how to achieve psychological wholeness through art. [ABSTRACT FROM AUTHOR]

Robert Lowell’s Life Studies won the National Book Award for Poetry in 1960 and is credited with initiating the confessional poetry movement, which included followers and students of Lowell such as Anne Sexton and Sylvia Plath. In Life Studies, Lowell channeled his 1950s experiences with bipolar disorder and mental health hospitalizations into poems such as “Man and Wife”, “Waking in the Blue”, and “Home After Three Months Away”. Lowell’s hard-won Life Studies triumph, though most recently analyzed through socioeconomic and “divine madness” lenses, can also be understood through Carl Jung’s individuation concept which posits that self-realization can be attained through the reconciliation of one’s own conscious and unconscious mental processes. This article argues that Lowell’s Life Studies poems, when examined through Jungian individuation, enabled Lowell to achieve self-realization, and paved the way for mentally ill individuals to learn how to achieve psychological wholeness through art.

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 a literary genre of the expression of personality. It is where the art of poetry is similar to the art of confession and the inclination of poetry to move toward the too personal. The personal life of the poet under the dilemma of psychological crisis, sex, family life, humiliation and mental and psychological state of mind moves to the forefront of the poem. Personal pain, experiences, trauma, depression, psychological break-down and the private relationships articulated through a new kind of free verse and mode of expression. Humanistic Psychology as a therapeutic and a person-centered theory acts both as a means of selfanalysis and as a literacy device. It enables consideration of the poet's self and how this self feels irritated for being only an actual self, try to move from the actual to the ideal self until it successfully reaches selfassertion and self-actualization in relation to his/her poetic language and the process of creativity. Hence, in order to study the confessional poetry, domestic aspects and the consequences of their psychoanalytic literary approach objectively play a significant role. [ABSTRACT FROM AUTHOR]

Este trabajo pretende ofrecer una crítica productiva, siguiendo al teórico francés Antoine Berman, de dos traducciones del célebre poema “The Holy Innocents” de Robert Lowell al español. Robert Lowell no es sólo uno de los poetas más importantes de la segunda mitad del siglo XX, sino que también ha sido traducido al español en varias ocasiones. Las dos versiones seleccionadas fueron realizadas por traductores poetas y académicos, así que resultó interesante observar las variaciones que una y otra presentaron a pesar de la similitud entre perfiles traductores. La comparación entre traducciones se hizo siguiendo el sistema de analítica de la traducción propuesto por Berman. Al realizar la crítica se tomó en cuenta el análisis hermenéutico del poema, la posición de los traductores y el proyecto de traducción —también siguiendo a Berman— para apreciar las distintas lecturas subjetivas que se presentaron en cada traducción.

Copyright of Psychiatria Hungarica is the property of Hungarian Psychiatric Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the intertextuality between Claudia Rankine's book "Citizen: An American Lyric" and Robert Lowell's book "Life Studies." It discusses Rankine's reconfiguration of Lowell's poetics, focus on specific line that references Lowell. It highlights Rankine's renegotiation of lyric tradition, addressing Lowell's whiteness while maintaining relationality explored in Lowell's poetry and mentions published version of Rankine's work that calls out Lowell.

Cet article s’attache à mettre en lumière le principe de contre-récit sur lequel se fonde la nouvelle intitulée “Pride” qui figure dans le dernier volume d’Alice Munro Dear Life (2012). En mettant en scène la rencontre de l’homme et de l’animal sous la forme d’une épiphanie glorieuse, Munro s’engage une fois de plus dans un dialogue subversif avec le canon. En effet, elle s’appuie sur la vision tragique de Robert Lowell dans le poème “Skunk Hour” et sur la vision comique de Seamus Heaney dans “The Skunk” pour en renverser les deux tonalités. En opposition à ses prédécesseurs, son ode à la mouffette n’est ni douloureuse, ni érotique mais paradoxalement prosaïque et transcendante.

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, I compare two anthologies of unconventional poetic translations and their respective authors' practices as translators: Robert Lowell's Imitations (1961) and Herberto Helder's O Bebedor Nocturno (1968). In both cases, a diversity of distinct poetic voices becomes homogenized under a process whereby a plurality of cultures and poets are filtered through one translator, who manipulates their sources for their own political ends. Whereas the poets selected for Imitations represent a literary in-club of Lowell's canonical influences, the variety of non-European and marginal cultures that feature in O Bebedor Nocturno stand as a counterpoint to the nationalist and isolationist culture of Portugal's dictatorship, the New State. [ABSTRACT FROM AUTHOR]

This article examines the Nobel Laureate Russian poet Joseph Brodsky's life and work in the United States following his emigration from Russia in 1972. The article devotes particular attention to the poems and essays he wrote in emigration and his strongly held views on poetry and the poet's craft. It also portrays his engagement with American society, American letters, and his role in the cultural life of the United States. [ABSTRACT FROM AUTHOR]

Once one of the most popular Catholic pilgrimage sites in England, The Shrine of Our Lady of Walsingham, now under the care of the Anglican Church, operates as a site of devotion, but it also operates as a site of memory. In this essay, I will argue that, in this place of memory, where pre-Reformation worship meets contemporary devotion and tourism, we find insights for the contemporary church. The Protestant Reformation contributed to the desacralization of the world. Later events such as the Enlightenment, the Industrial Revolution, and the Scientific Revolution of the past two centuries have shifted Western attitudes about the natural world even further away from the sacred. However, every year, thousands of visitors come to Walsingham. What draws them? What are they seeking? To consider what a shrine such as Walsingham might mean to a pilgrim, I will examine Philip earl of Arundel’s poetic lament at the destruction of the shrine, William Shakespeare’s nostalgia for the sacred feminine in The Winter’s Tale, and Robert Lowell’s 1947 poetic treatment of Walsingham. I will argue that focusing on sacred spaces, particularly those associated with the sacred feminine can benefit contemporary Catholics and Protestants.

This article surveys the place of the sonnet in contemporary poetry, from the publication of Geoffrey Hill's Tenebrae (1978) to the present day. After a reflection on the nature and critical history of the sonnet as a form, drawing on Don Paterson's introduction to his 101 Sonnets anthology for Faber (2012), the article looks at the re-possession and reworking of the form by Hill, Heaney (under the influence of Robert Lowell) and Paterson, especially in the latter's free 'versioning' of Rilke's Sonnets to Orpheus (Rilke, 2012). The article investigates the relevance of both terms in Rossetti's definition of the sonnet as a 'moment's monument' (1881) and concludes with a survey of sonnets in more recent work, including Adrian Rice's Moongate Sonnets (2013), Richard Berengarten's Notness (2013) and Adam Crothers' Several Deer (2016). [ABSTRACT FROM AUTHOR]

This article closely reads John Berryman's song 14 of The Dream Songs, and argues that confessional poetry is steeped in mother-son drama, although not what critics and readers have traditionally thought of as strictly oedipal. this article applies Jessica Benjamin's model of intersubjectivity to explore the poet's identification with and differentiation from the mother figure; furthermore, it borrows from adam Phillips and D. W. Winnicott to discuss how ideas about motherhood play into Berryman's poetic self-fashioning. in song 14, Berryman asserts the poet's need to banter with the mother and so discover the writing self as paradoxically reactionary and autonomous. By looking at one aspect of confessional poetry, the writer's fundamental relationship to his mother, this article argues for a rethinking of the seemingly masculine poetics of John Berryman. it discusses the ways in which not only Berryman but robert lowell as well collaborate with their mothers, represent motherhood as transcending gender and biology, and suggest that mothers and ideas about mothers play into poetic self-fashioning. this article contributes to an understanding of confessional writing as self-exploratory, uncertain of its own status, and mediated by analysts, parents, and texts, rather than as titillating self-disclosure. [ABSTRACT FROM AUTHOR]

Robert Lowell's earliest volumes,Land of Unlikeness(1944) andLord Weary's Castle(1946), anticipate William Appleman Williams’ (1973) argument that America exploited the myth of the frontier in order to execute and authorize policies of transatlantic expansion in the post-war and Cold War years. InLand of Unlikeness, Lowell's conscious alignment with a form of Southernist politic, curiously inflected by Max Weber's remarks on the kinship between the Protestant ethic and the spirit of capitalism, reinforces his scathing critique of the industrial, commercial, and martial excesses of the American North.Lord Weary's Castle, by contrast, is less explicitly censorious of America's expansionist impulses. Lowell's liberal translation of a variety of cultural and poetic resources derived from a wide range of European inter-texts, however, serves to display the complex interests and potential consequences of an American imperium deeply invested in laying claim to the political, cultural, and poetic resources of a trans-Atlantic frontier. [ABSTRACT FROM PUBLISHER]

On the publication of Robert Lowell's Life Studies in 1959, some critics were shocked by the poet's use of seemingly frank autobiographical material, in particular the portrayal of his hospitalizations for bipolar disorder. During the late fifties and throughout the sixties, a rich vein, influenced by Lowell , developed in American poetry. Also during this time, the nascent science of psychopharmacology competed with and complemented the more established somatic treatments, such as psychosurgery, shock treatments, and psychoanalytical therapies. The development of Thorazine was a remarkable breakthrough allowing patients previously thought incurable to leave hospital. In 1955, the release of Miltown, the first 'minor' tranquilizer, was heralded with a media fanfare promising a new dawn of psychological cure-all. These two events blurred the boundary between 'normality' and madness by making treatment in the community more widely possible and by medicalizing more commonplace distress. Lowell's early depictions of madness situate it as emblematic of the cultural malaise of 'the tranquilized fifties.' By his final collection, Day by Day (1977), mental illness had lost its symbolic power. These late poems explore the power of art as a way of representing and remedying suffering in a culture where psychopharmacology has normalized madness. [ABSTRACT FROM AUTHOR]

This essay explores the development of a post-WWII aesthetic in relation to the Pound controversy, beginning with Shapiro's dissenting vote as a member of the Bollingen committee—a vote he believed ruined his career. This is a two-part story, having first to do with the liberal response to modernism's infatuation with the extreme right, and then with the poetic and critical reaction to liberalism. Liberal critics defended Pound by characterizing poetry as a form of individual expression. Later critics and poets abandoned the discourse of individualism for the group-specific language of identity. Shapiro makes this shift in reverse. He voted against Pound as a Jew voting against an anti-Semite. But when identity became fashionable he abandoned it as a poetically and politically suspect form of personification. The essay concludes by comparing the lyricism of identity to individualistic verse by considering Shapiro's relation to Bollingen committee members Auden and Lowell. [ABSTRACT FROM AUTHOR]

In 1946 Czesław Miłosz started his diplomatic service in the USA, which allowed him a more serious encounter with American culture, particularly with American poetry.He would observe it closely and participate in it till the end of his life. This article discusses the cultural shock experienced by Miłosz, who arrived in safe and affluent America from a Europe devastated by the war. It also talks about the poet’s distance towards American culture and about his interest, sometimes bordering on ambiguous fascination, in such authors as Walt Whitman or Robinson Jeffers. In the 1960s and 70s,as a resident of California, Miłosz argued with contemporary American poetry, Robert Lowell and Allen Ginsberg among others. His argument focused on two fundamental issues: poets’ concentration on their own experiences or their need to capture the greatest possible part of the world external to them and different understandings of nihilism. Frequently accusing confessional poets of feeling sorry for themselves, of dazzling readers with their own “I”, only towards the end of his life did Miłosz start to reveal, in such poems as This or To Allen Ginsberg, his own doubts and despairs that he had kept secret for private reasons and as part of his artistic strategy [ABSTRACT FROM AUTHOR]

Public war memorials are sites of intense ideological negotiation, expressing the meaning of specific wars and their losses, whilst also speaking to private grief. War poetry also memorializes the experience of warfare and its effects. In poetry about war memorials, one form confronts the other. This essay initially considers poems that either embrace the values of the memorial or strenuously oppose them. It then examines the development, via modernism, of poetic voices that allow the reader to "view" the monument at the poem's center whilst also questioning its values. Charlotte Mew and Seamus Heaney respond to First World War memorials; Robert Lowell reaches back to an American Civil War monument; Yusef Komunyakaa faces the Vietnam Veterans Memorial as a veteran himself. We draw on Barthes's concept of punctum to illuminate the grief and loss that lie at the heart of those poems. [ABSTRACT FROM AUTHOR]

This paper repositions Robert Lowell's confessional poetry as a form of resistance in Cold War America. It argues that in several of Lowell's key poems the figurative absence at the hypo-centre of atomic culture finds its symbolic equivalent in the depressive trying to recover a lost core of selfhood. [ABSTRACT FROM AUTHOR]

Study of mentions, critical judgments and poetic translations pertaining to Quevedo or his poetry in some American contemporary poets (Ezra Pound, William Carlos Williams, Louis Zukofsky, Robert Lowell and Ernest Hall Templin). [ABSTRACT FROM AUTHOR]

Robert Lowell's "For the Union Dead" evinces an anxiety over Puritanism that is bound to the sociological conditions of American Cold War culture. His collection envisions an America in which the old Calvinist binary of elect (the few chosen by God for salvation) and preterite (those left behind—everybody else) has imploded under Cold War threats of nuclear annihilation, thus reconfiguring the two driving concepts behind the Puritans' "errand" into the New World: the apocalypse and salvation. Lowell suggests that the Puritan desire for salvation has developed into a secular pursuit of material wealth, and that this pursuit, in turn, has led to a technocratic nuclear tension. With grim irony, "For the Union Dead" claims that America's capitalist pursuit of wealth and technology to enact its own election and salvation has actually resulted in national preterition. Few critics have considered Lowell's engagement with Puritanism and Calvinism, but my essay addresses this gap in scholarship and attempts to initiate a dialogue on Puritanism as an important trope in post-World War II American literature. [ABSTRACT FROM AUTHOR]