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Decentralized from decision-making processes, women have been placed at the periphery. Their silencing has been fundamental and intentional on the part of patriarchal institutions, for the sake of keeping them behind the discursive scene. To this effect, this paper examines the rebirth of women from prior states whereby they used to be denied the right to sprout the wings towards language within a 'logocentric' society. A deep dive into Helen Cixous's "The Laugh of the Medusa" provides grassroots for allowing a woman to transform silence into articulation. The poetry of Anne Sexton is a case study to witness the drastic change from a crippling fear of speaking into an audacity of a number of speakers in "Lullaby", "Music Swims Back to Me" and "The Exorcists" to acquire language with which every female orator will be equipped to conquer the masculinist world without anxiety.

The main objective of this study is to identify the substantiality of the student-centered approach in teaching poetry at faculties, and demonstrate the learners' direct response to it. Then, there will be a move to one case study; the practical part is charged with an insightful analysis of Anne Sexton's "Music Swims back to Me". The design of the course is meant to encompass diverse steps, ranging from incorporating data show, video recording through 'spoken poetry'1, as well as handouts. The foremost figure of confessional poetry of the mid-twentieth century has been selected to show the efficiency of student-centered method in deciphering verse texts by spotting the light on the pre, while and post reading along with the different challenges learners can face and the benefits of this approach in their critical thinking skills. [ABSTRACT FROM AUTHOR]