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Sylvia Plath. The Sylvia Plath effect is the phenomenon that poets are more susceptible to mental illness than other creative writers. The term was coined in 2001 by psychologist James C. Kaufman, and implications and possibilities for future research are discussed. [1]
Poetry influences children, too, not only to learn to read but it can also make them feel more resilient because it often contains themes of strength, perseverance, and the ability to overcome ...
For example, studies [3] [4] have demonstrated correlations between creative occupations and people living with mental illness. There are cases that support the idea that mental illness can aid in creativity, but it is also generally agreed that mental illness does not have to be present for creativity to exist.
He has three new titles due out this fall: "Wild Brunch, Poems About How Animals Eat"; "A Tree is a Community"; and "The fluency development lesson: Closing the reading gap."
The poet John Hollander cited "The Red Wheelbarrow" as a good example of enjambment to slow down the reader, creating a "meditative" poem. [14] The editors of Exploring Poetry believe that the meaning of the poem and its form are intimately bound together. They state that "since the poem is composed of one sentence broken up at various ...
Waking in the Blue" is a poem by Robert Lowell that was published in his book Life Studies and is a striking, early example of confessional poetry. Of the handful of poems from Life Studies in which Lowell explored his struggles with mental illness, this poem was one of Lowell's most forthright admissions that he was mentally ill. Though he ...
The teen's poem then takes a somber and somewhat foretelling turn. "Eventually it all comes to a stop," Alex wrote. "You won't know when, or how, but you will know that it will be time to get off ...
In 1959 M. L. Rosenthal first used the term "confessional" in a review of Robert Lowell's Life Studies entitled "Poetry as Confession". [6] Rosenthal differentiated the confessional approach from other modes of lyric poetry by way of its use of confidences that (Rosenthal said) went "beyond customary bounds of reticence or personal embarrassment". [7]