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Relevant bibliographies by topics / Lady Lazarus

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Academic literature on the topic 'Lady Lazarus'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Lady Lazarus"

1

Curley, Maureen. "Plath's Lady Lazarus." Explicator 59, no. 4 (2001): 213–14. http://dx.doi.org/10.1080/00144940109597145.

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Dahlke, Laura Johnson. "Plath's Lady Lazarus." Explicator 60, no. 4 (2002): 234–36. http://dx.doi.org/10.1080/00144940209597727.

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Collins, Theresa. "Plath's Lady Lazarus." Explicator 56, no. 3 (1998): 156–58. http://dx.doi.org/10.1080/00144949809595299.

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Liardet, Tim. "Sylvia Reading Lady Lazarus." Poem 1, no. 1 (2013): 31. http://dx.doi.org/10.1080/20519842.2013.11415318.

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Abdullah Mohammad, Ghada. "VIOLENCE IN SYLVIA PLATHS POEMS LADY LAZARUS AND DADDY." International Journal of Language Academy 7, no. 28 (2019): 497–510. http://dx.doi.org/10.18033/ijla.4166.

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Karo, Hassan Hussein. "Misandry and Resistance in Sylvia Plath’s Mushrooms and Lady Lazarus." humanities Journal of University of Zakho 8, no. 3 (2020): 522–27. http://dx.doi.org/10.26436/hjuoz.2020.8.3.635.

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郭, 晨. "An Analysis of Lady Lazarus from the Perspective of Defamiliarization." World Literature Studies 09, no. 01 (2021): 54–59. http://dx.doi.org/10.12677/wls.2021.91009.

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8

郭, 晨. "An Analysis of Lady Lazarus from the Perspective of Defamiliarization." World Literature Studies 09, no. 01 (2021): 54–59. http://dx.doi.org/10.12677/wls.2021.91010.

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Carvalho, Ana Cecilia. "Sylvia Plath e o Impossível no Holocausto." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 10, no. 18 (2016): 15–37. http://dx.doi.org/10.17851/1982-3053.10.18.15-37.

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O objetivo deste artigo é focalizar o uso da metáfora do Holocausto na poesia de Sylvia Plath (1932-1962), a fim de examinar tanto as funções quanto os limites da criação literária. Levando em consideração a poética autobiográfica e o suicídio da escritora norte-americana, estarão no horizonte a leitura e a análise dos poemas “Daddy”, “Lady Lazarus”, “Words” e “Edge”.

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Damayanti, Indah, Hendra ., and Ina Rohiyatussakinah. "AN ANALYSIS OF FEMINISM IN SYLVIA PLATH’S POEMS (THE CONTENT ANALYSIS OF GENERAL MEANING, DETAILED MEANING AND INTENTION)." Journal of English Language Teaching and Literature (JELTL) 2, no. 1 (2019): 79–83. http://dx.doi.org/10.47080/jeltl.v2i1.548.

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This research is aimed to know meaning and Feminism in Sylvia Plath’s Poems. The objectives of this research were to find out the general meaning and detailed meaning and to find out kinds of feminism in poems. This research used qualitative descriptive method using content analysis as the research method. This research used reading and taking note as collecting the data, and technique of analysis data in this research are reading the whole poems, interpreting poems, and making the conclusion. The data source of this research were taken from Sylvia Plath’s poems, they are; Daddy, Lady Lazarus, and Last word. The result of this research were findings showed that there were 64 data contained, 59 data in general meaning and detailed meaning in poems and there were 5 data in kinds of feminism in poems. This research concluded the kinds of feminism, they are Liberal Feminism, Radical Feminism, Psychoanalytic Feminism, Marxist Feminism, Socialist Feminism, Multicultural Feminism, Eco feminism, and Postmodern feminism, this research also concluded the kinds of feminism in the poems, they are; poem Daddy (Radical feminism, Marxist feminism, Socialist feminism), poem Lady Lazarus (Marxist feminism), poem Last word (Marxist feminism).

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Dissertations / Theses on the topic "Lady Lazarus"

1

Girard, Chris. "Lady/applicant : on the Lazarus." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/7993/.

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This research investigates the ‘performativity’ of the ‘author function’ through collaging the audio recordings of American poet Sylvia Plath. The ‘author function’ is a term by Michel Foucault to describe how readers attribute certain characteristics that they believe belong to the author and ascribe them to the writing. ‘Performativity’ is a term used by Judith Butler to describe a set of actions that ascribe and predetermine a set of attributes to a subject through his or her gender, age, timeframe, nationality and race. The ‘performativity’ of the ‘author function’ appropriates these characteristics and attributes them to the author. How the determination of an authorial identity translates to the interaction of the practice component of the project, which includes several components of digital collage, is through attributions that readers make in the creation of an author. The practice component of the project consists of the collage of audio and video recordings, the programming of video with Max/MSP/Jitter, ‘performative’ elements and collage poetry on Twitter. The audio component was collaged from two poems entitled ‘Lady Lazarus’ and ‘The Applicant’ that Plath read to the British Council in 1962 to form a new poem entitled Lady/Applicant: The Lazarus. The video component consists of collaging recorded video clips of storefront and street signs in Camden, London, where she is associated with living and committing suicide at. A second video collage entitled Shadows/Shadows/Tomb takes place at a cemetery close to my residence in 2011 and documents symbols of death that reference my own authorial identity. The second set of videos run on a Max/MSP/Jitter patch that display four screens of filmed texts inscribed on tombstones that play four streaming poems through a systematic structure of boxes. The screens are displayed in each box and sourced from separate folders to display and play the film clips. The practice of collage and constraint-based poetry complicates the constitution of being the author when the collagist of Plath’s poetry is a different gender than hers. This research then expands on how identity radically shifts in the text when the subject and the collagist have very different identities. The radical shift in a collage takes place within a predefined and generalized concept of the reader as determined by Stanley Fish, a prominent writer on the subject of ‘reader-response criticism’, who believes that one way a reader could be approached is through his or her relationship with the writing.

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2

Perry, Amber R. "Critiquing Academic Culture with Satire through Lady Lazarus, A Fictional Biography." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1700.

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In the tradition of academic satire, Lady Lazarus is the fictional biography of the daughter of American rock musicians. In her late teens she rises to fame as confessional poet, who, despite only publishing one collection of poems during her brief life, becomes an overnight sensation. Author Andrew Altschul is satirizing academia’s need to be a part of popular culture and in doing so, privileges the ability to use controversy and conventional beauty to sell books as opposed to creating quality art. By focusing on how the author uses Hans Robert Jauss’ horizons of expectations, unreliable narrators, anecdotes in biography and the economics of fame as a deciding factor in academia, the author has created a dense and punitive opinion of academia’s inclusion of popular culture into its world.

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Meneses, Sandra. "Cultural Critique in a Patriarchal World : Revolutionary Suicide in Sylvia Plath's "Lady Lazarus", "Daddy" and The Bell Jar." Thesis, Södertörn University College, School of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3196.

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<p>This work studies three texts by Sylvia Plath: “Lady Lazarus”, “Daddy” and <em>The Bell Jar </em>from a feminist, gender and cultural perspective. I investigate how the texts take a stand regarding the motive and meaning of the representations of suicide in these works through the theoretical framework of African-American activist Huey Newton. The Black Panther party cofounder Newton redefines the concept of suicide. First and foremost he views suicide as a reaction to social conditions, coining the terms Reactionary Suicide and Revolutionary Suicide. Revolutionary Suicide is fueled by hope, when refusing to take part in any game of slave and master in society; instead of the normative view that suicide may be fueled by powerlessness and despair, as in the case of Reactionary Suicide. A feminist and gendered perspective on representations of suicide deconstructs traditional preconceptions of femininity and masculinity in the case of suicide and a normative reading: an embodiment by women and men of madness and rationality; viewing them as objects and subjects respectively. This study proposes that the representations of suicide in the texts from a cultural reading show the refusal of women to partake in a life defined by patriarchy, limiting and oppressing women’s everyday life. Suicide is seen through this unusual approach as an emptying out, a repositioning of the self through these performative suicides. Furthermore, through Revolutionary Suicide agency is claimed, with a hope for a better reality for the oppressed, in the intersection of the dichotomies of reality and utopia, literature and history, oppression and freedom. From a feminist perspective suicide is the catalyst to express social, political and cultural critique.</p>

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Allen, Emily. "The Necessity of Movement." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699849/.

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This dissertation is a collection of poems preceded by a critical preface. The preface considers emotional immediacy—or the idea of enacting in readers an emotional drama that appears genuine and simultaneous with the speaker's experience—and furthermore argues against the common criticism that accessibility means simplicity, ultimately reifying the importance of accessibility in contemporary poetry. The preface is divided into an introduction and three sections, each of which explores a different technique for creating immediacy, exemplified by Robert Lowell’s "Waking in the Blue,” Sylvia Plath's "Lady Lazarus,” and Louise Gluck's "Eros." The first section examines "Waking in the Blue,” and the poem's systematic inflation and deflation of persona as a means of revealing complexity a ambiguity. The second section engages in a close reading of "Lady Lazarus,” arguing that the poem's initially deliberately false erodes into sincerity, creating immediacy. The third section considers the continued importance of persona beyond confessionalism, and argues that in "Eros," it is the apparent lack of drama, and the focus on the cognitive process, that facilitates emotional immediacy.

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Books on the topic "Lady Lazarus"

1

Lang, Michele. Lady Lazarus. Tor, 2010.

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2

Shoemaker-Hill, Judith. Lady Lazarus. PublishAmerica, 2004.

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Lady Lazarus. Tor, 2010.

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4

Lady Lazarus. Faber & Faber, 2001.

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Crane, Cheryll W. Lady Lazarus. iUniverse, Inc., 2007.

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Lady Lazarus. Tor Books, 2011.

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Lady Lazarus. Harcourt, 2008.

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Forrestal, Alison. The Confraternities of Charity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198785767.003.0010.

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The promotion of confraternal charity was the final constituent of the Lazarist pastorate, and Chapter 9 focuses in particular on the significant personal opportunities that these vehicles of pastoral missionary care offered to de Paul. It outlines the early development of the confraternal structures, before explaining why, over time, they became the principal means through which he engaged with lay women. It then focuses on his relations with a small inner circle of consoeurs (members of the confraternity at the Hôtel-Dieu hospital in Paris), to affirm that their works of charity gave rise to an extremely unusual, privileged, and productive affinity that led them to make common cause with him in all spheres of the Lazarist enterprise.

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Forrestal, Alison. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198785767.003.0014.

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This book undertakes a close analysis of de Paul’s wide-ranging activities during the principal decades of Catholic reform in France, offering unprecedented insights into the ways in which de Paul engaged with it, and influenced its direction. The conclusion confirms that de Paul stands out amongst a host of distinguished peers in the dévot environment, because he succeeded in articulating and applying traditional teachings and existing practices in new, enterprising, and systematic ways. It also concludes that he exploited the potential for association and collaboration that lay amongst a cross-section of his contemporaries to realize his goals to carve out a particularly distinctive and popular manifestation of religious activism. The Lazarist Congregation was endowed with multifaceted features of pastoral care, and stood at the heart of an enterprise geared towards the reform of contemporary religious practices.

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Book chapters on the topic "Lady Lazarus"

1

Charles, Alec. "Chapter 12: Lady Lazarus: The Death (and Rebirth) of a Gender Revolutionary." In Misogyny, Toxic Masculinity, and Heteronormativity in Post-2000 Popular Music. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65189-3_13.

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"From The Happy Prince to ‘Lady Lazarus’ and Iris: A Memoir." In Sex and desire in British films of the 2000s. Manchester University Press, 2021. http://dx.doi.org/10.7765/9781526139245.00006.

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"lazar: Lazy Structure–Activity Relationships for Toxicity Prediction." In Predictive Toxicology. CRC Press, 2005. http://dx.doi.org/10.1201/9780849350351-16.

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Hardin, Garrett. "The Necessity of Immigration Control." In Living within Limits. Oxford University Press, 1993. http://dx.doi.org/10.1093/oso/9780195078114.003.0032.

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Every American schoolchild knows about the Statue of Liberty and the accompanying poem, "Give me your tired, your poor, / Your huddled masses yearning to be free . . .". Implicitly, our children are doubly deceived. In the first place the official name of the statue is "Liberty Enlightening the World"—that is, bringing light to the world, educating it: not inviting the whole world to come in. In the second place there is the implication that the poetry on the base expresses official policy. It does not. Emma Lazarus's words were added to the base seventeen years after the statue was erected, and without the blessing of Congress, much less of the multitudes of Americans who might be asked to make room for all the huddled masses. It is only human to want to share with the needy, but the sharing impulse must be curbed to some extent, for the goods of this world are limited. Whenever either matter or energy is redistributed, the consequence is a zero-sum game: that which one person (or group) gains is lost by others. Information, however, is different: sharing it can lead to a plus-sum game. When I give you a bit of information I do not thereby lose it. Indeed, after absorbing this information you may send it back to me in improved form. We both gain. The lady in New York Harbor promises only to enlighten the world, not to feed and clothe it. She proposes to make other people more independent, not less. Only America has a statue that is presumed to welcome immigrants; other nations know better. Their traditions are exclusionary. Or so it seemed until 1989, when political troubles in eastern Europe led to massive movements of people, thus forcing a reassessment of policies. From now on, more and more people throughout the world will be asking Cain's question: "Am I my brother's keeper?" They will have to remember that the singular brother has expanded to become hundreds of millions of brothers and sisters—who are continuing to increase. In the face of exponential growth, a zero-sum game can end fatally in a commons. Yet the opposite extreme, complete isolationism, has its dangers too.

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