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Journal articles on the topic 'Plath'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Estrada, Lucía. "Sylvia Plath." Perseitas 6, no. 2 (2018): 482. http://dx.doi.org/10.21501/23461780.2846.

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2

Matterson, Stephen, and Robyn Marsack. "Sylvia Plath." Yearbook of English Studies 24 (1994): 343. http://dx.doi.org/10.2307/3507947.

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3

Hobbs, David. "Representing Sylvia Plath." Women: A Cultural Review 24, no. 2-3 (2013): 239–40. http://dx.doi.org/10.1080/09574042.2013.787786.

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4

Breslin, Paul. "Demythologizing Sylvia Plath." Modernism/modernity 8, no. 4 (2001): 675–79. http://dx.doi.org/10.1353/mod.2001.0078.

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5

Vanwesenbeeck, Birger. "Plath Translates Rilke." Twentieth-Century Literature 68, no. 4 (2022): 365–88. http://dx.doi.org/10.1215/0041462x-10237756.

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In the fall of 1954, enrolled in an undergraduate intermediate German course, Sylvia Plath undertook a translation of Rainer Maria Rilke’s 1908 poem “Ein Prophet.” Though this translation has received only scant attention from scholars, it represents Plath’s first poetic engagement with German, an engagement that extends all the way to the six poems she wrote about the untimely death of her German-born father. Taking that early work seriously, then, this essay explores the relationship between mourning and translation in Plath’s work from the Rilke translation through the muchstudied later poems. Where translation is often figured as a process of loss, with a focus on what is “lost in translation,” this essay argues that in Plath’s work it figures too as a way of responding to loss—as a process of mourning.

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6

Clinton, Alan Ramón. "Sylvia Plath and Electracy." Iowa Journal of Cultural Studies 8, no. 1 (2006): 60–71. http://dx.doi.org/10.17077/2168-569x.1073.

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7

Hansen-Oest, Stephan. "Plath (Hrsg.): DSGVO/BDSG." Computer und Recht 35, no. 2 (2019): r21—r22. http://dx.doi.org/10.9785/cr-2019-350218.

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8

Newcomb, John Timberman, and Linda Wagner-Martin. "Sylvia Plath: A Biography." American Literature 60, no. 3 (1988): 511. http://dx.doi.org/10.2307/2926988.

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9

Rehm, Wolfgang. "Wolfgang Plath (1930-1995)." Die Musikforschung 48, no. 3 (2021): 233–34. http://dx.doi.org/10.52412/mf.1995.h3.1075.

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10

Fromm, Harold. "Sylvia Plath, Hunger Artist." Hudson Review 43, no. 2 (1990): 245. http://dx.doi.org/10.2307/3851871.

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11

Miller, Ellen. "Philosophizing with Sylvia Plath." Philosophy Today 46, no. 1 (2002): 91–101. http://dx.doi.org/10.5840/philtoday200246157.

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12

Taylor, Jenny, Steven Gould Axelrod, Ted Hughes, et al. "The Problem with Plath." AQ: Australian Quarterly 72, no. 1 (2000): 43. http://dx.doi.org/10.2307/20637885.

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13

Petersen, Mariana Chaves. "Sylvia and the absence of life before Ted." Anuário de Literatura 23, no. 1 (2018): 133–53. http://dx.doi.org/10.5007/2175-7917.2018v23n1p133.

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Como Bronwyn Polaschek menciona em The postfeminist biopic, o filme Sylvia (Christine Jeffs, 2003) é baseado em biografias de Sylvia Plath que focam em seu relacionamento com o marido Ted Hughes – como é o caso de A mulher calada, de Janet Malcolm. Neste artigo, fundamentado nos trabalhos de Linda Hutcheon, Mary E. Hawkesworth e Tracy Brain, argumento que essa biografia funciona como um palimpsesto de Sylvia e que o filme constrói Plath como a persona de Ariel, negligenciando sua “Juvenilia” – sua poesia inicial, conforme definida por Hughes. De fato, Sylvia deixa de fora os primórdios da vida de Plath – antes de ela conhecer Hughes – e acaba, assim, retratando-a mais como esposa do que como escritora. Por fim, ao trazer informações sobre a vida de Plath antes de ela conhecer Hughes de uma biografia mais recente (de Andrew Wilson), analiso como uma imagem diferente de Plath poderia ter sido criada se essa parte de sua vida não estivesse ausente do filme.

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14

Saeed, Ismael Muhamad, and Ranji Shorsh Rauf Muhamad. "Eros in Sylvia Plath`s Selected Poems." Journal of Zankoy Sulaimani Part (B - for Humanities) 20, no. 2 (2000): 377–88. http://dx.doi.org/10.17656/jzsb.10899.

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15

Rodrigues, Julia Cortes. "Poetas e martinis: uma leitura de The Barfly Ought to Sing de Anne Sexton." Em Tese 25, no. 3 (2020): 113. http://dx.doi.org/10.17851/1982-0739.25.3.113-132.

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O suicídio da poeta Sylvia Plath abalou o universo literário em 1963. As associações entre poesia e autossacrifício na obra de poetas vinculados ao rótulo “confessional” foram cimentadas, mitificou-se a morte de Plath, e surgiram debates éticos que jamais cessaram. No calor desse momento, ainda em 1966, Anne Sexton, que conhecera Sylvia Plath brevemente anos antes, publica um texto memorialístico no periódico Tri-Quarterly. Essas memórias de Sexton, registradas sob o título “The Barfly Ought to Sing” [“O Bebum Deve Cantar”], são o tema deste artigo: heterogêneo em sua feitura – já que alterna recordações de Plath, leitura de sua poesia e dois poemas inéditos de Sexton –, o texto tampouco é homogêneo no sentido de sua homenagem, pois não procura ocultar uma tensão competitiva que perpassa o elo afetivo. Acredita-se que o texto possua uma dimensão crítica que foi frequentemente subestimada. Através da escrita das memórias, Sexton parece ter buscado formular uma visão da poesia confessional: inclui ela própria e Plath enquanto referências dessa poética e nomeia, a seu modo, alguns de seus elementos fundamentais.

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16

Macaulay McManus, James. "Sylvia Plath and Mad Studies: Reframing the Life and Death of Sylvia Plath." International Mad Studies Journal 1, no. 1 (2022): e1-17. http://dx.doi.org/10.58544/imsj.v1i1.5248.

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17

Rodrigues, Júlia Côrtes. "Lendo Sylvia Plath: poesia e paradigma." Caletroscópio 3, no. 5 (2015): 152–66. http://dx.doi.org/10.58967/caletroscopio.v3.n5.2015.3585.

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Sylvia Plath, célebre poeta norte-americana, é com frequência associada a Robert Lowell e Anne Sexton, os quais se tornaram conhecidos como “poetas confessionais”. Esse trabalho, em consonância com leituras contemporâneas de Plath, discute brevemente o vínculo da poeta com a poesia confessional (vínculo, como se verá, questionável). Em seguida, apresenta-se uma leitura de um dos poemas mais célebres de Plath, “Lady Lazarus”, seguida por uma proposta de tradução. Destaca-se a contribuição dos estudos de Claire Brennan e Jacqueline Rose para este artigo.

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18

Panjaitan, Indra Purnawan, and Nurhadi Hamka. "Analysis of Imagery in the Poem "DADDY" by Sylvia Plath." Linguistic, English Education and Art (LEEA) Journal 7, no. 1 (2023): 184–91. http://dx.doi.org/10.31539/leea.v7i1.6966.

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The aim of this study to describe the image contained in the poem "Daddy" by Sylvia Plath. The method used in this research is qualitative descriptive. Data collection used the technique of reading logs of the poem "Daddy" by Sylvia Plath. The research result were visual imagery, auditory imagery, pictures No aesthetic and magical. Conclusion from results of imagery analysis carried out on the poem "Daddy" by Sylvia Plath is that the most dominant image is visual imagery. Keywords: Analysis, Imagery, Literature, Poetry

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19

Miller, Ellen M. "Sylvia Plath and White Ignorance." Janus Head 10, no. 1 (2007): 137–55. http://dx.doi.org/10.5840/jh20071019.

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Sylvia Plath wrote in the midst of growing racial tensions in 1950s and 1960s America. Her work demonstrates ambivalence towards her role as a middle-class white woman. In this paper, I examine the racial implications in Plath's color terms. I disagree with Renee Curry's reading in White Women Writing White that Plath only considers her whiteness insofar as it affects herself. Through a phenomenological study of how whiteness shifts meaning in this poem, I hope to show that Curry's negative estimation is only partly right. I suggest that embodiment is a problem for Plath in general, and this contributes to her inability to fully examine other bodies.

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20

Павленко, Д. Г. "TRAVELING INWARD IN SEARCH OF GENDER BALANCE IN THE NOVEL “THE BELL JAR” BY S. PLATH." Studia Philologica, no. 12 (2019): 120–26. http://dx.doi.org/10.28925/2311-2425.2019.12.17.

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In the article the analysis of “The Bell Jar” by S. Plath is conducted for the purpose of studying and understanding the escape motifs inherent in the heroine of the new American female prose of the mid-20th century and the author himself. The novel is considered as an example of escapism and possible reasons for the use of this method by S. Plate are suggested. Methods of rethinking of women’s prose in the context of disputes about literary reputation are analyzed. In this novel, S. Plath reveals her secret thoughts, experiences, allows entering her life, because it is a semiautobiographic work. There are several reasons for such an admission. First, it’s a desire to be heard and tell her story. After all, being a woman-author at that time was very difficult, S. Plath was subjected to crushing criticism, and during her life her creativity was not very popular. Secondly, the hard way of the betrayed woman and the mother made her to take desperate steps, and this novel is an attempt to free herself and her thoughts from things that Silvia worried about the most part of her life: here we find relations with the mother, and the absence girlfriends, and attempted rape. So, this novel is like a confession, before the final act of the writer, her suicide.

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21

Dickie, Margaret, and Linda W. Wagner. "Sylvia Plath: The Critical Heritage." Modern Language Review 85, no. 2 (1990): 430. http://dx.doi.org/10.2307/3731843.

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22

Corcoran, Neil, Stephen Tabor, and Susan Bassnett. "Sylvia Plath: An Analytical Bibliography." Yearbook of English Studies 20 (1990): 348. http://dx.doi.org/10.2307/3507629.

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23

Neau, Françoise. "Sylvia Plath et l'urgence d'écrire." Libres cahiers pour la psychanalyse 30, no. 2 (2014): 93. http://dx.doi.org/10.3917/lcpp.030.0093.

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24

Hubbard, Stacy Carson, and Jacqueline Rose. "The Haunting of Sylvia Plath." American Literature 66, no. 4 (1994): 862. http://dx.doi.org/10.2307/2927731.

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25

Anjum, Dr Tasneem. "Electra complex in Sylvia Plath." International Journal of English Literature and Social Sciences 4, no. 6 (2019): 1652–54. http://dx.doi.org/10.22161/ijels.46.4.

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26

Perloff, Marjorie, Jacqueline Rose, and Paul Alexander. "The Haunting of Sylvia Plath." New England Quarterly 65, no. 4 (1992): 648. http://dx.doi.org/10.2307/365826.

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27

Della Valle, Marina. "Sylvia Plath: quatro “poemas-porrada”." Cadernos de Literatura em Tradução, no. 7 (November 1, 2006): 165–99. http://dx.doi.org/10.11606/issn.2359-5388.i7p165-199.

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28

Cho, Ailee, and Jeong-hwa Yoo. "Sylvia Plath and Becoming-Minority." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 69 (February 28, 2018): 1–23. http://dx.doi.org/10.21087/nsell.2018.02.69.1.

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29

Dilworth, Thomas. "Colossal Influences on Sylvia Plath." English Language Notes 40, no. 4 (2003): 77–82. http://dx.doi.org/10.1215/00138282-40.4.77.

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30

CATLETT, LISA FIRESTONE JOYCE. "THE TREATMENT OF SYLVIA PLATH." Death Studies 22, no. 7 (1998): 667–92. http://dx.doi.org/10.1080/074811898201353.

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31

Banner, Gillian. "Sylvia Plath and Holocaust poetry." Immigrants & Minorities 21, no. 1-2 (2002): 231–48. http://dx.doi.org/10.1080/02619288.2002.9975039.

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32

Duran, Jane. "Plath and the Philosophical Novel." Philosophy and Literature 37, no. 1 (2013): 228–38. http://dx.doi.org/10.1353/phl.2013.0000.

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33

Gordon, John. "Sylvia Plath: Three Bee Notes." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 3 (2003): 49–51. http://dx.doi.org/10.1080/08957690309598219.

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34

María Paz Moreno. "Tulipanes (Invocación a Sylvia Plath)." Sirena: poesia, arte y critica 2010, no. 1 (2010): 150. http://dx.doi.org/10.1353/sir.0.0238.

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35

María Paz Moreno and Yunsuk Chae. "Tulips (Invocation to Sylvia Plath)." Sirena: poesia, arte y critica 2010, no. 1 (2010): 151. http://dx.doi.org/10.1353/sir.0.0298.

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36

Holbrook, David. "The agony of Sylvia Plath." Higher Education Quarterly 39, no. 3 (1985): 249–64. http://dx.doi.org/10.1111/j.1468-2273.1985.tb01418.x.

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37

Mossali, Mattia. "La voce di Ariel." ENTHYMEMA, no. 31 (February 1, 2023): 176–91. http://dx.doi.org/10.54103/2037-2426/19020.

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Questo articolo propone un approfondimento sull’ultima fase della poetica di Sylvia Plath. Attraverso la lettura e il commento di alcuni testi dalla raccolta Ariel, nell’edizione restaurata che corrisponde alla sequenza nient’affatto casuale concepita dalla poetessa, si tracceranno le coordinate di un progetto che richiama le antiche cosmologie, dal momento che Plath prova a dare vita a un mondo, nuovo e più intimo, finalmente libero da dolorose separazioni. Pare indubbio che i componimenti per Ariel siano pervasi da un senso di creazione; come ha sottolineato Nadia Fusini, ciò a cui il lettore assiste è un vero e proprio miracolo di transustanziazione, attraverso cui Plath trasforma la sua scrittura in organismo vivente. Nell’intento di chiarire questa affermazione, nell’articolo si sostiene che, in Ariel, Plath non si nasconde più dietro la tecnica acquisita; al contrario, creatore e creatura nei testi della maturità diventano la stessa cosa. È questo l’inizio di un percorso che la porterà non solo a diventare Poeta, ma a farsi poesia.

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38

Zhu, Yunlin. "Analysis of the Death in Ariel from the Perspective of Pastiche." Communications in Humanities Research 2, no. 1 (2023): 540–45. http://dx.doi.org/10.54254/2753-7064/2/2022617.

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As the posthumous work of Sylvia Plath, the American confessional poetess, Ariel plays an important role in the study of Plath's poetry creation, and death, as the most common theme in Plath's poetry, has been criticized and studied by many scholars. Yet people focus more on what caused Plath to write about the subject. Few studies have explored how Plath wrote about death. Based on Jameson's theory of pastiche, this paper discusses Plath's use of pastiche, the contribution pastiche made to the description of the theme of death and Plath's view of death. Pastiche breaks the limits of time, space and ideology in a retro way enabling Plath to construct "facts" from her vague memories and allowed her to express more freely her views on death, namely art, self-defense and redemption. Hope this paper could enrich people's understanding of pastiche theory and of the role pastiche plays in the postmodern theories.

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39

Reece, Jane. "Conversation with Sylvia in Colour." International Review of Qualitative Research 1, no. 4 (2009): 569–81. http://dx.doi.org/10.1525/irqr.2009.1.4.569.

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This paper takes the form of two imaginary meetings with the resurrected figure of the writer Sylvia Plath, in 1967 and 2007, informed by the work of Lieblich (1997) and Speedy (2005; 2007b). It is loosely based on recollections by Al Alvarez (1974:20–53; 2005:29–33), one of the last people to see Plath alive before her death on 13 February 1967, and from Plath's journals (1983). I have drawn from Plath's autobiographical novel, The Bell Jar, the many speculations on Plath's last days that provided material for Wintering (Moses, 2003), and from Birthday Letters (1999) — Ted Hughes' poetry collection concerning his marriage to Sylvia Plath.

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40

Goodspeed-Chadwick, Julie. "“He’s Busy Espalliering Sylvia”: Ted Hughes, Sylvia Plath, and Assia Wevill." Journal of the Midwest Modern Language Association 55, no. 1 (2022): 11–30. http://dx.doi.org/10.1353/mml.2022.a913838.

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Abstract: Prompted by recent feminist recovery efforts, this essay traces and considers Assia Wevill (1927–1969) as a noteworthy woman writer, whose life and literary contributions were influenced and inspired by the Pulitzer Prize–winning Sylvia Plath (1932–1963) and the former British Poet Laureate Ted Hughes (1930–1998). Reflecting on the manner in which Assia has been understood as a femme fatale archetype, the article seeks to reframe our understanding of her life primarily and her work secondarily by foregrounding them in her own words. While Assia has conventionally been approached as an attendant figure in the biographies and poetry of Plath and Hughes, this piece maintains that her life and literary contributions provide material for literary scholars to engage with and make inroads in feminist scholarship, as well as to forge new pathways in Plath studies and Hughes studies. Increasingly more than a footnote to Plath and Hughes, Assia Wevill emerges as a relevant subject for scholars who wish to track and map gendered dynamics in connection with biography in twentieth-century literature and letters.

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41

Ghani, Hana Khalief, and Hussein Kadhum Ghallab. ""I am, I am, I am" Self-Criticism in the Confessional Poetry of Sylvia Plath." JOURNAL OF LANGUAGE STUDIES 5, no. 1 (2022): 207–21. http://dx.doi.org/10.25130/jls.5.1.16.

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This paper aims at examining the theme of self-criticism in selected poems by the American poet Sylvia Plath. In her practice of self-criticism, Plath is influenced by the personal happenings in her life and her adoption of Confessionalism as a means of expression. Thus, her autobiography is of vital importance to the understanding of her poetry. The paper argues that although Plath seeks self-betterment through criticizing the self, this is less visible in her life than in the art she produces and the poetic legacy she left. It is true that her poetry shows a sincere desire for self-construction through self-criticism; however, her final act of self-destruction by committing suicide marks a complete failure as a person.

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42

Teixeira, Derick Davidson Santos. "“Brilho como espelho”: tensões entre fingimento e testemunho em Sylvia Plath / “I Gleam Like a Mirror”: Tensions Between Pretending and Testimony in Sylvia Plath." Revista do Centro de Estudos Portugueses 39, no. 61 (2019): 197. http://dx.doi.org/10.17851/2359-0076.39.61.197-211.

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Resumo: Este trabalho trata da tensão entre testemunho e fingimento na poesia de Sylvia Plath. Veremos que, na obra da poeta, há uma tensão entre a poesia que finge e a poesia que testemunha, similar à tensão que é possível estabelecer entre a poesia de Fernando Pessoa e a poética do testemunho formulada por Jorge de Sena. Tais concepções de poesia são cotejadas, principalmente, com um artigo de George Steiner sobre a obra da poeta, com formulações de Giorgio Agamben sobre o testemunho e com propostas críticas de Marcos Siscar relacionadas ao lugar de fala da poesia. Dessa forma, é possível elucidar como Sylvia Plath atinge uma modalidade de testemunho dotado de valor histórico e que expõe o lugar de fala próprio da poesia.Palavras-chave: Sylvia Plath; poesia; fingimento; testemunho.Abstract: This work is about the tensions between pretending and testimony in Sylvia Plath’s poetry. We will notice that, in her work, there is a tension between the poetry that pretends and the poetry that testifies, which is similar to the tension that is possible to establish between Fernando Pessoa’s poetry and the poetics of testimony formulated by Jorge de Sena. These conceptions of poetry are collated, mainly, with an article by George Steiner about the poet, with formulations by Giorgio Agamben about the testimony and with Marcos Siscar’s critical proposals related to the place of speech of Poetry. Thus, it is possible to elucidate how Sylvia Plath reaches a type of testimony endowed with historical value and that shows a place of speech that belongs specifically to poetry.Keywords: Sylvia Plath; poetry; pretending; testimony.

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43

Asotić, Selma. "Sylvia Plath and the dangers of biography." Journal of Education Culture and Society 6, no. 1 (2020): 55–64. http://dx.doi.org/10.15503/jecs20151.55.64.

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2013 marked the 50th anniversary of the death of Sylvia Plath and was commemorated by a flurry of new publications on the life and work of the late poet. The renewed interest in Sylvia Plath also revitalized the decades-old debate on the interdependence of her poems and her biography. This paper investigates and problematizes the way in which poetry in general and the work of Sylvia Plath in particular are read and interpreted. It tries to shed some light on the “biographical fallacy” which has for so long plagued critical approaches to her work and shows ways in which S. Plath’s own poetic method differs from the method of confessional writers such as Robert Lowell, in the hope of revealing why S. Plath’s work cannot and should not be approached through the prism of her biography.

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44

Matterson, Stephen, and Al Strangeways. "Sylvia Plath: The Shaping of Shadows." Modern Language Review 95, no. 3 (2000): 817. http://dx.doi.org/10.2307/3735525.

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45

Peel, Robin. "The Ideological Apprenticeship of Sylvia Plath." Journal of Modern Literature 27, no. 4 (2004): 59–72. http://dx.doi.org/10.2979/jml.2004.27.4.59.

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46

Hulverson, Elizabeth. "Sylvia Plath: autobiografía de una fiebre." Estudios: filosofía, historia, letras 9, no. 34 (1993): 99. http://dx.doi.org/10.5347/01856383.0034.000172634.

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47

Santana, Ivan Justen, and Sylvia Plath. ""All the Dead Dears", Sylvia Plath." Cadernos de Literatura em Tradução, no. 8 (December 1, 2007): 215–32. http://dx.doi.org/10.11606/issn.2359-5388.i8p215-232.

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48

André, Michel. "Anges et démons de Sylvia Plath." Books N° 114, no. 2 (2021): 72–75. http://dx.doi.org/10.3917/books.114.0072.

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49

Feirstein, Frederick. "A Psychoanalytic Study of Sylvia Plath." Psychoanalytic Review 103, no. 1 (2016): 103–26. http://dx.doi.org/10.1521/prev.2016.103.1.103.

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50

Zimbakova, Kristina. "The ways Sylvia Plath speaks Macedonian." Babel. Revue internationale de la traduction / International Journal of Translation 50, no. 4 (2004): 298–309. http://dx.doi.org/10.1075/babel.50.4.02zim.

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I delved in the original of the American poet Sylvia Plath poems with an ambition to "move" it and give it a new dimension compatible with Macedonian (a South-Slavic language). Regarding prosody, compared to the iambic in the original, particularly in the early poems, the translation of the poems uses trochee as a meter natural to modern Macedonian poetry and the closest one to the standard speech. The translation complies with the Macedonian grammatical and natural gender, and the noun-verb and adjective-noun agreement in gender, number, and person. Cultural shift is frequently applied, too. The poems crave for translation as a means of their resurrection, and unraveling of the powerful emotional input and imagery, in another language. While translating I was tenaciously in pursuing of the light in the lines of Plath’s poetry hoping to create by means of words a setting within Macedonian where that light will shimmer most intensely. The question is, what would Sylvia herself say in Macedonian that the translator does not say? Yet she is meant to speak via the translator as an intermediary, who unavoidably distorts the real picture in the mirror. Although translation of poetry can never fully satisfy the appetites of the original, it remains to be the original’s sole destiny and way of survival. Poetry itself is a certain translation of and deviation from the ordinary speech. Thus, the translation into Macedonian is actually translation of a translation. Everything is Translation: the imaginary Original is a body enveloped in the myriad of garments belonging to Translation.

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