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Relevant bibliographies by topics / Sylvia Plath

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Academic literature on the topic 'Sylvia Plath'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Sylvia Plath"

1

Estrada, Lucía. "Sylvia Plath." Perseitas 6, no. 2 (July 1, 2018): 482. http://dx.doi.org/10.21501/23461780.2846.

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

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

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

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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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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 (January 30, 2000): 377–88. http://dx.doi.org/10.17656/jzsb.10899.

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Petersen, Mariana Chaves. "Sylvia and the absence of life before Ted." Anuário de Literatura 23, no. 1 (April 11, 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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Dissertations / Theses on the topic "Sylvia Plath"

1

Svensson, Anna. "Almost there : approaches to closure in the works of Sylvia Plath /." Uppsala : Dept. of English, Uppsala University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8156.

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Strangeways, Alison Louise. "Sylvia Plath : poetry and influence." Thesis, University of the West of England, Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306895.

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Crowther, Gail. "The haunted reader and Sylvia Plath." Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543965.

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If, as Jacqueline Rose (1991) claims, Sylvia Plath is a ghost that haunts our culture, a ghost created from myths, stories and fantasies, then what happens to these myths and fantasies when they seep into the world at large? This piece of research aims to explore the notion of haunting. How does Sylvia Plath return and in what way does she inform the lives of her readers? This research collects, combines and critiques the 'creative autobiographies' of Plath 'reader-fans' and engages in the ongoing debates about the problematic nature of ethnography (Skeggs, 1995, Lawler, 2000) thus contributing to the methodological scholarship regarding the ethics of representation. By remaining reflexive about the use of primary data and by offering one possible reading of many, the method employed here attempts to further highlight the impossibility of a 'perfect' ethnography. Working with the 'creative autobiographies' of my respondents, the thesis explores how Plath's reader-fans negotiate their relationship with Plath via time, place, space, images and objects. Though influenced (methodologically) by feminists scholars such as Annette Kuhn (1995) and Caroline Steedman (1986) it draws primarily on Freudian theories ofidentification, loss and narcissism and Otto Rank's work on 'the double' in its attempt to explain the nature of the reader-fans' intense relationship to their icon. The thesis thus contributes to existing debates in fandom scholarship by theorising the role death appears to play in most forms of identificatory relationships between Plath and her readers. Equally, the thesis engages with the sociology of haunting (see Avery Gordon, 1997 and Kevin Hetherington, 2001) via place and mourning as well as work on cultural memory and visual/material culture. Using the notion of haunting as an instrument of social negotiation, I further question existing theorisation about the boundaries between the living and the dead. The role of place, the photograph, and objects, subject to both temporal and physical instability, are presented as powerful tools for mutual communication between the living and the dead. To explore exactly what or who may haunt a reader, this research also enters into debates concerning the 'author-function' and the active role of the reader in textproduction. Whereas Foucault (1984) and Barthes (1977b) argue that the text disperses the author at the centre of it, I, to a certain extent, reinstate the central role of the author and attempt to position the reader as a ghostly presence within the text. As such, this research is not about Sylvia Plath per se, but is what is left of her and how these remains are used.

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Nervaux-Gavoty, Laure de. "Sylvia Plath : la traversée de l'image." Paris 3, 2007. http://www.theses.fr/2007PA030060.

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S’appuyant sur l’étude de manuscrits, textes et oeuvres picturales non publiés, ce travail examine les influences artistiques, le travail de l’image et la représentation du regard dans l’oeuvre de Plath. Cette dernière s’affranchit progressivement d’une esthétique formaliste qui fait du poème un artefact pictural figé, et de la vision le fondement de l’écriture. Influencés par l’esthétique cinématographique et la grammaire des rêves, ses derniers poèmes envisagent au contraire l’écriture comme un processus à la fois dynamique et violent. Ce travail étudie également la représentation du regard dans les écrits autobiographiques de Plath. L’échec répété de l’expérience du miroir, dans lequel le sujet n’aperçoit qu’une image brouillée ou méconnaissable de lui-même, annonce un projet autobiographique paradoxal. La volonté obsessionnelle de recréer théâtralement l’image que le miroir refuse de renvoyer s’accompagne d’une crainte d’être figée par le regard d’autrui, ainsi que par les innombrables dispositifs optiques mis en place par une société extrêmement normative
Drawing on unpublished texts, manuscripts and artwork, this study analyzes pictorial influences, the inscription of the visual and the representation of the gaze in Sylvia Plath’s work. Plath gradually moves away from an aesthetics which turns poems into frozen pictorial artefacts and which relies on vision as a prime source of inspiration. Envisioning writing both as a dynamic and a violent process, her late poems incorporate cinematic influences and model themselves on the grammar of dreams. This work also focuses on the representation of the gaze in Plath’s work. Failed encounters with mirrors, which only reflect back blurred or alien faces, preside over a paradoxical autobiographical project. Plath’s effort to recreate theatrically the image which the mirror won’t give back is bound up with a deep-seated fear of being petrified by other people’s gaze and by the countless optical devices set up by a highly normative society

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Marchon, Heller Marthe. "La genèse d'un poète : Sylvia Plath." Université Stendhal (Grenoble ; 1970-2015), 1990. http://www.theses.fr/1990GRE39033.

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Sylvia plath est un poete americain, nee a boston, massachusetts, en 1932, et morte a londres, grande bretagne en 1963. Les elements qui sont a la source de sa poesie et qui ont contribue a son developpement font l'objet de cette etude. A partir de l'analyse des images et des themes de son oeuvre, ce travail tente de montrer comment les relations du poete avec deux figures marquantes, son pere et sa mere, ont influence sa vie et sa poesie
Sylvia plath is an american poet who was born in boston, massachusetts in 1932, and died in london in 1963. This is a study of the elements that have been et the source of her poetry and have contributed to its development. This work attempts to show how her relations to two strong figures, her father and mother, have influenced her life and poetry, through an analysis of the themes and images

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Mather, Mary Lynn. "Sylvia Plath images of life in a poet of death." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002288.

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On a creative and a personal level, Sylvia Plath seems to have been fascinated by the relationship between life and death. Her work reflects an ongoing preoccupation with duality and a sense of tension between two opposing forces suffuses virtually every poem she wrote in the period from 1956 to early 1963. Because her attitude to both life and death is deeply ambivalent, Plath's poetry rests on a strong awareness of conflict and her art is characterized by a continual pull between extremes. This thesis is an examination of how she uses images of life in poems that ostensibly deal with death.While Plath draws on the events of her own life for her poetic material, she also converts her personal experiences into a universal myth. She was familiar with Robert Graves's eclectic study of the pagan nature deity, The White Goddess, and she seems to have incorporated part of his symbolism into her own code of images. In particular, she adopts Graves's triple goddess of nature as one of the dominant figures in her created world, for the White Goddess is associated with life and death alike.Plath's dichotomy of life and death works on different planes. Firstly, she frequently envisages the self as divided and the opposition between life and death takes on the dimensions of an internal psychological war. Secondly, she extends the battle between life and death to the creative sphere. Thirdly, she explores the idea of life as a journey from birth to death. The White Goddess is linked with the three natural realms of earth, sky and underworld. And Plath relies largely on seasonal, lunar and chthonic images in her poetry. Furthermore, the three colours of the goddess - white , red and black - are the dominant hues of her poetry.

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Tang, Leung-ying June. ""Dying is an art, like everything else" : the theme of suicide in Sylvia Plath's life and works /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25335078.

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Bradshaw, Melissa. "Elizabeth Bishop and Sylvia Plath through psychoanalysis." Thesis, Birkbeck (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565947.

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This thesis reads Elizabeth Bishop and Sylvia Plath for their poetic engagement psychoanalysis. This reading nuances their relation to confessional poetry. By 'confessional' I mean the term first used to describe Robert Lowell's 'Life Studies' (1959), and later to describe the poets that were influenced by him. My main intervention is that what makes Bishop and Plath's poetry appear confessional owes to their engagement with psychoanalysis. Confessional poetry provokes psychoanalytic interpretation, but these two poets are not the passive object of psychoanalytic interpretation. Instead they used poetic form to motivate a transference with psychoanalysis. Plath and Bishop's poetry often diverges from or produces a critique of psychoanalysis where it is most compromising for women. I focus on Freud and Lacan as two of the most difficult yet influential figures in the relationship between psychoanalysis and feminism. Plath's poetry is not pathological and inevitably suicidal, and Bishop develops a more problematic relationship with the other than is sometimes suggested. Both poets also give form to a maternal relation of the kind that Freud and Lacan's work suppresses. The confessional poem is also read as a formation of the ego. Although Bishop is not normally included under the term confessional poetry, she influenced Lowell, and when the confessional poem is read as an ego, rather than centred on the 'I', her writing can be seen to share some of the most essential features of confessional poetry. The main difference is her use of secretive tactics very different from the deliberate self-centredness of confessional poetry proper. Whereas the archconfessional Plath made the 'I' the centre of her poetry and her gender overt, Bishop hid both of these behind various surfaces. The parallels I draw between these two poets reveal the different ways that as writers they brought women's writing and feminine subjectivity on the literary scene.

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9

Soutter, Jennifer. "Archetypal elements in the poetry of Sylvia Plath." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/954/.

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Frank, Lauren Irene. "Plath's Animals Representations of Gender and Identity in the Writing of Sylvia Plath." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1936.

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The purpose of this thesis is to establish how American writer Sylvia Plath utilizes the non-human animal image to explore gender roles and identity. Despite the overwhelming amount of criticism that has been dedicated to Plath's writing and life, the use of non-human animals in her work has rarely been addressed. A primary focus will be on the violence and aggression evident in a large amount of her poetry, much of it aligned with gender and the non-human animal image. In examining the ways in which Plath utilizes animals, a distinction becomes apparent between the majority of her earlier writing and her later work. In Plath's earlier work, she typically uses animals within a triangular model, where the animal's significance is determined by the relationship between the male and female human protagonists. As her work develops, there is an evident shift in the role and representation of the animal images as they begin to depart from the earlier triangular model. In Plath's later work the animal representations are aligned closely with the identities of the female figures. Here, animals essentially take on a mythic, prosthetic role and enable the female figures' transcendence towards a non-victim status. Plath's shifting representations of the non-human animal acknowledge traditional gender dichotomies, but ultimately undermine them.

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Books on the topic "Sylvia Plath"

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Harold, Bloom. Sylvia Plath. New York: Chelsea House Publishers, 1989.

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Marsack, Robyn. Sylvia Plath. Buckingham [England]: Open University Press, 1992.

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Sylvia Plath. Basingstoke, Hampshire: Macmillan Education, 1987.

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Harold, Bloom. Sylvia Plath. Broomall, PA: Chelsea House Publishers, 2001.

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Bronfen, Elisabeth. Sylvia Plath. 2nd ed. Tavistock: Northcote House, 2004.

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Sylvia Plath. Ipswich, Massachusetts: Salem Press, 2013.

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Sylvia Plath. Totowa, N.J: Barnes & Noble Books, 1987.

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Pitkethly, Lawrence. Sylvia Plath. New York, N.Y: New York Center for Visual History, 1988.

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Wagner-Martin, Linda. Sylvia Plath. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230505926.

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Pomeroy, Marnie. Sylvia Plath. London: Greenwich Exchange, 2006.

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Book chapters on the topic "Sylvia Plath"

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Rippl, Gabriele. "Plath, Sylvia." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12321-1.

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Rippl, Gabriele. "Sylvia Plath." In Kindler Kompakt Amerikanische Literatur 20. Jahrhundert, 131–34. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05528-6_28.

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Handley, Graham, and Anne Dangerfield. "Sylvia Plath." In English coursework, 75–81. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-13024-5_12.

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Schlichter, Annette. "Plath, Sylvia." In Metzler Autorinnen Lexikon, 425–26. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_295.

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Bassnett, Susan. "Introduction." In Sylvia Plath, 1–3. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80189-9_1.

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Bassnett, Susan. "Tracing a Life." In Sylvia Plath, 4–26. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80189-9_2.

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Bassnett, Susan. "Poetry as Process." In Sylvia Plath, 27–46. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80189-9_3.

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Bassnett, Susan. "God, Nature and Writing." In Sylvia Plath, 47–70. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80189-9_4.

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Bassnett, Susan. "Writing the Family." In Sylvia Plath, 71–94. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80189-9_5.

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Bassnett, Susan. "Writing out Love." In Sylvia Plath, 95–116. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-80189-9_6.

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Conference papers on the topic "Sylvia Plath"

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Ревенко, Мария Михайловна. "MOTIF OFALIENATION IN SYLVIA PLATH’S POEM ‘HARDCASTLECRAGS’." In Социально-экономические и гуманитарные науки: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Июнь 2020). Crossref, 2020. http://dx.doi.org/10.37539/seh291.2020.56.34.002.

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Отчуждение является одной из центральных тем американской литературы XXвека. Это состояние представляет собой реакцию героя на окружающий мир и зачастую реализуется в текстах с помощью приёма отстранения. В творчестве Сильвии Плат мотивы отчуждения являются основными, примером чего является стихотворение «Хардкасл Крэгс». Alienation is one of the central themes in American literature of 20century. This condition represents character’s reaction on the outside world. The motifs of alienation are basic in the work of Sylvia Plath. The article presents an analysis of the motif of alienation in Sylvia Plath’s poem ‘Hardcastle Crags’.

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Рустамов, Роман Ровшанович. "CHARACTERISTIC FEATURES OF SYLVIA PLATH'S SHORT PROSE." In Социально-экономические и гуманитарные науки: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Июнь 2022). Crossref, 2022. http://dx.doi.org/10.37539/seh303.2022.10.43.006.

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На примере рассказов «Джонни Паника и Библия сновидений», «Дочери Блоссом-стрит», «Мэри Вентура и “Девятое королевство”» и других определяется своеобразие малой прозы Сильвии Плат: доминирование тем одиночества и непонимания, автобиографичность, сюжетная напряженность, фрагментарность, богатая метафоричность. The article reveals the characteristic features of Sylvia Plath`s short prose based on the analysis of stories “Johnny Panic and the Bible of Dreams”, “The Daughters of Blossom Street”, “Mary Ventura and The Ninth Kingdom” and others: the major themes of loneliness and lack of connection, autobiographical motives, the intensity of narrative, fragmentation and metaphoricity.

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