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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 normativeDrawing 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 poesieSylvia 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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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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Narbeshuber, Lisa. "Re-casting Sylvia Plath, plath's poetry as cultural confession." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/NQ35263.pdf.
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Sit, Wai-yee Agnes. "The poetic quests of Emily Dickinson and Sylvia Plath." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38429640.
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Sit, Wai-yee Agnes, and 薛慧宜. "The poetic quests of Emily Dickinson and Sylvia Plath." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38429640.
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Galvão, Raíssa Varandas. "A escrita de si nos diários de Sylvia Plath." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/302.
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O presente trabalho tem como objetivo a análise dos diários pertencentes à fase adulta da poetisa Sylvia Plath, que abrangem o período de 1950 a 1962. Para melhor entender as características que compõem os diários no geral, recorro à Philippe Lejeune, em O pacto autobiográfico e “Diários de garotas francesas no século XIX”. No capítulo inicial, associo as escritas de si ao fortalecimento da noção de indivíduo moderno bem como ao rompimento entre espaço público e privado, noções que foram construídas ao longo da história. A partir desse panorama inicial, no decorrer do trabalho, procuro refletir a respeito da questão feminina, bem como as relações entre gênero e autoria, por meio da escrita íntima deixada pela poetisa. Para tal, recorro principalmente aos textos Um teto todo seu e “Profissões para mulheres”, de Virginia Woolf, assim como à obra O segundo sexo, de Simone de Beauvoir. Busco refletir, ainda, sobre o processo de construção do eu realizado por Plath no espaço de seus diários, uma vez que essa espécie de escrita possibilita aquilo que denominamos “arquivamento de si”. Desse modo, compreendo o texto do diário como um discurso, uma narrativa que, como tal, é dotada de aspectos ficcionais. Trabalho, assim, com as múltiplas identidades vivenciadas por Sylvia Plath, bem como as distintas imagens e interpretações que os demais realizaram dela.
This study aims to analyze the adult stage diaries belonging to the poet Sylvia Plath, covering the period from 1950 to 1962. To better understand the characteristics that make up the overall of these diaries, I turn to Philippe Lejeune, in The autobiographical pact and "Diaries of French girls in the nineteenth century." In the opening chapter, I associate her writing of herself to the strengthening of the modern notion of individual as well as the split between public and private space, notions that have been built throughout history. From this initial panorama, in the course of this work, I try to reflect on the women's issue, as well as the relationship between gender and authorship, through the intimate writing left by the poet. To this end, I resort mainly to the texts A room of One's Own and "Professions for women", by Virginia Woolf, as well as to the work The Second Sex, by Simone de Beauvoir. I seek to reflect also on the construction process of the self carried out by Plath within her diaries, since this kind of writing makes possible what we call "archiving of oneself". Thus, I understand the text of the diary as a discourse, a narrative that, as such, is endowed with fictional aspects. I work then with the multiple identities experienced by Sylvia Plath, and with the different images and interpretations that others made of her.
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Carvalho, Taísa. "Rastros e vozes de Sylvia Plath: reminiscências e memória." Universidade Estadual do Oeste do Parana, 2013. http://tede.unioeste.br:8080/tede/handle/tede/2353.
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Previous issue date: 2013-12-11The purpose of this paper is to analyze, in a comparative way, the theme of melancholy, suicide, and death in eight Ariel poems the work of Sylvia Plath - "Lady Lazarus", "Daddy", "The moon and the yew tree "," Death & Co ", "Ariel," Tulips "," The detective "and" Purdah "- in five poems from other works of the same writer -" Pursuit "," the tree of life "," Mirror "," Edge "and" Words "- in four paintings entitled Vita e Morte , Allegoria la vita unama , La morte del peccatore and Melancolia I and the movie Sylvia , passion beyond words by Christine Jeffs. Based on the established thematic intertextuality between artistic forms - film, painting and poem - which constitute the corpus of this research and the conception of poetry as a place of culture, studies the poetry of Sylvia Plath, which is constructed by the plots of the imaginary, process and reminiscent of forgetfulness, so that art and suffering may converge and the shadow of suicide author protrudes over the text. It is, above all, a poetic which refers to the human condition of transience and permanence: the permanence of writing and transience of life. Therefore, this study is based mainly on the theoretical principles of Paz (1982, 1991 and 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) and Chevalier (2003).
A proposta deste trabalho é analisar, de modo comparativo, a temática da melancolia, do suicídio e da morte em oito poemas da obra Ariel, de Sylvia Plath Lady Lazarus , Daddy , The moon and the yew tree , Death & Co , Arie l, Tulips , The detective e Purdah , em cinco poemas de outras obras da mesma escritora Pursuit , The tree of life , Mirror , Edge e Words , em quatro pinturas intituladas Vita e Morte, Allegoria de la vita unama, La morte del peccatore e Melancolia I e na obra fílmica Sylvia, paixão além das palavras, de Christine Jeffs. Partindo da intertextualidade temática estabelecida entre as linguagens artísticas cinema, pintura e poema que constituem o corpus desta pesquisa e da concepção de poesia enquanto local de cultura, estuda-se a poética de Sylvia Plath, que se constrói pelas tramas do imaginário, do processo rememorativo e do esquecimento, de modo que arte e sofrimento se confluem e a sombra do suicídio da autora se projeta sobre o texto. Trata-se, sobretudo, de um fazer poético que remete à condição humana de transitoriedade e permanência: a permanência da escrita e a transitoriedade da vida. Para tanto, este estudo baseia-se, sobretudo, nos pressupostos teóricos de Paz (1982, 1991 e 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), de Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) e Chevalier (2003).
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Burkart, Annette. ""Kein Sterbenswort, Ihr Worte!" : Ingeborg Bachmann und Sylvia Plath : acting poem /." Tübingen : A. Francke, 2000. http://catalogue.bnf.fr/ark:/12148/cb37687231j.
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Ahrfeldt, Cecilia. "Space and Infelicitous Place in the Poetry of Sylvia Plath." Thesis, Stockholms universitet, Engelska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-62615.
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Sylvia Plath’s poetry has received considerable critical attention with respect to a wide range of themes and critical approaches. Variously labeled feminist, political, mythical and suicidal, Plath has been subject to enormous biographical scrutiny but the critical responses available today offer increasingly nuanced understandings of Plath’s work. However, sufficient attention has not been given to the significant prevalence of images of places and spaces in Plath’s poetry. With particular focus on a selection of poems from The Collected Poems, this thesis argues that the personae in the poems confront “infelicitous places” and that the poems resonate with a tension between place (here referring to a space that is delimited by certain values) and space (in the sense of an expansion without the restrictions of place). What I here refer to as infelicitous place can be understood as an inversion of Gaston Bachelard’s conception of “felicitous space” and accounts for the way in which places in Plath’s poetry are marred with anxiety and ambivalence as opposed to Bachelard’s benevolent, protective spaces. The places and spaces in the poems are dealt with in relation to the notion of infelicitous place, as well as the significance of walls and the affinity between place and poetics.
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Tavares, J?nior Jos? Mariano. "A performance do suic?dio em Ariel, de Sylvia Plath." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16211.
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Previous issue date: 2011-09-23This dissertation aims at investigating the book Ariel (1965), written by Sylvia Plath, as a kind of performative and ritual poetry that fragments and reconstructs the personal experience, manipulating the memory of the autobiographical body as a way to rehearse and restore subjectivity. We propose that, in Ariel, the hyperbolic, transcendent and parodic transfiguration of real episodes, used as literary substance, corrupts and subverts the specular idea of a confessional truth usually related to the writer s work. Our objective is to examine signs of confluence between Sylvia Plath s poetry and performance art, departing from de idea that the spectacularization of the self, the exhibition of private rituals, the theatricalization of autobiographical circumstances and the undressing of one s craziness and vulnerability are mutual procedures to the poet and the perfomer. Simultaneously unfolding between the inside and the outside of the poem, Sylvia Plath s real suicide and the death and rebirth rituals performed in the literary text appear as symbolic elements that might reveal the performer s liminal space, where reality and representation coexist, and where the performative testimony does not frame only the real subject s body but also his/her infinite possibilities of being restored through art.
Esta disserta??o prop?e investigar a escritura do livro Ariel (1965), de Sylvia Plath, como um tipo de poesia perform?tica e ritual que fragmenta e reconstr?i a experi?ncia privada, manipulando a mem?ria do corpo autobiogr?fico como forma de ensaiar e restaurar a subjetividade. Nossa proposta assume que, em Ariel, a transfigura??o hiperb?lica, par?dica e transcendente de epis?dios reais, utilizados como mat?ria liter?ria, subverte e corrompe a id?ia especular de uma verdade confessional habitualmente relacionada ? obra da escritora. Nosso objetivo ? examinar pontos de conflu?ncia entre a poesia de Sylvia Plath e a performance art, partindo da id?ia de que espetaculariza??o do self, a exibi??o de rituais ?ntimos, a teatraliza??o de circunst?ncias autobiogr?ficas e o desnudamento da loucura e da vulnerabilidade do sujeito, s?o procedimentos comuns ? poeta e ao performer. Desdobrando-se simultaneamente entre o dentro e o fora do poema, o suic?dio real da poeta e os ritos de morte e ressurrei??o performados no texto liter?rio afiguram-se como elementos simb?licos capazes de revelar o espa?o liminar do performer, onde o real e a representa??o coexistem, e onde o testemunho perform?tico n?o emoldura apenas o corpo real do sujeito mas suas infinitas possibilidades de restaura??o atrav?s da arte.
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Alessandri, Silvia Maria Barile. "Um estudo psicanalítico acerca do suicídio por meio de Sylvia Plath." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/15724.
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Previous issue date: 2008-06-20Conselho Nacional de Desenvolvimento Científico e Tecnológico
This thesis is a study about the suicide by means of Sylvia Plath. This American writer perpetrated suicide at the age of 30, after 2 attempts: the first at the age of 20, when in the university and the second at the age of 29, already married and mother of two young children. Although her literary production is considered by many as autobiography, in this search I have used only the diaries, handwritten and letters edited by Karen Kukil in The Journals of Sylvia Plath 1950 - 1962. From these registers I make psychoanalytic considerations based on the Freud s theory and Lacan s teaches. The interest of this theme succeeded from the clinic activities. I verify, and this constitutes my thesis, that in the melancholy, when faced with I m nothing, I m no more than rubbish , stated by Lacan, succeed from the conviction of the inefficiency or non existence of the Other s love, easily can lead in to the suicide. In the melancholy, the subject, faced with the foreclosure of the Name-of-the- Father, may find an imaginary supplying. However, towards the Lacan s node theory, the supplying of the foreclosure of the Name-of-the-Father may take place towards Sinthome
Esta tese é um estudo acerca do suicídio, por meio de Sylvia Plath. Esta escritora norte-americana suicidou-se com trinta anos, após duas tentativas de suicídio: a primeira aos vinte anos, enquanto fazia faculdade, e a segunda, aos vinte e nove anos, já casada e com dois filhos pequenos. Embora sua obra literária seja considerada por muitos estudiosos como autobiográfica, utilizo nesta pesquisa apenas os diários, manuscritos e cartas que foram editados por Karen Kukil em Os diários de Sylvia Plath. 1950-1962. A partir destes registros realizo considerações psicanalíticas fundamentada na teoria freudiana e no ensino de Lacan. O interesse por este tema vem da clínica. Constato, e isto constitui minha tese, que na melancolia, quando diante do Nada sou, não sou mais que um lixo , formulado por Lacan, advém a certeza da ineficácia ou da inexistência do amor do Outro, facilmente pode haver a precipitação ao suicídio. Na melancolia, o sujeito, diante da foraclusão do Nome-do-Pai, pode encontrar uma suplência imaginária. Porém, com a teoria dos nós de Lacan, a suplência à foraclusão do Nome-do-Pai pode se dar via Sinthoma
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Moore, Jayme E. "The significance of mouth imagery in the poetry of Sylvia Plath." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722230.
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The purpose of this thesis was to examine the mouth imagery (images of eating, tasting, swallowing, and devouring) in the poetry of Sylvia Plath in terms of its meaning of Plath's art. An examination of Plath's Collected Poems reveals that both the prevalence and specific nature of the mouth imagery make it a significant part of her poetic vision. The mouth imagery differs from the other threatening imagery in Plath's poems because, unlike the threat of death presented by the moon or sea, the mouth imagery describes a threat humans cannot detach themselves from; they must contribute to the "gross eating game." Because existence depends upon consuming food, and new life builds upon decay, the threat represented by the mouth imagery is hoplesslessly recognized as necessary by its victims in Plath's poems. The mouth imagery expresses the paradox in the interdependence of life and death through metaphors which convey a sense of threat as well as necessity.Department of English
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Boswell, Matthew James. "The Holocaust poetry of John Berryman, Sylvia Plath and W.D. Snodgrass." Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/4835/.
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John Berryman, Sylvia Plath and W. D. Snodgrass are each commonly associated with the poetic movement known as ‘confessionalism’ which emerged in the USA in the late 1950s and early 1960s. They did not, however, write works of undiluted autobiography; through close readings of their Holocaust verse, I take the poetry, rather than the lives of the poets, to be the ultimate authority on what they had to say about history, about the ethics of representing historical atrocity in art, and about the ‘existential’ questions that the Nazi genocide raises. Chapter 1 offers the first sustained analysis of Berryman’s unfinished collection of Holocaust poems, The Black Book (1948 - 1958) - one of the earliest engagements by an American writer with this particular historical subject. In my second chapter I look at some of Plath’s fictionalised dramatic monologues, which, I argue, offer self-reflexive meditations on representational poetics, the commercialisation of the Holocaust, and the ways in which the event reshapes our understanding of individual identity and culture. My third chapter focuses on W. D. Snodgrass’s The Fuehrer Bunker (1995) - a formally inventive cycle of dramatic monologues spoken by leading Nazi ministers, which can be read as an heuristic text whose ultimate objective is the moral instruction of its readers. Finally, I suggest that while all three poets offer distinct responses to the Holocaust, they each consider how non-victims approach the genocide through acts of identification. For Snodgrass, it is important that we do identify with the perpetrators, who were not all that different from ourselves; for Berryman and Plath, however, the difficulty of identifying with the victims marks out the limits of historical understanding.
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Coyne, Kelly Marie. ""The Magic Mirror" Uncanny Suicides, from Sylvia Plath to Chantal Akerman." Thesis, Georgetown University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10272269.
Full textAbstract:
Artists such as Chantal Akerman and Sylvia Plath, both of whom came of age in mid-twentieth century America, have a tendency to show concern with doubles in their work—Toni Morrison’s Beloved , Maya Deren’s Meshes of the Afternoon, Cheryl Dunye’s The Watermelon Woman—and oftentimes situate their protagonists as doubles of themselves, carefully monitoring the distance they create between themselves and their double. This choice acts as a kind of self-constitution, by which I mean a self-fashioning that works through an imperfect mirroring of the text’s author presented as a double in a fictional work. Texts that employ self-constitution often show a concern with liminality, mirroring, consumption, animism, repressed trauma, suicide, and repetition.
It is the goal of this thesis to examine these motifs in Sylvia Plath’s The Bell Jar and the early work of Chantal Akerman, all of which coalesce to create coherent—but destabilizing—texts that propose a new queer subject position, and locate the death drive—the desire to return to the mother’s womb—as their source. I will examine the uncanny on various levels, zooming out from the micro-level elements of the text to its broader relationship to its environment: from rhetoric, to the physical landscapes of the texts, to characters of the text, to the structure of the text (as confined by its frame), and then, finally, outside the text itself, to the author’s relationship with her double. What I will argue here is that Akerman and Plath—in doubling on both the extradiegetic and intradiegetic levels of their work—propose a queer liminal space that siphons and ultimately expels repressed uncanny desire, allowing for both self-sustainability and personal integrity.
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Wann, Ryleigh Marie. "Women's Voices of the 1960's Through Metapoetry: Sylvia Plath & Anne Sexton." University of Toledo Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1544711810525306.
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Puskunigytė, Edita. "Meilės ir mirties erosas Birutės Pūkelevičiūtės, Liūnės Sutemos ir Sylvia‘os Plath poezijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_151916-67097.
Full textAbstract:
Birutės Pūkelevičiūtės, Liūnės Sutemos ir Sylvia‘os Plath poezijoje meilės ir mirties eroso
problematika skleidžiasi kaip ribinių patirčių ištiktis. Kūryba šios autorėms pasirodo kaip vienintelė
niša, saugi sfera, kurioje kūrėjos gali jaustis laisvos, manifestuojančios, kuriančios naujus ir
pertvarkančios senus archajinio pasaulio modelius. Galima teigti, kad B. Pūkelevičiūtės, Liūnė
Sutemos ir S. Plath rašymas mitų ar ritualų motyvais visų pirma leidžia šių autorių kūrybą
interpretuoti būtent mitopoetikos lauke. Tiriamojoje poezijoje lyrinis „Aš“ nuolat kinta dėl išorinio
pasaulio moderniųjų iniciacijų: II pasaulinis karas – mirties ir prisikėlimo (naujojo „Aš“) suvoktis,
emigracijos problema (Tėvynės, Dievo ilgesys, skausminga savasties būtis), meilės ištiktis (nuo
kuriančios ir griaunančios aistros, meilės ir mirties eroso iki mitinio ar liturginio pasaulio kaip
išeities terpės). Autorių poezijoje lyriniai subjektai – archajinio pasaulio dalis, tačiau būdami
moderniajame pasaulyje ir priimdami jo taisykles – perteikia jas kaip tam tikrą koncepciją. Šios
koncepcijos pagrindas – mito ir modernumo jungtis, mito perkūrimas, gamtos išjautimas ir
kontempliacija kelyje tarp gėrio ir blogio principų, tarp dievui Erotui artimų stokos ir pilnatvės
būsenų.
B. Pūkelevičiūtės ir Liūnės Sutemos poezijoje gausu biblinių asociacijų, liturginių motyvų,
kurie veikia ir kaip apsivalymo, ir kaip manifesto forma. Ambivalentiška S. Plath poezijoje lyrinis
subjektas išjaučia arba savyje... [toliau žr. visą tekstą]Birutė Pūkelevičiūtė, Liūnė Sutema and Sylvia Plath’s poetry unholds love and death Eros problems as a stuck of marginal experiences. Creation for the authors appears as a single niche, secure area where they can feel free, manifesting, developing new and transforming the old models of archaic world. It can be stated, that Liūnė Sutema and Sylvia Plath’s writing in myth and ritual motives in particular can be precisely interpreted as myth poetics. The lyric “I” is constantly changing due to external world of modern initiations: World War II - the death and resurrection (the new "I") realization, emigration (longing for the homeland, God, painful self – being), love struck (from developing and destructive passion, the Eros of love and death to the mythical or liturgical world as the source medium). The lyrical subjects in authors‘ poetry is the part of archaic world, but being the in modern world and accepting its rules, represent them as a certain concept. The basis of this conception is a connection between myth and modernity, the recreation of myth, the sensation of nature and contemplation on the path in between good and evil principles, amongst Erot’s conditions of lack and fullness. Birutė Pūkelevičiūtė and Liūnė Sutema’s poetry is full of biblical associations, liturgical motives which act as a cleansing and as a manifest form. In S. Plath's poetry, the lyrical subject is ambivalently bearing or sublimating the death of ‘Nietzsche God’, experiences the Nazi genocide... [to full text]
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Gentry, Deborah Suiter. "The art of dying : suicide in the works of Kate Chopin and Sylvia Plath /." New York [u.a.] : Lang, 2007. http://www.loc.gov/catdir/toc/ecip0618/2006025137.html.
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Tripp, Anna. "The death of the author : Sylvia Plath and the poetry of resistance." Thesis, Cardiff University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245995.
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Brain, Tracy Eileen. "The female body in women's writing : from Sylvia Plath to Margaret Atwood." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319973.
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Gosmann, Uta. "La poétique de la mémoire : Sylvia Plath, Susan Howe et Ellen Hinsey." Paris 7, 2005. http://www.theses.fr/2005PA070053.
Full textAbstract:
Cette recherche de la poétologie de la mémoire examine les formes de la mémoire dans la poésie et l'approfondissement des conceptions de la mémoire par la poésie. Les oeuvres des poètes américaines Sylvia Plath, Susan Howe et Ellen Hinsey représentent des mnémoniques au cours des cinq dernières décennies. Des conflits entre une mémoire personnelle et collective caractérisent les poèmes de Plath. Howe écrit des "mémoriaux" de "non-conformistes" sur la base des qualités représentatives du signifiant mais aussi de la marge et de l'espace blanc. Hinsey s'oppose à ce qui, dans les années 90, a été perçu comme une perte du passé en raison de la croissance des réalités simulées. Elle récrit le passé en imaginant ses dimensions spatiales, non-linéaires, et personnelles. Les poèmes puisent dans la mémoire, mais ils la produisent également. Ils absorbent des éléments de la mémoire collective, reflètent le processus de leur propre écriture, et fonctionnent comme mémoire de là subjectivité (postmoderne)A study on poetics of memory is incited by two fundamental questions: how does memory figure in poetry and how can poetry contribute to complicating concepts of memory? Sylvia Plath, Susan Howe, and Ellen Hinsey are New England poets who exemplify poetics of memory from the past fifty years. Plath's poems are marked by conflicts between a precarious personal and dominant collective memory. Howe experiments with "memorials" of "nonconformists", drawing not only on the mnemonic potential of the signifier but also of the marginal and the blank. Hinsey counters what since the 1990s has been perceived as the loss of the past due to a zeitgeist of simulated realities and information overflow. She rewrites the past in terms of its spatial, non-linear, and personal dimension. Poems draw on memory but also produce it: they absorb elements from collective memory, they are self-reflexive of their own coming-into-being, and they constitute memory of (postmodern) subjectivity
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Granlund, Jeanette. "” Spiteful as a woman, but not so nervous” : En kvalitativ studie om representationen av kvinnlighet i utvalda dikter av Sylvia Plath." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-131730.
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I denna studie analyseras sju dikter ur Sylvia Plaths diktsamling ”Ariel”. Syftet med uppsatsen är att undersöka representationen av kvinnlighet och manlighet i utvalda dikter från Sylvia Plaths diktsamling ”Ariel”. Metoden som har använts är diskursanalys som använder begreppen av Laclau och Mouffe. Dessa begrepp användes även som teori, samt att teorier av Judith Butler och Lena Gemzöe har använts. Studien visade på att kvinnligheten i Plaths dikter är väldigt ambivalent, detta gällde även för de manliga subjekten som figurerar i texten men kunde dock ses som mer normativa.
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Dunn, Jessica. "Unearthing Real Women: Reclaiming Sylvia Plath and Virginia Woolf from Their Suicide Narratives." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2139.
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Virginia Woolf and Sylvia Plath are two well-known women writers of the twentieth century who committed suicide. The narratives created by their deaths have in some instances become as important as the canonical work they produced. In an effort to understand their motivations and struggles, critics and the public alike have sometimes reduced these women to victims of the patriarchy, mental illness, or even themselves.
Beginning with my own discovery of this issue in the legacies of Plath and Woolf combined with my personal dealings with suicide in my family, I recount how I lost these two women as exemplary figures because of their choice to commit suicide. I then take a look at what others have said about their deaths and how it has affected their legacies as writers. Finally, I take a look at Woolf’s Mrs. Dalloway and Plath’s The Bell Jar for an alternate perspective on suicide. Through this journey, I recount how I have been able to regain my respect for these two talented women by considering multiple viewpoints and acknowledging the nuance inherent in any account.
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Bertacini, Vanessa Cezarin. "A desintegração do sujeito feminino em A redoma de vidro, de Sylvia Plath /." Araraquara, 2018. http://hdl.handle.net/11449/154858.
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Orientador: Aparecido Donizete RossiBanca: Alcides Cardoso dos Santos
Banca: Carla Alexandra Ferreira
Resumo: Sylvia Plath é uma escritora norte-americana do século XX conhecida principalmente por sua poesia e por seu suicídio precoce. Em 1963, ela publica seu único romance, A redoma de vidro [The Bell Jar], em que narra a história de Esther Greenwood, jovem americana da década de 1950 que se encontra em um caminho de autoaniquilação ao se deparar com as regras sociais impostas pela ideologia patriarcal, a qual tenta impedi-la de assumir seu eu verdadeiro e desenvolver todas as suas potencialidades. O objetivo deste trabalho é entender de que forma a autora, por meio da atualização do conceito de subtexto de autoria feminina para o século XX, utiliza a temática da desintegração do sujeito feminino como estratégia de resistência ao patriarcado. Para tanto, utilizam-se os escritos de Virginia Woolf sobre o ideal do Anjo do Lar, presentes em seu ensaio "Professions for Women" (1942); de Gilbert e Gubar sobre a literatura de autoria feminina, retirados de sua obra The Madwoman in the Attic (1979); e de Elaine Showalter sobre o discurso de duas vozes empreendido pelas mulheres autoras, presentes em seus ensaios "Towards a Feminist Poetics" (1979) e "A crítica feminista no território selvagem" (1981). A partir da análise do romance, busca-se mostrar de que forma Plath denuncia os efeitos devastadores da ideologia patriarcal sobre o corpo e a mente das mulheres.
Abstract: Sylvia Plath is a twentieth-century North-American writer, mainly known by her poetry and her early suicide. In 1963, she publishes her only novel, The Bell Jar, in which she tells the story of Esther Greenwood, a young American woman from the 1950's who finds herself in a self-annihilation path when confronted by the social rules imposed by the patriarchal ideology, which tries to stop her from assuming her true self and developing all her potentialities. The aim of this work is to understand in what way the writer, through the actualization of the concept of subtext in female authorship to the twentieth century, employs the theme of female subject disintegration as a resistance strategy to patriarchy. For this purpose, we use Virginia Woolf's writings on the Angel in the House's ideal, from her essay "Professions for Women" (1942); Gilbert and Gubar's writings on the literature of female authorship, from their work The Madwoman in the Attic (1979); and Elaine Showalter's writings on the double-voiced discourse employed by women writers, from her essays "Towards a Feminist Poetics" (1979), and "Feminism Criticism in the Wilderness" (1981). From the analysis of the novel, we aim to show in which way Plath exposes the devastating effects of the patriarchal ideology on women's bodies and minds.
Mestre
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Bertacini, Vanessa Cezarin [UNESP]. "A desintegração do sujeito feminino em A redoma de vidro, de Sylvia Plath." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154858.
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Submitted by Vanessa Cezarin Bertacini (vanessa.bertacini@gmail.com) on 2018-08-14T13:06:33Z
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Versão biblioteca.pdf: 1898555 bytes, checksum: 8fb8e416dbfd6c97a3306efb0abf621b (MD5)Rejected by Carolina Lourenco null (carolinalourenco@fclar.unesp.br), reason: Bom dia, Vanessa, Para a aprovação no Repositório Institucional da UNESP serão necessárias algumas correções na sua dissertação. Solicitamos que realize uma nova submissão seguindo as orientações abaixo: *Ficha catalográfica: colocar seu nome completo; *Numerar corretamente o trabalho. De acordo com o Manual de Normalização da Biblioteca, todas as folhas pré-textuais do trabalho, a partir da p. de rosto, devem ser contadas sequencialmente, mas não numeradas. A ficha catalográfica não deve ser contada. Portanto, a sua Introdução deve ser numerada como p. 10. Não se esqueça de adequar o sumário depois de alterar a numeração das páginas. Agradecemos a compreensão. on 2018-08-14T14:38:15Z (GMT)
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Sylvia Plath é uma escritora norte-americana do século XX conhecida principalmente por sua poesia e por seu suicídio precoce. Em 1963, ela publica seu único romance, A redoma de vidro [The Bell Jar], em que narra a história de Esther Greenwood, jovem americana da década de 1950 que se encontra em um caminho de autoaniquilação ao se deparar com as regras sociais impostas pela ideologia patriarcal, a qual tenta impedi-la de assumir seu eu verdadeiro e desenvolver todas as suas potencialidades. O objetivo deste trabalho é entender de que forma a autora, por meio da atualização do conceito de subtexto de autoria feminina para o século XX, utiliza a temática da desintegração do sujeito feminino como estratégia de resistência ao patriarcado. Para tanto, utilizam-se os escritos de Virginia Woolf sobre o ideal do Anjo do Lar, presentes em seu ensaio “Professions for Women” (1942); de Gilbert e Gubar sobre a literatura de autoria feminina, retirados de sua obra The Madwoman in the Attic (1979); e de Elaine Showalter sobre o discurso de duas vozes empreendido pelas mulheres autoras, presentes em seus ensaios “Towards a Feminist Poetics” (1979) e “A crítica feminista no território selvagem” (1981). A partir da análise do romance, busca-se mostrar de que forma Plath denuncia os efeitos devastadores da ideologia patriarcal sobre o corpo e a mente das mulheres.
Sylvia Plath is a twentieth-century North-American writer, mainly known by her poetry and her early suicide. In 1963, she publishes her only novel, The Bell Jar, in which she tells the story of Esther Greenwood, a young American woman from the 1950’s who finds herself in a self-annihilation path when confronted by the social rules imposed by the patriarchal ideology, which tries to stop her from assuming her true self and developing all her potentialities. The aim of this work is to understand in what way the writer, through the actualization of the concept of subtext in female authorship to the twentieth century, employs the theme of female subject disintegration as a resistance strategy to patriarchy. For this purpose, we use Virginia Woolf’s writings on the Angel in the House’s ideal, from her essay “Professions for Women” (1942); Gilbert and Gubar’s writings on the literature of female authorship, from their work The Madwoman in the Attic (1979); and Elaine Showalter’s writings on the double-voiced discourse employed by women writers, from her essays “Towards a Feminist Poetics” (1979), and “Feminism Criticism in the Wilderness” (1981). From the analysis of the novel, we aim to show in which way Plath exposes the devastating effects of the patriarchal ideology on women’s bodies and minds.
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Brüggemann, I. "Jungiaanse argetipes in die poësie van Ingrid Jonker, Sylvia Plath en Anne Sexton." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/11767.
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Includes bibliographical references (leaves 143-149).Poets are able to express symbols in words by way of what C. G. Jung called "archetypes". This is an investigation of the feasibility that poets who wrote independently worldwide, were able to use the same imagery in their poetry without being able to copy it from each other. There are several similarities between the poets discussed. In the first place they lost a parent when they were still children. Secondly they all committed suicide and (thirdly) they were excellent poets. Their lives were characterised by a search for something they believed they could only find in death. These there issues could almost be put into a mathematical formula where [loss of significant other] + [artistic ability] = depression & suicidality/certain poetic elements (e.g. the use of "ek"/"I"). The focus of the study is the symbolism in the discussed poems, especially water, stone and moon imagery, and Jungian theories are used to explain these. Biographical information is also used to gain a better understanding of the poetry. Ingrid Jonker, Sylvia Plath and Anne Sexton's poetry is initially analysed (as well as that of Eugène N. Marais and Sara Teasdale). Later more poets enter the discussion, such as Attila József, Cesare Pavese and Marina Tsvetaeva. The therapeutic value of writing poetry is investigated as well as the possibility of plagiarism, Antjie Krog's Die sterre sê 'tsau' enters the argument in order to substantiate Jung's hypotheses was well as to balance Stephen Watson's accusations of Krog. Finally the approach of this thesis gets a closer look.
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Hudson, Elaine C. "Writing the author : Sylvia Plath, Henry James, Virginia Woolf and the biographical novel." Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/30403/.
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This thesis explores the effect produced when contemporary novelists write about fellow authors. Since the mid-1990s, the biographical novel, which fictionalises the lives of real-life historical authors, has become an increasingly popular literary genre in Britain and the United States. This contemporary exploration of authorial subjectivity, viewed here through the lens of life-writing, provides a reengagement with debates surrounding the crisis of the author-figure (exemplified by Roland Barthes), and the unreliability of biography as a discourse of subjectivity at the turn of the twenty-first century. Through its inherent self-reflexivity (with its exposure of both the author-biographer alongside the author-subject), I consider how the biographical novel succeeds in reconciling the author-figure with the literary text in new ways. While critical interest in the biographical novel has tended to focus on a limited number of texts, little attention has been paid to their status as an emergent sub-genre of life-writing. Through the exemplary figures of Sylvia Plath, Henry James and Virginia Woolf and their corresponding biographical novels, I draw together a core body of texts to demonstrate their unity as a literary form. With an emphasis upon the role of life-writing in the construction of authorial subjectivity, I consider how each of the three author-subjects have cultivated — and been cultivated by — particular recurrent motifs: firstly through their own texts (whether fictional or biographical), then as they become manifest once again in the writing of the contemporary biographical novelists. Modernist developments in biographical modes, particularly Woolf's revision of the relationship between the biographer and his or her subject, provide both context for the biographical novel, and a rich framework upon which to build contemporary forms of life-writing and authorial subjectivity. Taking these as a starting point through which to view the 'author question', my thesis reveals how the genre of the biographical novel offers a redefinition of both the author as a multiple, progressive and changing figure, and a highlighting how the reinterpretation of life-writing in fictional form both enhances and supports the future of biography and autobiography as an equally evolutionary form.
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Feuerstein, Jessica Joy. "The dark is melting: Narrative Persona, Trauma and Communication in Sylvia Plath's Poetry." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1342484373.
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Anderson, Rachel Leigh. ""I talk to God but the sky is empty" W.B. Yeats's influence on Sylvia Plath's renunciation of Christianity /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/anderson.pdf.
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Thesis (M.A.)--University of Alabama at Birmingham, 2009.Additional advisors: Sue Kim, Christopher Metress, Kieran Quinlan. Description based on contents viewed June 4, 2009; title from PDF t.p. Includes bibliographical references (p. 87-91).
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Dykstra, Abigail Rose. "Salacia's Daughters." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1458584748.
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Lagunas, Sonia. "Culture-specific issues in feminist voices a comparative study of The Bell jar and Crónica del desamor /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1608.
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Khalifeh, Areen Ghazi. "Transforming the Law of One : Anne Sexton and Sylvia Plath from a Kristevan perspective." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5236.
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A recent trend in the study of Anne Sexton and Sylvia Plath often dissociates Confessional poetry from the subject of the writer and her biography, claiming that the artist is in full control of her work and that her art does not have naïve mimetic qualities. However, this study proposes that subjective attributes, namely negativity and abjection, enable a powerful transformative dialectic. Specifically, it demonstrates that an emphasis on the subjective can help manifest the process of transgressing the law of One. The law of One asserts a patriarchal, monotheistic law as a social closed system and can be opposed to the bodily drives and its open dynamism. This project asserts that unique, creative voices are derived from that which is individual and personal and thus, readings of Confessional poetry are in fact best served by acknowledgment of the subjective. In order to stress the subject of the artist in Confessionalism, this study employed a psychoanalytical Kristevan approach. This enables consideration of the subject not only in terms of the straightforward narration of her life, but also in relation to her poetic language and the process of creativity where instinctual drives are at work. This study further applies a feminist reading to the subject’s poetic language and its ability to transgress the law, not necessarily in the political, macrocosmic sense of the word, but rather on the microcosmic, subjective level. Although Sexton and Plath possess similar biographies, their work does not have the same artistic value in terms of transformative capabilities. Transformation here signifies transgressing of the unity of the subject and of the authoritative father, the other within, who has prohibitive social and linguistic powers. Plath, Kristeva’s the “deadmost,” successfully confronts the unity of the law, releasing the death drive through anger. Moreover, Plath’s psychic borders are more fluid because of her ability to identify with the pre-Oedipal mother. This unsettling subject is identified by shifts in texts marked by renewal, transgression, and jouissance. Unlike Sexton, Plath is able to achieve transformation as she oscillates masochistically between the “inside” and the “outside” of her psychic borders, and between the symbolic and the semiotic. Furthermore, this enables Plath to develop the unique “Siren Voice of the Other.” In comparison, Sexton, the “dead/less,” evades any confrontation with the maternal and the performance of death in her poetry. Her case is further complicated by the discovery of a second mother. As a result, passivity becomes a main characteristic of her work. This passivity remains until the maternal abject bursts in her text and she reacts to this by performing cleansing rituals, and gravitating toward a symbolic father. Without the dynamism of transgression, Sexton’s work is heterogeneous but does not achieve ultimate transformation and jouissance. Confessional poetry, in this sense, takes on a new dimension. The life stories of the poets become important not for their pejorative, pathological aspects that focus on narrative mimesis, but rather for their manifestation as an aesthetic process. The subject of the writer becomes important as an aesthetic identity in the poems, which are rooted in real life. The main concern then becomes the aesthetic transformative dialectic between the semiotic and the symbolic in her work of art.
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Layne, Bethany. "(Post)modernist biofictions : the literary afterlives of Henry James, Virginia Woolf, and Sylvia Plath." Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6523/.
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This thesis addresses a new mode of contemporary writing: the biographical fictions about authors that have proliferated over the last ten-to-fifteen years. I find antecedents for this subgenre in two active areas: metafiction’s troubling of the boundary between first- and second-order discourses, and Neo-Victorianism’s recovery of the subject. I use the phrase ‘(Post)Modernist Biofiction’ to describe these novels. The parenthetical ‘(post)’ refers both to my subjects’ chronological positioning pre, mid, and post Modernism, and to the genre’s partial engagement with theoretical developments. This selective engagement is borne out by the compound noun ‘biofiction’, which raises a tension between embodied and textual subjectivity. Critical interest has kept pace with the flourishing of biofiction, with articles and book chapters multiplying around certain novels. I contribute to this emerging field in one of the first studies to consider biofiction as a genre. I discuss three popular subjects, Henry James, Virginia Woolf, and Sylvia Plath, and their manifestation in sixteen primary texts, considering examples of the literary biopic and the lyric memoir alongside the novel, and the more popular biofictions alongside the critically overlooked. In doing so, I adopt an intertextual approach, which places the biofictions in dialogue with their subjects’ work. I have three main avenues of exploration: the first, to consider how biofiction might serve to introduce or to recall its subjects’ texts; the second, to ask whether biofiction might contribute to scholarly discourse as well as borrowing from the same; and the third, to address biofiction’s intervention into postmodernist debates about subjectivity. On the whole, the works of biofiction considered in this thesis do not, I argue, naïvely resurrect the Author-God rejected by Roland Barthes. Instead, their intertextuality fragments that figure, enabling a sophisticated recovery of subjectivity as it exists in the form of discourse.
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Houston, Carol Margaret. "Emotional Intelligence in the Later Poetry of Sylvia Plath, Anne Sexton and Adrienne Rich." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/366978.
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During the 1950s and the 1960s the confessional poetry of Sylvia Plath, Anne Sexton and Adrienne Rich triggered ambivalent responses from both critics and readers. This thesis was precipitated by and focuses on these ambivalent reactions. On the one hand there were critics who viewed their poetry positively because of the way in which their poems genuinely probe the emotions. On the other hand there were critics who maintained that the poetry of these three women was just not poetry; rather their writing was compromised by their emotions. In both cases the critics make judgments about the nature of emotion in poetry and the value of these emotions and assume that emotions do not have a cerebral component. I am proceeding from the very different standpoint that the emotions have a cognitive dimension, and are an essential component in the way in which the poetry of Plath, Sexton and Rich is cognitively moulded. The emotions, in short, help to secure the poetry’s sense and meaning in a sense-making way. This use of emotions to shed light on the poetry of Plath, Sexton and Rich has to date received scant attention.
The thesis bases this approach on the work of a number of theorists of the emotions. Because of the development of theories of the emotions in the last fifty years, our appreciation of the cognitive dimensions of the poetry has flourished. This thesis reasons that the emotion depicted in the poetry of Plath, Sexton and Rich makes evident their cognitive reactions to specific happenings. As a result of analysing the poetry of these three female poets, it is possible to see the shaping spirit and the cognitive dimension of emotion in their poetry and the way in which the individual emotions contributed to the structuring of the poetry...Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
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Oliveira, Matheus Torres de. "The Wishing Box e The Fifty-Ninth Bear: a rasura do casamento em Sylvia Plath." Universidade Federal de São Carlos, 2018. https://repositorio.ufscar.br/handle/ufscar/10127.
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The present thesis aims to study the short stories The Wishing Box and The Fifty-Ninth Bear, by Sylvia Plath, under theoretical and critical perspectives which allow it to observe a dialogue in those texts with their historical context, on a dialectical relation between form and content as postulated by Fredric Jameson. We intend to elucidate how those narratives can be read beyond the autobiographical and therefore they articulate in their formal structure a female critical view of marriage in Cold War America. Historicizing both of these short stories using alterity as mediator and following the cultural model of understanding the female literary tradition, we will semantically broaden her criticism by inserting the fragments in the History. In addition, this critical exam, by electing Plath's short prose, allows us to shed light on the overlooked scope of her ouvre.
O objetivo desta dissertação de mestrado é estudar os contos The Wishing Box e The Fifty-Ninth Bear, de Sylvia Plath, sob uma perspectiva teórica-crítica que permita observar nesses textos um diálogo com o seu contexto de produção em uma relação dialética entre forma e conteúdo, como postulada por Fredric Jameson. Desse modo, buscaremos elucidar como as duas narrativas, para além das possibilidades da leitura autobiográfica, mobilizam em sua organização formal uma visão crítica da mulher no casamento durante a Guerra Fria. Historicizando esses contos sob o código mediador da alteridade, seguindo os parâmetros do modelo cultural dos estudos de escrita de autoria feminina, ampliaremos semanticamente a fortuna crítica da artista ao inserirmos esses fragmentos no todo da História. Além disso, este exercício, ao eleger a prosa curta de Plath, permite lançar luzes ao escopo escurecido de seu trabalho artístico.
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Petersen, Mariana Chaves. "The loss of language in Sylvia Plath’s narrative : woman's experience and trauma in the bell jar, "Tongues of stone," and "Mothers"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169004.
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Inicialmente publicado em 1963 sob o pseudônimo Victoria Lucas, A redoma de vidro traz como personagem principal e narradora Esther Greenwood, a qual faz duras críticas aos papeis atribuídos às mulheres nos Estados Unidos nos anos 1950, enquanto passa por um colapso, que culmina em tentativa de suicídio. Depois de o romance ser republicado, reconhecendo a autoria de Sylvia Plath, na Inglaterra em 1966 e nos Estados Unidos em 1971, ele foi objeto de diversas leituras críticas feministas, sendo mais recente o enfoque no romance como estudo de caso. Nesta dissertação, busco estabelecer um diálogo entre essas duas abordagens, relacionando gênero, feminismo, melancolia e trauma, fundamentando-me nos escritos de teóricos como Luce Irigaray, Cathy Caruth, Sigmund Freud e Nicolas Abraham e Maria Torok. Apesar de falarem de diferentes loci, ambas Irigaray e Caruth dão especial atenção à linguagem. No romance, Esther perde sua capacidade de ler e escrever, fato que está ligado não só às suas críticas a um mundo pertencente aos homens como também a certos acontecimentos que desencadeiam essa perda. Tendo isso em mente, relaciono a narrativa a dois contos de Plath: “Línguas de Pedra” e “Mães.” O primeiro, de 1955, traz uma personagem (sem nome) em um cenário semelhante ao de A redoma de vidro: em um hospital psiquiátrico, ela apresenta dificuldades de ler e de pensar. No segundo conto, escrito em 1962, a situação da protagonista, também Esther, pode ser comparada ao presente da narrativa de A redoma de vidro; ademais, uma vez estabelecido o paralelo, a personagem do conto parece apresentar uma perda ainda mais profunda da linguagem que a protagonista do romance.Initially published in 1963 under the pseudonym Victoria Lucas, The Bell Jar has as its protagonist and narrator Esther Greenwood, who seriously criticizes the roles attributed to women in the United States in the 1950s. At the same time, she is going through a breakdown, which culminates in a suicide attempt. After the novel was republished, under Sylvia Plath’s name, in England in 1966 and in the United States in 1971, it was the subject of several feminist critical readings, its focus as a case study being more recent. In this thesis, I aim to establish a dialogue between these two approaches, relating gender, feminism, melancholia, and trauma, grounded in the writings of theorists such as Luce Irigaray, Cathy Caruth, Sigmund Freud, and Nicolas Abraham and Maria Torok. In spite of speaking from different loci, both Irigaray and Caruth give special attention to language. In the novel, Esther loses her ability to read and write, a fact that is connected not only to her critiques of a world that belongs to men but also to certain events that lead to this loss. With this in mind, I relate the narrative to two of Plath’s short stories: “Tongues of Stone” and “Mothers.” The first, from 1955, displays its main (nameless) character in a setting that is similar to The Bell Jar’s: in a psychiatric hospital, she presents difficulties to read and think. In the second story, written in 1962, the protagonist, also named Esther, is in a situation that may be compared to the narrative present of The Bell Jar; furthermore, once a parallel with the novel is established, the story’s character seems to present an even more profound loss of language than the novel’s protagonist.
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Wurst, Cavassa Daniella. "La trayectoria de la melancolía en los diarios de José María Arguedas y Sylvia Plath." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2011. http://tesis.pucp.edu.pe/repositorio/handle/123456789/1301.
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Nader, Myrna. "Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5439.
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This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.
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Stenskär, Eva. "Ich weiss nicht was soll es bedeuten : Uncanny Space in the Poetry of Sylvia Plath." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-49856.
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Sylvia Plath’s poetry continues to receive considerable attention from a variety of groups and has been the target for such diverse critical approaches as Feminism, Ecocriticism, and Marxism, to name but a few. My paper focuses on a less investigated area of her poems: Space, and more specifically uncanny space in her later poetry. Here, I take a closer look at seven of her poems using as my preferred methods deconstruction and psychoanalytical theory.
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Vikman, Jonna. "Breaking the Bell Jar? Femininity in Virginia Woolf’s To The Lighthouse and Sylvia Plath’s The Bell Jar." Thesis, University of Gävle, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7393.
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This essay focuses on female identity formation in patriarchal society in Virginia Woolf’s To The Lighthouse and Sylvia Plath’s The Bell Jar. Both authors portray female characters who struggle with the normative gender identity. As the novels represent different eras and locations, the two characters examined in this essay, Woolf’s Lily Briscoe and Plath’s Esther Greenwood, have very little in common on the surface. However, both authors deliver similar feminist social criticism concerning the negative impact of patriarchal norms on female identity formation. This study analyzes some of these external constraints, or norms, and aims to prove that the two female characters’ ideas of womanhood and identity collide in a similar manner with those norms. Schachter’s study on identity constraints in identity formation and Sanchez and Crocker’s research on gender ideals work as the theoretical background in the study. The negative influence on Lily’s and Esther’s identity formation is similar since both characters live under a symbolical bell jar, unable to form their identity according to their own preferences. Patriarchal conventions remain a constant constraint and the two women keep struggling to find a balance between their own ideas and those of their societies. Both Lily and Esther grow to understand their own traits, desires and abilities in their respective stories, but fail to reach their preferred identity. Their resistance to adapt to gender conventions helps them to form a stronger identity, but it is an identity that remains profoundly and negatively influenced by the patriarchal norms of their societies.
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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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This work studies three texts by Sylvia Plath: “Lady Lazarus”, “Daddy” and The Bell Jar 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.
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Thomine, Angélique. "Écrire le désenchantement : opacité et transparence dans l’œuvre des poètes « confessionnelles » Anne Sexton et Sylvia Plath." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040131.
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Cette thèse de doctorat a pour but d’analyser l’œuvre des poètes américaines Anne Sexton et Sylvia Plath à l’aune des études féminines et de genre en s’attachant à la question du mythe et du désenchantement. Plath et Sexton ont été étiquetées « poètes confessionnelles » ; il s’agit dans un premier temps de comprendre les mécanismes sur lesquels repose cette appellation qui participe de la construction de mythes autour des deux poètes et de les déconstruire. Plath et Sexton se sont connues à la fin des années 50, s’influençant l’une l’autre. Elles ont en commun une poétique du désenchantement, de leurs poèmes « confessionnels » à leurs réécritures de contes de fées et de mythes que l’on peut qualifier d’ « anti-contes ». Si leur style poétique diffère, les thèmes qu’elles abordent se répondent en écho, du trauma incestueux au corps féminin, de la femme au foyer à la représentation dichotomique de « la femme » en Madone et putain. Nous abordons ces sujets dans un deuxième temps en les reliant aux notions de voile et de pudeur. L’injonction à la pudeur provient en partie de la scène poétique bostonienne des années 50 à 70, de l’influence puritaine du poète Robert Lowell et des critiques misogynes. Cette étude s’applique dans un troisième temps à relier littérature et société en mettant en lumière l’influence du contexte patriarcal et poétriarcal sur et dans l’œuvre de Plath et de SextonThis Ph.D. thesis analyzes the literary works of American poets Anne Sexton and Sylvia Plath in light of Women’s and Gender Studies and considers the notions of myth and disenchantment. Plath and Sexton were labeled “confessional” poets; this study’s first section seeks to understand the underlying mechanisms of this appellation and how it participated in the construction of myths around the two poets and also aims to deconstruct these myths. Plath and Sexton met at the end of the ‘50s and influenced each other. Their poetics of disenchantment are a common trait in their literary works, from their “confessional” poems to their rewriting of fairy tales and myths which may be called “anti-tales.” Although their poetic styles differ, the themes they pursue are similar, from the incestuous trauma to the female body, from the American housewife to the representation of women through the Madonna/slut dichotomy. In this thesis’s second section, these topics are scrutinized and considered in relation to the notions of veil and modesty. Appeals for modesty stem in part from the Bostonian poetic stage of the 50s-70s, the puritan influence of New England poet Robert Lowell and the misogynistic critics of the time. This study’s third section links literature and society and emphasizes the influence of patriarchal and “poetriarchal” context on and in Plath’s and Sexton’s poetry and prose
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Brown, Margaret. "Museum-Making in Women's Poetry: How Sylvia Plath and Emily Dickinson Confront the Time of History." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/965.
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In The Newly Born Woman, Helene Cixous and Catherine Clement note that Michelet and Freud "both thought that the repressed past survives in woman; woman, more than anyone else, is dedicated to reminiscence" (5). Whether or not this is true of woman, that expectation of her—as keeper of the past—has perhaps subsisted in the deepest realms of the collective unconscious. From the work of Cixous and Clement, Julia Kristeva and Angela Leighton, I ultimately deduce that there are two perceptions of time: man's time has been associated with the straight, the linear, the historical, and the prosaic; woman's time has been associated with the circular, the cyclical, the monumental, and the poetic. Each time has its obstacles to overcome: man's time is stubbornly rooted in patriarchal language; woman's time is dizzyingly enigmatic. The struggles between these two times manifest themselves in the poetry of perhaps the two most canonical American women poets, Sylvia Plath and Emily Dickinson. In the corpus of each, I find a common mode of operation that attempts to reconcile man's and woman's time, to varying degrees of success. Emily Dickinson uses the language of linear history to stretch its boundaries; she experiments with the nature of time and memory as related to trauma, beginning to question and reform historical memory (men's and women's) and our experience of it in poems such as #1458, "Time's wily Chargers will not wait"; #563, "I could not prove the Years had feet"; #33, "If recollecting were forgetting"; and #312, "Her - 'last Poems'—." Sylvia Plath, on the other hand, is not as certain that the two can be so easily reconciled. Determined to establish her place in literary history and lay claim to posterity, but terrified that doing so will take away her present voice, Plath often represents woman—sometimes literally, as in "All the Dead Dears," and sometimes metaphorically, as in "The Courage of Shutting- Up"—as a potential museum, a live body always in danger of drying out and immobilizing, being admired as she is, frozen in the present moment, but denied future evolution. Through close readings of the poets' afore-mentioned works and others, in conjunction with the frequent application of critical/theoretical scholarship in feminist, psychoanalytic, deconstructionist, and postcolonial veins, I will explore the attempted reconciliation of man's and woman's time in four chapters: "The Thrust of Manliness" concerns the limitations of linear time, including entropy, atrophy, and the charge of feminine reminiscence; "Morning Glory: Cycles and Resurrection" outlines the advantages of a circular perspective, including possibilities for change and resurrection; "Secretaries of Aporia: Recording without Meaning" explores the limitations of cyclical time as encased in linear time, particularly in the literary charge to detail without explaining; and "The Time of Trauma" underlines the historical and political implications of both the burden of reminiscence without return and the study of women's poetry in linear time.