Sylvia Plath’s Man in Black Hunter, Dianne
The European journal of women's studies,
02/2005, Letnik:
12, Številka:
1
Journal Article
Recenzirano
The male muse in the psychic territory Adrienne Rich called in 1971 ‘The Man’ represents sexualized death and phallic mourning, a concept of masculinity marked by the legacy of the 20th century’s two ...world wars. In the context of representations of ‘The Man’ in North American white women writers coming of age in the late 1950s and early 1960s (Adrienne Rich, Joyce Carol Oates, Margaret Atwood), Sylvia Plath’s journal account of the Saint Botolph’s Review party, where she met her husband, and its fictional transformation in her 1957 short story, ‘Stone Boy with Dolphin’, demonstrate Plath’s examination of the Bostonian Puritan heritage and the psychic aftermath of the Second World War. Plath’s constructions of heterosexual romance as participating in the history of Fascism and her concept of writing as sexy violence coincide culturally with Lacan’s theory of phallic signification.
Two important types of metaphors have dominated the history of poetics: organic and constructivist metaphors. This article first examines both conceptions by analysing different volumes of poetry in ...English and determining their place in respectively the organic and the constructivist traditions, in order to chart the interaction of both conceptions in 20th-century poetic volumes by T. S. Eliot, Louis Zukofsky, Sylvia Plath, and Simon Armitage. The notion of "growth" as it was employed e.g. in Whitman criticism is contrasted to the notion of the "grid," which is emblematic of the modernist ambition, according to Rosalind Krauss. From the perspective of genetic criticism, however, both conceptions usually appear to be inextricably intertwined in 20th-century poetry. As a consequence, the article pleads for a form of literary criticism that considers both a transitive and an intransitive type of poetic "growth."
In the picture, it is clear that Stevens's reputation for intimidation of his colleagues is not based simply on an intellectual superiority; he literally towers, in height, over his fellows. Anyway, ...the retired old fellow being interviewed starts off, in answer to the question, "What do you remember most about Wallace Stevens?" by saying, in one of those inimitable Connecticut Yankee accents: "Well, if you don't count his personal life, I guess you could say Stevens was a happy man." What does matter, I think, is that these two women are not inventions, are not expressly anonymous ("That beautiful mild woman"), are not made up for some imagined convenience for the author, who himself is the speaker-actor in the "drama," and who is musing over what, at this moment, he is doing, which is the writing of and perfection of a poem-employing, I might add, an analogy of perceived women's domesticity: their happy art of stitching and unstitching, like the work of the real teaching nuns in "Among School Children," teachers Yeats observed when he was an Irish senator checking out the quality of Irish education. Sonnets, elegies, odes, the textual landscapes of the love, grief, and thought as feeling: none of these forms is possible without other people, whether announced, alluded to, or acknowledged by their absence.
There is ample evidence in Plath's writings that swimming and sunbathing on America's North Atlantic coast were among her favorite activities, and although she traveled far from the beaches of ...Nauset, Massachusetts, they retained a strong hold on her emotions. Return to Nauset may prompt imaginative engagement with the past, but, as in other areas of Plath's life and art, her dead father's presence remains an integral and psychologically disruptive element, reminding her that although the happiness located by the coast has been enjoyed, it is also irretrievably lost. The geographical and emotional significance of Nauset for Plath emerges in a letter of August 1960 where she laments the "depressingly mucky" nature of the English seaside (the family had just visited Whitby in Yorkshire), contrasting it unfavorably with Nauset, for which her heart "aches," and adding that "there is something clean about New England sand, no matter how crowded" (LH, 391).
Nicole Aragi represented Russo, a painter whose art is exhibited in galleries in the U.S. and U.K. The novel follows an artist named Bennett Driscoll who, after both his career and marriage hit the ...skids, decides to rent rooms in his London home to make ends meet. According to GCP, the stories feature themes such as "friendship, isolation, and faith but also include elements as far reaching as satire, science fiction, and horror." MOVIE DEALS Abdi Nazemian's just-published YA novel Like a Love Story (HarperCollins/Balzer + Bray), about a closeted gay teen arriving in New York City at the height of the AIDS epidemic, has, according to Deadline , been optioned for feature film by Marti Noxon and Jessica Rhoades, the duo who executive produced the adaptation of Sharp Objects .
This thesis examines Plath’s revisions of traditional gothic conventions; her vision does not imitate the genre’s metaphors and characterizations, but reinvents and redesigns them. Plath’s ...transformations, when properly contextualized within the gothic, may be seen to dismantle and reconstruct dominating portrayals of femininity in 19th Century literature. Consequently, her creations form a distinct genre, a feminine gothic. I have, therefore, organized this work around a series of related inquires: how does Plath revise woman in the gothic, and how this results in a subgenre that unseats the classic gothic with which we are familiar? Exploring the female artist’s creative imagination, and the nature of her relationship to traditional (patriarchal) texts has been a project for feminist literary critics in the past, and is a central concern in this thesis. In order to explore the specific elements and effects of Plath’s feminine gothic, I will juxtapose four different texts: the “original” source, or the image from which Plath draws her inspiration, Plath’s creation as centerpiece, contemporary and Plath-like versions of the image, and the interpretative strategies of feminist theory. Throughout, this thesis brings to light Plath’s reconstructions of the feminine within the gothic arena, but also traces the influential impact these works have on the contemporary scene.
Life Inside the Bell Jar will be produced by Yeti Television Sylvia Plath (right), with husband Ted Hughes Sylvia Plath’s The Bell Jar and British artist John Minton are among the subjects under ...scrutiny in the BBC’s latest batch of arts commissions. Mark Gatiss Minton was one of the leading post-WW2 British art figures but committed suicide in 1957 and in this BBC Studios production, Mark Gatiss on John Minton: The Lost Man of British Art, Gatiss will meet the artist’s friends and former students, uncovering lost paintings and rare recordings. Another BBCS production, the 60-minute Black British Artists - Britain’s Hidden Art History working title, follows artist Sonia Boyce as she prepares for a new exhibition of work from artists of African and Asian descent at the Manchester Art Gallery.
