Confronted Patriarchy in Sylvia Plath's Poems
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Celebration by the Colored People's Educational Monument Association in Memory of Abraham Lincoln, on the Fourth of July, 18
Celebration by the Colored people's educational monument association in memory of Abraham Lincoln, on the Fourth of July, 1865, in the presidential grounds, Washington, D.C. ... CELEBRATION BY THE COLORED PEOPLE'S Educational Monument Association IN MEMORY OF ABRAHAM LINCOLN, ON THE FOURTH OF JULY, 1865, IN THE PRESIDENTIAL GROUNDS, WASHINGTON, D. C. PRINTED BY ORDER OF THE BOARD OF DIRECTORS. L. A. BELL, Recording Secretary. WASHINGTON, D. C.: McGILL & WITHEROW, PRINTERS AND STEREOTYPERS. 1865. CELEBRATION BY THE COLORED PEOPLE'S Educational Monument Association IN MEMORY OF ABRAHAM LINCOLN, ON THE FOURTH OF JULY, 1865, IN THE PRESIDENTIAL GROUNDS, WASHINGTON, D. C. PRINTED BY ORDER OF THE BOARD OF DIRECTORS. L. A. BELL, Recording Secretary. WASHINGTON, D. C.: McGILL & WITHEROW, PRINTERS AND STEREOTYPERS. 1865. THE FOURTH OF JULY, 1865. The Fourth of July, 1865, was indeed a memorable day, being the first time that the colored people have attempted any celebration of a national character. The celebration was gotten up under the auspices of the Colored People's National Lincoln Monument Association, whose efforts have, in this respect, been crowned with the full measure of success. Thousands were present on the grounds throughout the entire day. The Washington City Sabbath School Union were present in great numbers, with many banners, flags, mottoes, and devices, forming one of the chief features of the celebration. Many distinguished persons were present; including senators, representatives, members of the judiciary, officers of the Government and officers of the army and navy. Promptly at Celebration by the Colored people's educational monument association in memory of Abraham Lincoln, on the Fourth of July, 1865, in the presidential grounds, Washington, D.C. -
Ethnicity, Lyricism, and John Berryman's Dream Songs
Imaginary Jews and True Confessions: Ethnicity, Lyricism, and John Berryman’s Dream Songs ANDREW GROSS . Jews, who have changed much in the course of history, are certainly no race, [but] the anti‐Semites in a way are a race, because they always use the same slogans, display the same attitudes, indeed almost look alike. —Max Horkheimer1 John Berryman’s “The Imaginary Jew,” published in the Kenyon Review of 1945, is in some ways a rather programmatic account of one man’s conversion from parlor anti‐ Semitism to a feeling of solidarity with Jews. The climax occurs when a bigot accuses the narrator of being Jewish in order to discredit him in an argument over Roosevelt’s foreign policy prior to the American entry into World War II. The accusation completely unnerves the narrator in ways he does not immediately understand, and he is shocked to see that it discredits him in the eyes of the crowd, which has assembled at Union Square to hear impromptu debates. Later, after leaving the scene of his embarrassment, he decides to lay claim to this mistaken, or imaginary, identity, and comes to the following conclusion about the nature of prejudice: “My persecutors were right: I was a Jew. The imaginary Jew I was was as real as the imaginary Jew hunted down, on other nights and days, in a real Jew. Every murderer strikes the mirror, the lash of the torturer falls on the mirror and cuts the real image, and the real and the imaginary blood flow down together.”2 The story garnered some attention when it appeared in 1945. -
Double Image : the Hughes-Plath Relationship As Told in Birthday Letters
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Double Image: The Hughes-Plath Relationship As Told in Birthday Letters. .A thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in English at Massey University Helen Jacqueline Cain 2002 II CONTENTS Abstract................................................ .iii Acknowledgements ....................................... .iv Introduction.............................................. 1 Chapter One -Ted Hughes on Trial. ......................... 10 Chapter Two - The Structure of Birthday Letters. ...............22 Chapter Three - Delivered of Yourself........................ .40 Chapter Four - The Man in Black. .................... 53 Chapter Five - Daddy Coming Up From Out of the Well......... 69 Chapter Six - Fixed Stars Govern a Life ........................74 Conclusion............................................... 80 Works Cited.............................................. 83 Works Consulted......................................... 87 iii ABSTRACT Proceeding from a close reading of both Birthdqy Letters and the poems of Sylvia Plath, and also from a consideration of secondary and biographical works, I argue that implicit within Birthdqy Letters is an explanation for Sylvia Plath's death and Ted Hughes's role in it. Birthdqy Letters is a collection of 88 poems written by Ted Hughes to his first wife, the poet Sylvia Plath, in the years following her death. There are two aspects to the explanation Ted Hughes provides. Both are connected to Sylvia Plath's poetry. Her development as a poet not only causes her death as told in Birthdqy Letters, but it also renders Ted Hughes incapable of helping her, because through her poetry he is made to adopt the role of Plath's father. -
The Kilmichael Glassary Bell-Shrine | 201
Proc Soc Antiq Scot 142 (2012), 201–244 THE KILMICHAEL GLASSARY BELL-SHRINE | 201 The Kilmichael Glassary Bell-shrine David H Caldwell*, Susy Kirk†, Gilbert Márkus‡, Jim Tate§ and Sharon Webb ǁ ABSTRACT The Kilmichael Glassary Bell-shrine is one of the treasures of National Museums Scotland. This paper reassesses the circumstances of its discovery, its context and importance, and its role as a relic of a saint, not Moluag, as previously suggested, but possibly Columba. The wider use of handbells in the early medieval church is also considered. The bell-shrine was found in 1814, on the farm of Torbhlaren, in the parish of Kilmichael Glassary, in mainland Argyll, probably near to where it was venerated. The bell inside it dates to the 7th–9th century, the shrine to the first half of the 12th century. The latter bears evidence in its design of a mixed artistic heritage, including local, Irish and Scandinavian influence. Alternative hypotheses, that it represents the artistic output of the Kingdom of the Isles or Dunkeld, in the kingdom of the Scots, are presented. Details are provided of a technological examination of bell and shrine and a list of other early Scottish handbells is included. INTRODUCTION DISCOVERY AND PROVENANCE The Kilmichael Glassary Bell-shrine [KGBS] is S Webb a medieval reliquary in the form of a small copper alloy box which contains an iron handbell (illus The circumstances surrounding the place 1). Associated with them is a copper alloy chain where bell, shrine, cross and chain were and cross. This group of artefacts was found in found in the early 1800s are confusing and 1814, on the land of John MacNeill of Oakfield, there are conflicting opinions as to who made in the parish of Kilmichael Glassary in Argyll, this extraordinary discovery. -
A Book About Bells by George S
A Book About Bells by George S. Tyack File 03: Chapters VIII to VII (pages 137 to 219) This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing CHAP-'fER VIII. LJ AVING devoted considerable space to the consider r ation of the Lells themselves, we turn to the question of their use; and, as is natural, tt.e human agents in such employment of them first demand some attention. There is not much of interest, however, to record con cerning these until comparatively modern times ; for although bells, as we have seen, are very ancient, bell-ringing as it is understood in England to.day is a thing of the last three hundred years only. In the days when churches usually had two or three bells only, and these were chimed or tolled singly, the bell-ringers' art was not one to attract notice. Charle magne ordained that the clergy themselves were to sound the beUs as a summons to divine worship, and as late as the last century the custom was regularly observed in some places; at Notre Dame, in Paris, for instance, the priests, arrayed in surplices, rang the bells, and such is still the rule among the Carthusians. The churchwardens' accounts for the parish of Ludlow in 1551 have an entry of the sum of twelvepence paid to "the dekyns for rynginge of day belle;" and a trace of the same usage is to be found at Holy Trinity, Coventry, a century earlier. -
Sylvia and the Absence of Life Before Ted
http://dx.doi.org/10.5007/2175-7917.2018v23n1p133 SYLVIA AND THE ABSENCE OF LIFE BEFORE TED. Mariana Chaves Petersen* Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Sul Abstract: As Bronwyn Polaschek mentions in The Postfeminist Biopic, the film Sylvia (Christine Jeffs, 2003) is based on biographies of Sylvia Plath that focus on her relationship with husband Ted Hughes – such as Janet Malcolm’s The Silent Woman. In this paper, grounded in the works of Linda Hutcheon, Mary E. Hawkesworth, and Tracy Brain, I argue that this biography works as a palimpsest of Sylvia and that the film constructs Plath as the Ariel persona, neglecting her “Juvenilia” – her early poetry, as it has been defined by Hughes. Sylvia actually leaves Plath’s early life – before she met Hughes – aside and it thus ends up portraying her more as a wife than as a writer. Finally, by bringing information on Plath’s life before she met Hughes from a more recent biography (by Andrew Wilson), I analyze how a different image of Plath might have been created if this part of her life were not missing in the film. Keywords: Sylvia. Sylvia Plath. Adaptation studies. Biopic. Feminist criticism. She wanted to be everything, I think. She was always searching for the self that she was going to be. — Elinor Friedman Klein, qtd. in Andrew Wilson, Mad Girl Love’s Song How can you be so many women to so many people, oh you strange girl? — Sylvia Plath, from her journals Introduction: a chosen branch Several were the attempts to fictionalize Sylvia Plath by making her a character in novels, poems, films, and biographies. -
Sylvia Plath's “Daddy” As Autobiography
IAFOR Journal of Arts & Humanities Volume 7 – Issue 1 – Summer 2020 Sylvia Plath’s “Daddy” as Autobiography Najoua Stambouli University of Sfax, Tunisia Abstract Sylvia Plath’s Ariel collection of poems placed her among the United States’ most important confessional poets of the twentieth century. Almost all the poems in Ariel, which were written during the last few months of Plath’s life and published after her death, are “personal, confessional, felt” (Lowell, 1996, p. xiii). Several events that are mentioned in these poems make reference to the poet’s own life experience. Plath, indeed, “transformed her own life into writing” (Bassnett, 2005, p. 5). Analyses such as these have led some critics to consider much of Plath’s poetry to be an eloquent expression of her own factual experience. “Daddy”, one of the best-known poems in the Ariel volume, incorporates several autobiographical details worthy of note. The first part of this research paper is an investigation into the diverse autobiographical elements present in “Daddy”; the second part is an analysis of Plath’s faithfulness in transforming details about her private life into art. Keywords: confessional poetry, autobiography, personal reality, Confessional School 69 IAFOR Journal of Arts & Humanities Volume 7 – Issue 1 – Summer 2020 Introduction Sylvia Plath is considered one of the prominent figures of the confessional school of poetry. Both her prose and poetry are marked by the confessional mode. Because the purpose of this paper is to explore the way Plath handles and unmasks very personal life details directly in her poem “Daddy”, it will be crucial to shed some light on the confessional style adopted in her poetry. -
Sylvia Plath's Daddy
44 Sylvia Plath’s Daddy: The Intersection of the Personal and the Historical Anita Luther Bhasin Awarded the Pulitzer Prize posthumously in 1982 for her Collected Poems, Sylvia Plath’s “Daddy”, written in 1962, which appears in this collection, is perhaps her best known poem. It has elicited a variety of critical reactions, from feminist praise for its unadulterated rage towards male dominance, to wariness in its usage of Holocaust imagery. It has been reviewed and criticized by scores of scholars, and is upheld as one of the best examples of confessional poetry. Written a few months before her suicide, “Daddy” gives a voyeuristic view of Plath’s life as she skillfully combines the personal and the private with the historical to mount a brutal and venomous attack on her father Otto Plath and, indirectly on her husband, Ted Hughes. As Sylvia Plath is acknowledged to be a major confessional poet it follows that “Daddy” has autobiographical elements in it. It is therefore essential to know something about her father and the over-powering influence he had on her. Otto Plath immigrated to America from Grabow, a town in the Polish Corridor. He was a Professor of Biology in the University of Boston and died of diabetes when Sylvia Plath was nine. Sylvia, who hero-worshipped her father, never wholly recovered from this emotional loss. For this supposed act of desertion and betrayal she attacked him in several poems. While in her earlier poems her rage was turned inwards resulting in bitter self- reproach, in her later ones she directly attacked her father since her love for him was mingled with sadomasochistic feelings: .. -
A Passage to "Ariel": Sylvia Plath and the Evolution of Self Author(S): GREG JOHNSON Source: Southwest Review, Vol
Southern Methodist University A Passage to "Ariel": Sylvia Plath and the Evolution of Self Author(s): GREG JOHNSON Source: Southwest Review, Vol. 65, No. 1 (WINTER 1980), pp. 1-11 Published by: Southern Methodist University Stable URL: http://www.jstor.org/stable/43469198 Accessed: 21-05-2016 12:24 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Southern Methodist University is collaborating with JSTOR to digitize, preserve and extend access to Southwest Review This content downloaded from 128.82.252.58 on Sat, 21 May 2016 12:24:17 UTC All use subject to http://about.jstor.org/terms A Passage to ' 'Ariel " Sylvia Plath and the Evolution of Self GREG JOHNSON Sylvia plath's poetry has been misinterpreted as "confessional" per- haps in an attempt to grant her - both as woman and as poet - a measure of the compassion she seemingly would not grant herself. This kind of compassionate acceptance has been offered, quite understandably, by poets such as Robert Lowell, Anne Sexton, and A. Alvarez, yet their individual assessments of Plath's work are disappointing because of their insistence upon the intimate connection between Plath's life and her poetry; this connection has been emphasized to such an extent that other, more meaningful connections have been ignored - or worse, made to seem irrelevant - and the result has been to exaggerate the significance of Plath's life while minimizing the importance of her art. -
Symbolic Order in Sylvia Plath's “Daddy” and “Lady
V (2018) 2, 429–444 This work is licensed under a Creative Commons Attribution 4.0 International License. Ovaj rad dostupan je za upotrebu pod licencom Creative Commons Imenovanje 4.0 međunarodna. Somaye MOSTAFAEI UDK 821.111(73).09 Plath, S.-1 University of Semnan 159.964.2:82 Semnan Province, Semnan, Daneshgah Street Iran DOI: https://doi.org/10.29162/ANAFORA.v5i2.9 [email protected] Prethodno priopćenje Ensieh SHABANIRAD Preliminary Communication University of Tehran Tehran Province, Tehran, Kargare-Shomali Street Primljeno 6. svibnja 2018. Iran Received: 6 May 2018 [email protected] Prihvaćeno 29. studenog 2018. Accepted: 29 November 2018 SYMBOLIC ORDER IN SYLVIA PLATH’S “DADDY” AND “LADY LAZARUS”: A LACANIAN READING Abstract Sylvia Plath’s works are mainly considered self-reflective mirrors that reverberate her predicaments, especially her troubled relationships with her father and her hus- band. Plath’s responses to gender-biased language, which is the main medium of male-dominated discourses, are full of conflicting desires. On the one hand, as one of the subjects of language, Plath wants to preserve her submissive position; on the other hand, as a poet, she desires to create her own order free of the restrictive and meddling presence of male-centered language. This paper thus aims to investigate the role of the Father in Sylvia Plath’s two significant works, “Daddy” (1965) and “Lady Lazarus” (1965), by the employment of Jacques Lacan’s views on the order of identity formation and creation of the subject, especially Lacan’s Symbolic Order. This paper is an attempt to investigate how the presence and absence of the father figure influences Plath and how she rebuilds a new Order with the free play of signi- fication and devoid of the domineering voice of the Father. -
Well, Our Mystery Is Solved Now." Dead Bell-Ringer with a Kind of Regret
CHAPTER XXIX. THE ENEMY. WALTER broke into a weak, hysterical laugh, "ana I took that for a spirit," he exclaimed. Well, our mystery is solved now." "Yes," his chum admitted, looking down at the dead bell-ringer with a kind of regret, "still there are some points about it which still remain a mystery, and always will. There is no record of there ever being monkeys found in this state. It must have been brought here by one of the Spanish gentlemen as a pet and taught the trick of ringing the bell, and yet, that theory is unbelieveable. Consider, Walter, if such is the case, this creature has reached an in- credible age." Walter bent down and flashed the torch in the monkey's face. "He looks as though he had lived for centuries," he exclaimed, "his face is like that of a shriveled mummy, and see, that look of cunning and aged-wisdom in his features. Charley," contin- ued the tender-hearted boy with a break in his voice, " I feel as badly about it as I would if I had shot a 251 252 THE YOUNG PLUME HUNTERS man. Think of the poor, harmless creature, remain- ing true year after year to the one task he knew how to perform, and then to be shot down at last while doing it." " Nonsense, this is no time for sentiment. We must get back to our post, we have left it altogether too long. You will have to help me back, I guess, Walt," Charley said. "How did you get here ? " demanded his chum, the current of his thoughts suddenly changed. -
Red Eye, the Cauldron of Morning| a Study of the Later Poetry of Sylvia Plath
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Red eye, the cauldron of morning| A study of the later poetry of Sylvia Plath Laurel Ann Hebert The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Hebert, Laurel Ann, "Red eye, the cauldron of morning| A study of the later poetry of Sylvia Plath" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3377. https://scholarworks.umt.edu/etd/3377 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE EED EYE, THE CAULDRON OF MORNING: A STUDY OF THE LATER POETRY OF SYLVIA PLATH by Laurel A. Hebert B.A., Ualveralty of Oregon, 1962 Presented in partial fulfillment of thm requirements for the degree of Master of Arts UNIVERSITY OF MONTANA I960 Approved by: Chairman, Board of Examiners Graduate Sehool August 7, 1968 Date UMI Number: EP35599 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these wili be noted. Also, if material had to be removed, a note will indicate the deletion.