This Master's thesis is mainly focused on the poetics and poetic style and language of Argentinian author Alejandra Pizarnik. The main objective here is to show that they are not only present in her poetry but also in her extensive diaristic work. The primary source of this thesis is then the newest edition of her book Diarios, Lumen: 2003 - Diaries. The present work also approximates the diary as a literary genre with special focus on the female writer's diaries, and its many examples and parallels - the primary example being the comparison between Alejandra Pizarnik's and Sylvia Plath's diaries and their poetics based on several similarities. Key words: Alejandra Pizarnik, Argentinian literature, literary diary, journal intime, Argentinian poetry, female diaries

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This thesis considers Confessional poetry and Black Arts poetry against the backdrop of the political and social culture of the 1950s that influenced the styles of these two major poetic movements. I examine Sylvia Plath's and Nikki Giovanni's distinct poetic personas and the language they employ in relation to each other as representatives of confessional and Black Arts poetry, two poetic styles often thought to be inherently opposed to each other, one personal and one political. I identify connections between these seemingly different poets and movements through close readings of key poems by Plath and Giovanni that situates them within second-wave feminism and the civil rights movements of the 1960s. I argue that both poets devise an alternate persona language that is especially exaggerated to create defiant personas of resistance as a direct response to the constricting political conditions in the United States at mid-century.

This study came forth from a rereading of Ariel (2015) by Sylvia Plath and "The Laugh of the Medusa" by Hélène Cixous. Medusa was there, in the title, in the unsaid, but not so much directly in the text, she is only mentioned a few times in Cixous' works. You could still read Medusa in the works, but take away the title and you probably wouldn't to the extent that you do. That's how the questions arose, what do people do when they use Medusa in their works? Why do they decide to revive her?  The purpose of this study is to analyse, from a feministic perspective, what poets invoke when using Medusa in their works. The poems analysed are ”Medusa” by Sylvia Plath, ”Medusa” by Carol Ann Duffy, and ”Medusa with the Head of Perseus” by Torrin A. Greathouse.  Medusa, the Gorgon, used and abused, is a symbol for the silenced women. A woman is usually seen as an object by the patriarchal society, something they can do whatever they want with, Medusa included. This study is to show that women can take back their own bodies from the men, however many years it takes, however many people it takes.  Medusa is not a monster; she is just another victim of men’s oppression.

This thesis investigates the uncanny (das Unheimliche) in five of Sylvia Plath’s 1962 poems: “Berck-Plage”, “The Arrival of the Bee Box”, “Daddy”, “Fever 103°”, and “Death & Co.”. Furthermore, it looks at how the biographical circumstances in which the poet found herself while writing the poems, may have influenced them. Drawing mainly on Sigmund Freud’s 1919 essay “The Uncanny” and the 2003 The Uncanny by Nicholas Royle, this thesis examines a variety of elements in Plath’s poems including, but not limited to, the beach as a liminal space, aposiopesis as intellectual uncertainty and as an example of l’écriture féminine, thresholds in the form of windows, shoes, and locked boxes, severed limbs as examples of Viktor Shklovsky’s defamiliarization, Latin as a heimlich/unheimlich language, the uncanny effect of darkness, silence, and solitude, the double as a harbinger of death, the wish to both include and exclude the specter and that which is strange, and breathlessness and euphoria as manifestations of madness. Furthermore, it examines hitherto unexplored potential influences on Plath’s poetry, including but not limited to, the writings of Nathaniel Hawthorne, Thérèse of Lisieux, Franz Kafka, and Knut Hamsun. Because of the ambiguity of the concept of the uncanny, this thesis incorporates a host of material such as taped interviews conducted by Harriet Rosenstein, Subha Mukherji’s Thinking on Thresholds, Julia Kristeva’s Strangers to Ourselves, and Jacques Derrida’s Specters of Marx. In conclusion, this thesis argues that the uncanny is an instrumental key to the comprehension of Plath’s late poetry.

Alejandra Pizarnik et Sylvia Plath, poètes prolifiques et figures frôlant le mythe, ont forgé au cours de leurs carrières voix uniques et œuvres riches. Elles se partagent une vaste sensibilité artistique, un goût pour la démesure, ainsi qu’une volonté, celle d’être artiste avant tout, de laisser une marque, une trace. Outre leurs œuvres narratives et poétiques, Plath et Pizarnik sont reconnues pour leurs journaux (The Unabridged Journals, 1950-1962 ; Diarios, 1954-1971). Ces textes sont fréquemment lus comme des journaux intimes, mais gagnent à être approchés autrement : comme une part intégrale de la création. Ils sont un appui à l’œuvre à venir, un lieu de travail du geste et de l’idée, un atelier. Omniprésents depuis la fin du 19e siècle, indissociables de la modernité littéraire, les journaux d’écrivain·es ont aujourd’hui encore un statut instable. Ils restent difficilement classables, empruntent à la fois les réflexes d’une longue tradition spirituelle et philosophique, tout comme des procédés uniques à la pratique écrivaine. Ce mémoire cherche à réfléchir leur rôle dans la création, prenant comme base la tradition des exercices spirituels (définis par Hadot) ou des techniques de soi (théorisées par Foucault), puis développant une réflexion grâce à l’idée d’atelier d’écriture. Telles des artistes visuelles, pour avancer jusqu’à Ariel ou Infierno musical, Plath et Pizarnik s’appuieront sur un atelier, un lieu d’expérimentation, de liberté – constellation de carnets, d’ébauches tapées à la machine, de recueils de notes. Ce lieu de langage réunit deux versants : l’entraînement (très vaste, à la manière de l’askesis antique) et l’ouverture vers la création (progression vers la poiesis, l’idée neuve). L’atelier permet d’œuvrer sur le langage et le soi. Avec toujours en vue la quête de la poésie, née de l’intime puis se dépliant, depuis la chute de la plume jusqu’à l’œuvre entière, multicolore. Dans les mots de Plath : « to invent on the drop of a feather, a whole multicolored bird » . / Alejandra Pizarnik and Sylvia Plath, prolific writers and almost mythical figures, have built throughout their careers a unique voice and a rich body of work. They share a broad artistic sensitivity, a taste for excess, and the need to become an artist above all else, to make their mark, leave a trace. Besides their narrative and poetic production, Plath and Pizarnik are known for their journals (The Unabridged Journals, 1950-1962 ; Diarios, 1954-1971), which are often interpreted as intimate texts, as diaries – but who should be primarily seen as an integral part of their creation process. They are a support, a place to work on craft and ideas, an atelier (workshop and studio). Essential since the end of the 19th century, linked to literary modernity, writers’ diaries are still today hard to categorize. They inherit from a long spiritual and philosophical tradition, as well as create their own unique methods. This thesis aims to understand their role in literary creation, with the help of the tradition of the “spiritual exercises” defined by Hadot and of the “techniques of the self” theorized by Foucault, then expanding further with the idea of atelier. Like visual artists, to progress towards Ariel or Infierno musical, Plath and Pizarnik use their atelier, a space of experiment, of freedom – a collection of notebooks, drafts and typescripts, and notes. This space made of language has two purposes : practice (a vast training, like the askesis of Antiquity) and creation (progression towards poiesis, the new idea). The atelier helps working on language and the self. Always searching for this breach that is poetry, born from an intimate place and then unfolded, from the drop of a feather to a whole, multicolored oeuvre. Or as Plath puts it : “to invent on the drop of a feather, a whole multicolored bird”.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-28T09:07:44Z No. of bitstreams: 1 Andréia Kmita.pdf: 12020610 bytes, checksum: 7c2787835e42938102d6fa0365fe99f7 (MD5) / Made available in DSpace on 2018-11-28T09:07:45Z (GMT). No. of bitstreams: 1 Andréia Kmita.pdf: 12020610 bytes, checksum: 7c2787835e42938102d6fa0365fe99f7 (MD5) Previous issue date: 2018-09-10 / The present research aims to investigate the literary translation activity of the Carioca poet Ana Cristina Cesar, relating her translation work to the critical conjectures and criteria that guide her own poetic writing. Setting specific analysis in "Words" ("Words"), translation of the poem of the North American poet Sylvia Plath. It will start from the discussion of concepts of literary translation sketched by scholars and poet-translators, Rosemary Arrojo (2003), Paulo Henriques Britto (2016), Paulo Rónai (1976), Mário Laranjeira (1993), Henri Meschonnic (2010), Georges Mounin (1963), Paul Ricoeur (2011), Michaël oustinoff (2011), Lawrence Venuti (2002), Roman Jakobson (1970), Paul Zumthor (2018), Breno Silveira (2004), Even-Zohar (2012), Susan-Bassnett (2003) and Leila M. Darin (2015). These concepts will be added by original fragments of the poet Ana Cristina Cesar, who left us about her translation practice in the book "Criticism and Translation" (2016). The critical sense that guided the poet in his choices, in the lexical and grammatical fields, and that marked his conception of literature between the English (starting language) and the Portuguese (language of arrival). Being relevant the research material included, the publications of "Writings in England", translation drafts that were published and their critical production, some of them located in the IMS (Moreira Salles Institute), in Rio de Janeiro / A presente pesquisa tem por objetivo investigar a atividade de tradução literária da poeta carioca Ana Cristina Cesar, relacionando seu trabalho tradutório às conjeturas críticas e aos critérios que norteiam sua própria escrita poética. Fixando análise específica em “Words” (“Palavras”), tradução do poema da poeta norte-americana Sylvia Plath. Partir-se-á da discussão de conceitos de tradução literária esboçados por estudiosos e poetas-tradutores, Rosemary Arrojo (2003), Paulo Henriques Britto (2016), Paulo Rónai (1976), Mário Laranjeira (1993), Henri Meschonnic (2010), Georges Mounin (1963), Paul Ricoeur (2011), Michaël oustinoff (2011), Lawrence Venuti (2002), Roman Jakobson (1970), Paul Zumthor (2018), Breno Silveira (2004), Even-Zohar (2012, Susan-Bassnett (2003) e Leila M. Darin (2015). Tais conceitos serão acrescidos de fragmentos originais da própria poeta Ana Cristina Cesar, os quais nos legou acerca de sua prática tradutória na obra “Crítica e Tradução” (2016). Pretende-se depreender desses, o senso crítico que guiava a poeta nas suas escolhas, nos campos lexical e gramatical, e que marcaram sua concepção de literatura entre o inglês (língua de partida) e o português (língua de chegada). Sendo relevante o material de pesquisa incluso, as publicações de “Escritos na Inglaterra”, rascunhos de tradução que foram publicados e sua produção crítica, alguns dos quais localizados no IMS (Instituto Moreira Salles), no Rio de Janeiro

Though born a century apart, American poets Emily Dickinson and Sylvia Plath share several similarities: Both were born in New England, both fought for their rights by writing, and both broke new poetic ground.          In this thesis, I look at their poetry through a movement in space, which begins with the poets’ precarious position as societal outliers and ends with ascension. I examine what crossing the threshold meant to them, physically and metaphorically, and how it is mirrored in their poems, I look at how the physical space in which they wrote color their poetry, I examine windows as a space of transit, and finally I take a closer look at the shape ascension takes in selected poems. I propose this road, this movement in space, is mirrored in both Dickinson’s and Plath’s poetry.      I use as my method deconstruction, to uncover hints and possibilities. I scan letters and journals, biographies and memoirs. As my theoretical framework, I use Walter Benjamin’s ideas about the threshold as a place of transit, as well as his thoughts about the flaneur as the observer of the crowd, both of which are presented in The Arcades Project. To further examine the threshold as a space for pause, reconsideration, retreat, or advance, I rely on Subha Mukheriji and her book Thinking on Thresholds: The Poetics of Transitive Spaces. I further use Gaston Bachelard’s seminal The Poetics of Spaceto investigate the poets’ response to the physical space in which they wrote. I look at ascension through the prism offered by the ideas of Mircea Eliade as presented in Myths, Dreams, and Mysteries: The Encounter Between Contemporary Faiths and Archaic Realities.

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