Diss. Uppsala : Uppsala universitet, 2007.

This collection of original poetry is preceded by a critical introduction that includes an exploration of Sylvia Plath’s elegiac poems, particularly her failed attempts to respond to grief. Similarly, the following poems deal with failed attempts to assuage suffering and how one can address his or her need to be loved when that need is unmet. The essay follows Plath’s use of the traditional elegy to create her own elegiac poems about her dead father, using strategies such as mythologizing the dead or wishing to join the dead. Her strategy evolves into an exorcism of grief in her emotionally heavy poems, such as “Daddy” or “Lady Lazarus,” and later into an exploration into her speakers’ abject consciousness. The essay introduces my own poetry with its discussion of work that unapologetically confronts many forms of adversity, of inevitable anguish that follows, and of ways to respond.

Several of Sylvia Plath¡¦s poems are associated with the term ¡§Gothic¡¨ by critics. By examining how some conventional Gothic literary devices are used and how the feeling of terror is evoked in Plath¡¦s poetry, I shall try to prove the close correspondence between the Gothic literature and Sylvia Plath¡¦s poetry in this thesis. Then, I shall proceed to assert Plath¡¦s orthodoxy in the Gothic literature and discuss her uniqueness in the Gothic tradition.

Submitted by Vanessa Cezarin Bertacini (vanessa.bertacini@gmail.com) on 2018-08-14T13:06:33Z No. of bitstreams: 1 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) / Submitted by Vanessa Cezarin Bertacini (vanessa.bertacini@gmail.com) on 2018-08-14T18:27:12Z No. of bitstreams: 1 Versão biblioteca.pdf: 1797360 bytes, checksum: 0522c056fd2cd9659bf7dd2f8a496de8 (MD5) / Approved for entry into archive by Carolina Lourenco null (carolinalourenco@fclar.unesp.br) on 2018-08-15T11:22:50Z (GMT) No. of bitstreams: 1 bertacini_vc_me_arafcl.pdf: 1797360 bytes, checksum: 0522c056fd2cd9659bf7dd2f8a496de8 (MD5) / Made available in DSpace on 2018-08-15T11:22:51Z (GMT). No. of bitstreams: 1 bertacini_vc_me_arafcl.pdf: 1797360 bytes, checksum: 0522c056fd2cd9659bf7dd2f8a496de8 (MD5) Previous issue date: 2018-06-15 / 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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<p>This essay focuses on female identity formation in patriarchal society in Virginia Woolf’s <em>To The Lighthouse </em>and Sylvia Plath’s <em>The Bell Jar</em>. 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.</p>

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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Thesis (M.A.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (p. 111-115). Also available via the World Wide Web.