Thesis (M.A.)--Mississippi State University. Department of English. / Title from title screen. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 238-248). Also available for download via the World Wide Web; free to University of Oregon users.

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-03Bitstream added on 2014-06-13T19:32:26Z : No. of bitstreams: 1 francoso_mel_me_arafcl.pdf: 570173 bytes, checksum: 6cb7d11ca7ae8fd70bca0b935a49e9d3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo desta dissertação é analisar a imagética do corpo e da morte na escritura de Ariel, a coletânea que contém alguns dos últimos poemas escritos por Sylvia Plath antes de seu suicídio, em fevereiro de 1963, e que tem sido alvo de polêmicas discussões devido ao fato de que foi publicada postumamente por seu marido, o também poeta Ted Hughes, e apresenta uma seqüência diversa daquela que a autora havia deixado em seus manuscritos. Nossa análise vale-se da seqüência em que Ariel foi organizado pela poeta, bem como de textos que representam os caminhos percorridos pela crítica da poesia plathiana, e considera tanto o caráter autobiográfico dessa poesia como a influência que a tradição literária e cultural exerce sobre ela. Acreditamos que desse modo pode-se visualizar o cenário em que se dá o posicionamento da persona no seu discurso e, a partir de então, considerar o espaço poético como palco da morte. A escolha dessa via de acesso mostra não somente o uso que a poeta faz do material autobiográfico em confluência com retomadas da tradição literária e de episódios históricos, religiosos e mitológicos, mas também o modo como a trajetória da voz lírica tipicamente feminina de seus poemas é dramatizada no cenário composto por essa teia dialógica, sugerindo uma releitura da figura tradicionalista da mulher. Por conta do parentesco entre morte e escritura na poética plathiana, sugerimos que a trajetória de sua voz lírica representa a própria relação do poeta com sua escrita, uma relação marcada pela morte e que constitui uma instância de criação, por meio de uma experiência que se assemelha ao impossível. / The purpose of this dissertation is to analyze the imagery of body and death in the writing of Ariel. This collection contains some of the late poems written by Sylvia Plath before her suicide, in February 1963, and has been the target of polemic discussions due to the fact that it was posthumously published by her husband, the poet Ted Hughes, and it presents a sequence which diverges from the one proposed by the author in her manuscripts. Our analyses uses the sequence in which Ariel was organized by Sylvia Plath, as well as texts that represent the roads traveled by the criticism of the plathian poetry, and considers both its autobiographical character and the influence that the literary and cultural tradition exerts over it. We believe that this way, the scenery that holds the positioning of this persona in the speech can be visualized, and then we can consider the poetic space as the stage of death. The choice of this via of access shows not only the use which the poet makes from the autobiographical material in confluence with the recalling of the literary tradition and of historic, religious and mythological episodes, but also the way the trajectory of the typically feminine voice of her poems is dramatized in the scenery composed by this dialogic weave, suggesting a rereading of the traditionalist figure of the woman. Because of the relationship that connects death with writing in the plathian poetics, we suggest that the trajectory of this lyrical voice represents the proper relationship of the poet towards his writing, which is marked by death and constitutes an instance of creation, through an experience that resembles the impossible.

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.

Middle Tennessee State Univ., Diss.--Murfreesboro, 1992. / Literaturverz. S. [99] - 102.

Thèse de doctorat : Anglais : Rennes 2 : 2008. / Bibliogr. f. 421-455. Index des noms.

This thesis has examined some women writers of the 1950s in an attempt to discover if there could be a "women" school of writers as definable as the Black, Jewish or Southern schools which gained recognition during that ten-year period. During the 1950s American literature became fragmented as various minorities began to search into personal histories in order to discover human identities within the framework of race, religion or geography. It was the contention of this paper that women were involved in much the same type of identity search, that through their own literature they were searching out a human identity' within, but not confined to, their sexual role in society.The cliche of the decade is that this was a placid time in feminist history, a time when women docilely sacrificed education and personal talents to return to the in a search for their homes as wives and mothers. However, a study of the works of Sylvia Plath, Carson McCullers, May Sarton and Elizabeth Janeway shows a group of women in active rebellion against the sexual stereotyping so prevalent in the 1950s. Through art these women were rejecting traditional concepts of a "woman's place," and instead were exploring their own talents, strengths and potentials human identity.This thesis has sought to combine a study of the cultural influences operating on society of the 1950s with the literature being written by women during this period in order to more fully understand the female attitude toward herself and her role. This study indicates that the active rebellion of the women's liberation movement a decade later arose from the search for identity found in much literature by women of the 1950s.

This thesis is the first study using contemporary spatial theory, including cultural geography and its precursors, to examine and compare representations of space in the poetry of three mid-twentieth century American poets: Robert Lowell, Sylvia Plath, and Anne Sexton. Because of the autobiographical content often foregrounded in their work, these poets have been labelled Confessional. Previous criticism has focused primarily on the ways in which they narrate (or draw on) their personal lives, treating accompanying descriptions of their surroundings primarily as backdrops. However, these poets frequently manifest their affective states by using the pathetic fallacy within structures of metaphor that form a textual mapping of the physical space they describe. This mapping can be temporal as well as spatial; the specific spaces mapped in the poem s present are often linked to memories of earlier life or family. These spaces include psychiatric, general, and penal institutions, parks and gardens, nature (especially coastal settings), and the home (almost always a place of tension or conflict). Each poet addresses these broad types of space differently according to their evolving subjective relationship to them. These relationships are in turn strongly influenced by their social class and gender: for the two women, their experience of their own bodies as prescribed space, in relation to the restrictive and objectifying female role that was imposed on them, is critical. Also, critical in shaping the poets experience of space are post-World-War II socio-cultural and demographic changes in the United States, notably suburbanisation, consumerisation and the consolidation of a therapeutic culture . Interwoven with these influences are major political concerns of the period such as the Cold War with its accompanying surveillance and conformism and the threat of nuclear annihilation. In the work of all three poets, awareness of these modern fears fused with traditional Gothic motifs to permeate their descriptions of spaces with anxiety, bitterness, and even dread in a rejection of the synthetic optimism of the American Century and commercial culture. Other criticism has touched on many of these themes in relation to one or another of the poets, but this study, by way of the theme of space, offers comparison and synthesis that aims to shed new light on their work and its relation to the period during which they wrote.

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.