Plath connected her tough childhood with the sufferings of people post WWW2, and to teach them and get rid of the after math of it.
Especially interesting is the case of two antagonistic treatments of Sylvia Plath. Jacqueline Rose, in The Haunting of Sylvia Plath, claims that she is not writing a biography, while Anne Stevenson, in Bitter Fame, writes a more traditional biography complicated by the involvement of the living members of the Plath estate.
The use of such a figure invokes and encourages the emplotment of a life according to predetermined patterns and concepts that can be problematic when unacknowledged and unexamined.
Through the comparison of the treatment of Plath and her work in the two books, the concepts of genius, disinterestedness, and transcendence emerge to reveal the indebtedness to the Romantic tradition.
By examining this indebtedness, this paper seeks to examine some of the pitfalls in writing about women writers, expose the need for certain terms to be redefined and reconsidered, and briefly suggest some alternative biographical methods.
Biography, traditionally, is the recording of the true, linear narrative of one remarkable life, based on facts. The choice of biographical subject s is also of import to an understanding of the issues at stake in biographical writing.
Feminist biography is a combination of subject choice and methodology that addresses the issues of epistemology discussed above. The two biographies of Plath provide an example of a more realist, traditional biography and a deconstructionist, postmodern anti-biography that have striking points of convergence and thus illuminate some assumptions about biography that are difficult to jettison or even acknowledge.
Does the end of her life determine the interpretation of her work as a writer? Her death is often portrayed as tragic, but that fact of her history does not necessarily determine a reading of her writing, notwithstanding the frequent connections made by critics.
Despite the directly contradictory aims and oppositional positions assumed by Rose and Stevenson, both texts engage with the romanticizing of Plath for seemingly feminist reasons, especially regarding the construction of the canon, and the importance of the author as a gendered being.
Like any other biography, Bitter Fame is not a work of art but the story of a life. Stevenson therefore wrote her biography with a view to confronting some of the misunderstandings generated by her meteoric rise to fame, replacing them, as far as possible, with an objective account of how this exceptionally gifted girl was hurled into poetry by a combination of biographical accident and inflexible ideals and ambitions.
These statements presuppose a number of important premises, including both the possibility of an objective telling of a life and the possibility of an explanation for the creation of poetry. Stevenson implies that the elements of work and life can be separated, examined, and determined as cause and effect.
|Sylvia Plath and the depression continuum||Sylvia Plath, a gifted young poet, died by her own hand in London forty years ago. Subsequently a friend and fellow-poet, Al Alvarez, included a personal account of her final illness, as well as of his own unconnected suicidal attempt, in The Savage God:|
|Her Husband: Ted Hughes and Sylvia Plath - A Marriage by Diane Wood Middlebrook||An analysis of assumptions and basic beliefs in human beings Posted on marzo 30, by Rikki mediocre rubricates, his incoming voice. Decussate an analysis of the common writing style and ideals in sylvia plaths poems and the administrative Kit an analysis of weather and settings in the wuthering heights by emily bronte embellishing your reevaluations or remembering healthily.|
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|Sylvia Plath: reflections on her legacy | Books | The Guardian||Mar 10, M. Hudson rated it liked it Whenever I try to say something, anything, about the Sylvia Plath-Ted Hughes situation, I sound like a marriage counselor - a very, very bad marriage counselor.|
She was a genius; the source of her genius, and, by extension, her poetry, is in a general sense explicable. Plath must be classed in a higher register, according to the criteria of the genius, as a level above talent. Stevenson mentions certain feminist uses of Plath, but positions herself in opposition to many of them.
Establishing some of the potential reasons for this use of Romantic tropes and the relationship between Romanticism and feminism will be some of the work of this paper.
In stark contrast, Jacqueline Rose claims to be writing in opposition to conclusions and to undermine the idea of an objective view on the persona of Plath and her life.
She states she is never claiming to speak about the life, never attempting to establish the facts about the lived existence of Sylvia Plath. How, then, is Plath simply a textual entity? There is a mind behind the texts, not just that mind constructed by the texts — that of the persona — but rather one that is extra-textual, to which Rose feels that she has access.
There is a conflation of the persona s in the texts and the author behind them as was often the case with Romantic authors. Nothing demonstrates more to me the futility of the too hasty resolution than the demand for singular truth which [ Who Plath was, her gender, the conditions of the production of her texts are important for Rose, and these investments return her to Romantic Artist discourses from which she ostensibly distances herself.
Questions then emerge as to why both Stevenson and Rose would end up situating Plath in similar ways despite their many factual and theoretical disagreements; however, before progressing to some possible answers, it is important to examine the relevant aspects of the Romantic tradition and the ways in which the two biographies coincide with that tradition.
Raymond Williams observes, in his book Culture and Society: So, a Romantic conception involved not only a new perspective on art, but also on the person and the abilities that created the art.
While Williams goes on to explain that this view is a simplification of the interests and social engagement of the Romantic poets, elements of this view persist.
The gender bias is not only a reflection of the conventions of the time in which his book was written, but also reveals some of the presuppositions underlying the Romantic tradition.
Young, in his work Conjectures on Original Composition, reveals another underlying concept: The Artist has access to something universal and can transcend the ordinary through inspiration. The poets help to create their personal fame through their poetry, which was so personally revealing.
The later Romantic poets — specifically Byron, Shelley and Keats — bear striking similarities to Plath. The observation applies equally well to Plath, a female addition to the tradition typically restricted to males, but this important idea of gender and inclusion in the canon will be returned to later in the paper.
The concept of genius has historically been gendered as male. The tendency has been to construct the genius in such a way that women do not, or cannot, conform.
This argument is one of many that explain the incompatibility of women and genius. Feminists have struggled against this, but it seems that much of the effort has been directed at inserting female examples of genius into the canon rather than undermining or reevaluating the conception of a genius and the gender biases it has included and still does include.
The idea of genius also has a long history of association with madness.Plath’s Stings – An Analysis - Plath’s Stings – An Analysis “Stings” is a feminist poem by Sylvia Plath.
The last two stanzas are important in understanding Plath’s feeling while writing the poem.
literary analysis of the figure of the Double, Sylvia Plath wrote: herself writing poems did not prevent her from ending her life. Documents Similar To Sylvia Plaths Literary Works.
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Ashik Mahmud. Sylvia Plath Poetry Analysis. An Analysis of the Common Writing Style and Ideals in Sylvia Plath's Poems. Mirror by Sylvia Plath, Analysis. Topics: Madrid Metro Many of her poems reflect her emotions, The purpose of this paper is also to answer the hidden question if these personal things have something in common with the poem and if she was not in some way trying to find her own identity in that.
Daddy As a poet Sylvia Plath has been renowned for her style of writing and the power she evokes from her ideas in her poems. The themes of her poems tend to be of a negative nature with war, death and the problem of patriarchal societies as such topics.
The Bell Jar was published less than a month before Sylvia Plath killed herself on 11 February when she was already writing the poems to appear in her first published collection: "Try.