Thematische Bibliographien / Key words: Sylvia Plath

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Zeitschriftenartikel zum Thema "Key words: Sylvia Plath"

Carvalho, Ana Cecilia. „Sylvia Plath e o Impossível no Holocausto“. Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 10, Nr. 18 (29.05.2016): 15–37. http://dx.doi.org/10.17851/1982-3053.10.18.15-37.

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O objetivo deste artigo é focalizar o uso da metáfora do Holocausto na poesia de Sylvia Plath (1932-1962), a fim de examinar tanto as funções quanto os limites da criação literária. Levando em consideração a poética autobiográfica e o suicídio da escritora norte-americana, estarão no horizonte a leitura e a análise dos poemas “Daddy”, “Lady Lazarus”, “Words” e “Edge”.

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Holladay, Hilary, und Steven Gould Axelrod. „Sylvia Plath: The Wound and the Cure of Words.“ American Literature 63, Nr. 2 (Juni 1991): 353. http://dx.doi.org/10.2307/2927189.

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Dyne, Susan Van, und Steven Gould Axelrod. „Sylvia Plath: The Wound and the Cure of Words“. New England Quarterly 64, Nr. 4 (Dezember 1991): 685. http://dx.doi.org/10.2307/366201.

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Lester, David, und Stephanie McSwain. „A Text Analysis of the Poems of Sylvia Plath“. Psychological Reports 109, Nr. 1 (August 2011): 73–76. http://dx.doi.org/10.2466/09.12.28.pr0.109.4.73-76.

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Changes in the words used in the poems of Sylvia Plath were examined using the Linguistic Inquiry and Word Count, a computer program for analyzing the content of texts. Major changes in the content of her poems were observed over the course of Plath's career, as well as in the final year of her life. As the time of her suicide came closer, words expressing positive emotions became more frequent, while words concerned with causation and insight became less frequent.

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Zimbakova, Kristina. „The ways Sylvia Plath speaks Macedonian“. Babel. Revue internationale de la traduction / International Journal of Translation 50, Nr. 4 (31.12.2004): 298–309. http://dx.doi.org/10.1075/babel.50.4.02zim.

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I delved in the original of the American poet Sylvia Plath poems with an ambition to "move" it and give it a new dimension compatible with Macedonian (a South-Slavic language). Regarding prosody, compared to the iambic in the original, particularly in the early poems, the translation of the poems uses trochee as a meter natural to modern Macedonian poetry and the closest one to the standard speech. The translation complies with the Macedonian grammatical and natural gender, and the noun-verb and adjective-noun agreement in gender, number, and person. Cultural shift is frequently applied, too. The poems crave for translation as a means of their resurrection, and unraveling of the powerful emotional input and imagery, in another language. While translating I was tenaciously in pursuing of the light in the lines of Plath’s poetry hoping to create by means of words a setting within Macedonian where that light will shimmer most intensely. The question is, what would Sylvia herself say in Macedonian that the translator does not say? Yet she is meant to speak via the translator as an intermediary, who unavoidably distorts the real picture in the mirror. Although translation of poetry can never fully satisfy the appetites of the original, it remains to be the original’s sole destiny and way of survival. Poetry itself is a certain translation of and deviation from the ordinary speech. Thus, the translation into Macedonian is actually translation of a translation. Everything is Translation: the imaginary Original is a body enveloped in the myriad of garments belonging to Translation.

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Gertenbach, I. „Spieëlbeelde in die werk van Ingrid Jonker en Sylvia Plath“. Literator 29, Nr. 2 (25.07.2008): 89–100. http://dx.doi.org/10.4102/lit.v29i2.117.

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Mirror images in the work of Ingrid Jonker and Sylvia Plath Writing poetry has an element of healing in it, but how does it work? Plath and Jonker continually wrote about mirror images, eyes and questions of identity. Different psychological theories surrounding this issue, including those of Winnicott, Jung and Lacan, are discussed. Plath’s “Mirror” and “Words” as well as Jonker’s “Op alle gesigte” are specifically examined. Concluding remarks reveal that a mental block, or crypt, will always force a poet to reword his/her trauma.

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Juhasz, Suzanne. „Sylvia Plath: The Wound and the Cure of Words. Steven Gould Axelrod“. Modern Philology 90, Nr. 2 (November 1992): 305–8. http://dx.doi.org/10.1086/392075.

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Demjén, Zsófia. „Drowning in negativism, self-hate, doubt, madness: Linguistic insights into Sylvia Plath’s experience of depression“. Communication and Medicine 11, Nr. 1 (16.03.2015): 41–54. http://dx.doi.org/10.1558/cam.v11i1.18478.

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This paper demonstrates how a range of linguistic methods can be harnessed in pursuit of a deeper understanding of the ‘lived experience’ of psychological disorders. It argues that such methods should be applied more in medical contexts, especially in medical humanities. Key extracts from The Unabridged Journals of Sylvia Plath are examined, as a case study of the experience of depression. Combinations of qualitative and quantitative linguistic methods, and inter- and intra-textual comparisons are used to consider distinctive patterns in the use of metaphor, personal pronouns and (the semantics of) verbs, as well as other relevant aspects of language. Qualitative techniques provide in-depth insights, while quantitative corpus methods make the analyses more robust and ensure the breadth necessary to gain insights into the individual experience. Depression emerges as a highly complex and sometimes potentially contradictory experience for Plath, involving both a sense of apathy and inner turmoil. It involves a sense of a split self, trapped in a state that one cannot overcome, and intense self-focus, a turning in on oneself and a view of the world that is both more negative and more polarized than the norm. It is argued that a linguistic approach is useful beyond this specific case.

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Elahi, Babak. „Mirrors of Entrapment and Emancipation“. American Journal of Islam and Society 33, Nr. 3 (01.07.2016): 115–19. http://dx.doi.org/10.35632/ajis.v33i3.924.

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In 1992, Farzaneh Milani’s groundbreaking Veils and Words brought into dialoguethe fields of Iranian studies and feminist critical theory – two areas ofhumanist inquiry that, in some sense, need each other. Moreover, with workslike Hamid Naficy’s The Making of Exile Cultures (1993), interdisciplinarycritical theory has informed many humanist and social science approaches toIranian literature and culture. These links between integrated critical theoryand Iranian studies can produce compelling and insightful analyses. However,the cadence of such work might be more in tune with one subfield than another.While the content and subject of these studies might include Iranian society,culture, or art, it is often the case that the critical method being deployedis more important than the historical, literary, or social content to which it isapplied. Methodology eclipses the subject of analysis.This is the case with Leila Rahimi Bahmany’s Mirrors of Entrapment andEmancipation (Mirrors). Bahmany’s work tells us more about the feministcritical genealogy brought to bear on the work of Sylvia Plath (d. 1963) andForrough Farrokhzad (d. 1967) than it does about the works and lives of thesepoets themselves. But if, as I note above, these fields do “need” each other,then this book is worth exploring for both feminist scholars and Iranian studiesspecialists. Beyond specialists, however, the work does little to draw in areader not already at least slightly familiar with debates in psychoanalyticfeminist theory of the twentieth century.Bahmany begins her book with the highly suggestive images of Narcissusand Echo from Ovid’s Metamorphoses. However, she quickly movesfrom this basis in classical western mythology to the relevance of these imagesfor psychoanalysis and feminism. Thus, she rapidly establishes a ...

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Gioko, Sylvia. „The influence of Electronic Innovation on Performance Of Three To Five Star Hotels in Kenya.“ Advances in Social Sciences Research Journal 8, Nr. 4 (23.04.2021): 210–17. http://dx.doi.org/10.14738/assrj.84.9996.

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Electronic innovation influence on performance of three to five star hotels in Kenya Sylvia Mukenyi Gioko Department of Business Administration, Jomo Kenyatta University of Agriculture and Technology, Nairobi, Kenya Elegwa Mukulu College of Human Resource Development, Jomo Kenyatta University of Agriculture and Technology, Nairobi, Kenya Oloko Margarate Department of Business Administration, Jomo Kenyatta University of Agriculture and Technology, Nairobi, Kenya Abstract The hotel industry heavily depends on the development of information systems so as to adapt technology, which is the single greatest force driving change in the hospitality industry .The role of innovation in the contemporary hotel industry is significantly important in sustaining competitive advantage, innovation in the hotel industry enables hotels to adopt novel ideas, improve service processes, and enhance operational efficiency levels. It also helps the hotels in meeting the needs of their customers, earn sales and achieve profitability, engage in corporate social responsibility and maintain competitive advantages in rapidly-changing markets. The Kenya tourism sector experienced loss of revenue of 74 percent indirect international tourism receipts for 2020 translating to 37 billion shillings (336 million US dollars) loss against projected revenue of 1.34 billion dollars for the review period. In light of these, this study sought to establish the influence of e-innovation on performance of three to five star hotels in Kenya. The study adopted a descriptive form of research design. In addition, a qualitative research approach was utilized. The target population for the study was the one hundred and twelve three to five star hotels in Kenya. Multiple regression model was used to draw inference from the data collected. The Statistical Package for Social Science (SPSS) was utilized for statistical analysis. Findings reveal that e-innovation had an average of 3.7023 with a standard deviation of 0.41903. In addition, there was a significant R square value of 0.362 between e-innovation and performance of three to five star hotel. This suggests that 36.2% of variation in hotel performance is explained by e-innovation. The study recommend that greater focus on e-innovation in hotels could bring competitive advantage through increase of number of online purchases, raised customer satisfaction by time-saving. Key words: Electronic innovation, Electronic customer relationship management, Performance

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Dissertationen zum Thema "Key words: Sylvia Plath"

Eva, Stenskär. „The Bee & the Crown : The Road to Ascension in the Poetry of Emily Dickinson and Sylvia Plath“. Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-84936.

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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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Tucker, Robyn Michelle. „Performance and the self in the writings of Sylvia Plath : 'what ceremony of words can patch the havoc?' /“. Title page and introduction only, 1998. http://web4.library.adelaide.edu.au/theses/09AR/09art8931.pdf.

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Lin, Wen, und 林汶. „Sylvia Plath: Between Words and Wordlessness“. Thesis, 1998. http://ndltd.ncl.edu.tw/handle/87101635455440550043.

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碩士
國立中興大學
外國語文學系研究所
86
Sylvia Plath 的詩呈現沉默(silence)的主題與被鄙棄在語言外的疏離感.此種以女性角度對語言的批判,反映出女詩人自我和文化的衝突,及對語言的質疑.文字一方面描繪出詩人分裂與失落的自我,另一方面也被視為重建完整自我與希望的唯一圖徑.在有聲與無聲的文字之間, Sylvia Plath 展現了其存有,並試圖與其讀者對話.此論文旨在分析討論 Sylv ia Plath 詩中對語言的質疑,並探討她如何藉由創作呈現自己的聲音.在檢視 Plath 自然詩中流露出的主體經驗時,我們發現詩人常將自己比擬為無聲的自然物.整體而言,Plath的自然詩透過對景的描述,反映出詩人的疏離感及自我的空虛.詩人的物化表示對自我存在的質疑,在自然詩中,詩人的自我是疏離,分裂,空洞與沉默的.這樣不完整的自我源於 Plat h 對語言的質疑. Plath 對語言的質疑,更反應了她與社會的疏離.自然界對 Plath 而言其實是另一個現存社會,如同現存語言建構的是一個不完整且分裂的自我,社會對自我的存在亦充滿威脅.在沉默中我們藉由詩人心靈的眼睛,透過外在世界的描寫,領悟了她的內心世界.為逃避語言及社會的威脅,詩人遁入沉默之中. Plath 對語言的質疑亦反應在她描寫女性身體的詩中. 對一位女性而言,自我形象與身體有著密不可分的關係,因此,被視為文化建構下的女性身體便呈現出一種受語言制約的女性主體.在 Plath 充滿女性特質的身體語言下, Plath展現了女性感覺敏感的洞察力.大部份詩中的女主角都以弱者的形象出現, Plath 拒絕接受這個以文化建構且承載語言對女性狹義定義的身體符號,試圖以身體的變形 (metamorphosisof the female body) 解構原本被動,脆弱,且缺乏主體的女性自我,這樣的女性依然在沉默中發聲.在這場努力發聲之戰中,Plath對聲音(sound)的敏感反射出她的內心世界與內在聲音.聲音以不同的方式迴響在文字表面,實際上卻捕捉了詩人思想與語言的深度.聲音與沉默基本上都是無形,但這個無形卻擴大了Plath文本中未寫出的文字空間,且使詩人的意識更具體化.在有聲與無聲的文字中,Plath展現了自我的存在. Sylvia Plath''s poetry explores the theme of silence and the sense of exclusion from language. This feminine critique of language relfects a conflict between a woman poet''s conception of self and the offering of her culture. Words, on the other hand, demonstrate the poet''s sense of split or loss; on the otherhan d, they serve as a means fro integrity and fulfillment. In this way, Plathmak es her presence between words and wordlessness. This paper intends toexamine Sylvia Plath''s suspicion of language recorded in poems and to show howshe stru ggles to find her voice in writing.In the investigation of the subjective expe rience of landscape as recorded inPlath''s poems, one will find that the poet a lways identifies herself with the nonsounding natural objects. Plath''s nature poems provide a context withinwhich the poetic consciousness interacts with a landscape as its infertilesource. We share the poet''s immanence in silence t hrough her mind''s eye. Theself recorded in Plath''s nature poems is always est ranged, dissolved, alienated or vegetated as speechless. This deny of linguis tic ability implies Plath''s suspicion of language and her alienation from soci ety. In fact, the world ofnature is another symbolic social world. This worl d always points to the poet''s fear of engulfment and deprivation of self-auton omy. In order to escape from the threat of language and society, the poet tak es refuge in silence. Plath''s suspicion of language extends further in her in scription of the femalebody. Since a woman''s conception of self is closely re lated to her body, a female body which is seen as a product of culture in this way becomes a further extension of an inherently linguistic entity. The part icular feminine characteristics of Plath''s language suggest that the female pe rsona of her body poems is a powerless victim or a female scorn of the cultura lly inscribed femalebody. Plath attempts to free herself from the burdensome sigh of woman''s body in various metamorphoses. The female persona in Plath''s body poems remains silent. Caught in this battle for voice, the sounds which echo in different ways on the surface of the words reflect Plath''s mind and vo ice. Sound as wellas silence basically takes no form; however, this formlessn ess broadens the unwritten parts of Plath''s texuality. Plath''s rhetoric of si lence and soundexemplifies the gesture of language and delves deeper than word s as an undertowin language.

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Bücher zum Thema "Key words: Sylvia Plath"

Axelrod, Steven Gould. Sylvia Plath: The woundand the cure of words. Baltimore: Johns Hopkins University Press, 1992.

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Axelrod, Steven Gould. Sylvia Plath: The wound and the cure of words. Baltimore: Johns Hopkins University Press, 1990.

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Axelrod, Steven Gould. Sylvia Plath: The wound and the cure of words. Baltimore: Johns Hopkins University Press, 1990.

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Sylvia Plath: The wound and the cure of words. Baltimore: Johns Hopkins University Press, 1990.

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Norris, Pamela. Words of love: Passionate women from Heloise to Sylvia Plath. London: HarperPress, 2006.

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Axelrod, Steven Gould. Sylvia Plath: The Wound and the Cure of Words. The Johns Hopkins University Press, 1992.

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Wootten, William. The Alvarez Generation. 2. Aufl. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789627947.001.0001.

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This book is the biography of a taste in poetry and its consequences. During the 1950s and 1960s, a generation of poets appeared who would eschew the restrained manner of Movement poets such as Philip Larkin, a generation who would, in the words of the introduction to A. Alvarez's classic anthology The New Poetry, take poetry ‘Beyond the Gentility Principle’. This was the generation of Thom Gunn, Geoffrey Hill, Ted Hughes, Sylvia Plath, and Peter Porter. This book explores what these five poets shared in common, their connections, critical reception, rivalries, and differences, and locates what was new and valuable in their work. The book presents an important re-evaluation of a time when contemporary poetry and its criticism had a cultural weight it has now lost and when a ‘new seriousness’ was to become closely linked to questions of violence, psychic unbalance and, most controversially of all, suicide.

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Buchteile zum Thema "Key words: Sylvia Plath"

O’Brien, Maeve. „Plath in Devon: Growing Words Out of Isolation“. In Sylvia Plath in Context, 317–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108556200.031.

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Trinidad, David. „“Two Sweet Ladies”“. In This Business of Words. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062204.003.0007.

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‘“Two Sweet Ladies”: Anne Sexton and Sylvia Plath’s Friendship and Mutual Influence’ explores the friendship between Sylvia Plath and Anne Sexton and their mutual influence on each other’s work. Poems, letters, and journal entries will be used to trace Sexton and Plath’s meeting in Robert Lowell’s poetry workshop at Boston University in 1959, Sexton’s influence on Plath’s Ariel poems, and conversely, Plath’s influence on Sexton’s poetry after her suicide.

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Lasky, Dorothea. „Anne Sexton and the Wild Animal“. In This Business of Words. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062204.003.0011.

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“Anne Sexton and The Wild Animal” discusses the bestiary poems from Anne Sexton’s 45 Mercy Street in the context of the book as a whole. It also investigates the idea of a feral, metaphysical “I” in other American poets, including Sylvia Plath.

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„2. The Corpus and the Corpse: Amelia Rosselli, Jacques Derrida, Sylvia Plath, Sarah Kofman“. In After Words. Toronto: University of Toronto Press, 2010. http://dx.doi.org/10.3138/9781442660243-004.

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„Words to “Patch the Havoc:” The Imagination of Ted Hughes in the Poetry of Sylvia Plath“. In Ted Hughes, 26–38. Taylor & Francis, 2005. http://dx.doi.org/10.4324/9780203017982-8.

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Javadizadeh, Kamran. „Anne Sexton’s Institutional Voice“. In This Business of Words. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062204.003.0004.

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“Anne Sexton’s Institutional Voice” offers a critique and revisionary account of the breakthrough narrative, with Anne Sexton serving as its central example. If a crucial aspect of the breakthrough narrative is that the poet makes a radical turn away from “objective” content and towards autobiography, then Charles Altieri suggests a way in which we can both acknowledge the poet’s renewed interest in his own life and at the same time preserve the possibility that certain legacies of modernist and New Critical poetics might still condition his deployment of autobiography. Put another way, my contention here is that poets like Plath, Lowell, and Sexton continue, rather than reject, key aspects of the institutional forms of modernism that they inherit, but that they do so, often, by writing poems in which they are themselves both the subjects and the objects of institutional scrutiny.

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Mundye, Charles. „‘Is’t not a kind of incest?’1 Metaphor and relation in the poetry of Ted Hughes and Sylvia Plath“. In Incest in contemporary literature, 225–45. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526122162.003.0011.

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In his selections for Tales from Ovid (1995) Hughes includes several incest narratives: ‘Myrrha’, ‘Venus and Adonis (and Atalanta)’, ‘Pygmalion’, and ‘Tereus’. In arguing that they, in addition to other ‘late’ Hughes poems, develop dialogic relationships with Plath’s earlier texts, the chapter builds upon Lynda K. Bundtzen’s observation that Hughes’s Birthday Letters (1998) is centrally informed by Ovid’s tale of Orpheus and Eurydice. Analysing the self reflexiveness of aspects of Ovidian narrative, Philip Hardie has commented upon the ‘narcissistic and incestuous relationship between author and his book.’ The complexities that Hardie outlines in Ovid’s relationship with text are extended in the chaoter to consider the relationships of the two poets, Plath and Hughes, with their own and each other’s texts. In the process of pursuing this idea across key poems by Plath and Hughes, the chapter further explores ways in which Ovidian mythology is transformed not only through translation but also through its proper and improper relation with other mythologisations and metaphorisations. These range from the Garden of Eden, and different versions of the Underworld, and return us to Shakespeare.

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Haughton, Hugh. „Just Letters: Corresponding Poets“. In Letter Writing Among Poets. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748681327.003.0004.

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This chapter explores poets’ letters as ‘an art form’ in the post-Romantic period, exploring the bearing of poets’ letters on their poems (and vice versa). It reflects on the key role played by epistolary dialogue in the creation and circulation of poetry in the modern period, documenting the ways poets first launched poems in letters to friends, and used letters to sketch out their ideas about poetry and poetics. It comment on the practice of a number of nineteenth-century poets who used letters to launch ideas about their poetry (including Keats, the Brownings, Hopkins and Emily Dickinson), before moving on to consider the equally crucial role of correspondence in the work of twentieth-century poets (including Bishop, Lowell, Marianne Moore, Ted Hughes, Sylvia Plath, and Philip Larkin). In offering a survey of this broad epistolary territory, it also outlines an idea of an epistolary poetics.

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Konferenzberichte zum Thema "Key words: Sylvia Plath"

Naji Hussein ITHAWI, Hind. „BETWEEN ALBEE’S DOG AND GOAT: IMAGES OF ANIMAL COMPANIONSHIP“. In International Research Congress of Contemporary Studies in Social Sciences (Rimar Congress 2). Rimar Academy, 2021. http://dx.doi.org/10.47832/rimarcongress2-1.

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Modern times seem to have been inflicted with a puzzling sickness that pervades humans’ existence on every possible level. The modern sickness of loneliness and loss of connection assumes center stage position whether in social contexts or personal spaces. This modern ailment is clear within the modern American setting particularly; therefore, many dramatic pieces try to dramatize its manifestations and consequences. The present paper attempts to explore the manifestations of this sickness in the representations of animal companionship. Such representations populate many modern American plays from the beginning of the twentieth century and moving on to the millennium. The paper suggests that images and representations of animal companionship are only expressions of modern individuals’ isolation and loss of connection. The paper examines two plays by Edward Albee, The Zoo Story (1959) and The Goat or Who’s Sylvia? (2000), that represent a new kind of companionship that may or may not sustain the struggle of their modern protagonists to establish some kind of connection with the world around them. Key words: Animal Companionship, Human-Animal Studies, Loneliness

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