parted e dulce
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Curso Doctorado Literatura Norteamericana
2005/20062
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2005/2006 3
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Parte de Dulce Sylvia Plath and AnneSexton: From Silence to
Subversin
Martes8-11-05
heoretical!ntroduction :
Some women poets from the late 50s, 60s emerged in the
literary arena exposing the true self therefore they violated the
existent literary form of the time.
You should be very mind that the critic had a new criticism
and we can find there the parameters of the new style they are
very much detached. he text is considered as an autonomous
identity, with no personal implication. So, these women poets
although they started in that literary tradition, eventually they
found themselves loo!ing for the true voice. he literary critic
Shirley "arner said# $%a!ing a language that can articulate
female experience women were left mute or mimic.&
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$Silence is more significant when there is the word. 'o not
turn ourselves to a guardian and deadly muteness.&
(irginia )olf# $*y degrees the silence is bro!en&
+ccording to some critics, womens writing is a double voiced
discourse that always embodies the social literary and cultural
heritages of both.
n the one hand the muted and on the other the dominant
discourse -man.
+ccording to the anthropologist Shirley and /dwin +itener
they said that women constituted the muted group. he
boundaries of whose culture and reality overlap but the dominant
group.
+ccording to /laine Showalter in her analysis the idea of this
muted group, convey problems of language and power. he
dominant groups control the forms of structure in which
consciousness can be articulated.
he muted group musses use these forms of the dominant
structures in their discourse. Showalter affirms that in the past
when the female experience could not accommodate to the
androcentric models, was considered to be deviant or simply
ignored. owever, as Showalter indicates these positions begin
to form part of the past.
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+ctually, the part of feminine discourse, which escaped from
the dominant gramps, begins to act according to their criteria in
social and cultural 1uestions.
So, towards the middle of the 20 thcentury women writers
ta!e conscience of their position in the dominant group and fight
or struggle in order not to be ignored.
Sylvia 3lath and +nne Sexton are good exponents of this
new style of writing.
4nitially they form their style of according to the poetics of
)illiams, ).*. Yeats, .S. /lliot, +llan ate and ohn ansom.
+s 4 said, new criticism emphasi7ed the textual rather than
the social or the moral analysis of the text. 4t was a formal and
academic style.
o achieve a personal voice in that context meant, according
to 'iane 8iddlebroo!# $9inding a way into admit into poetry not
only the raw social oppression, personal crisis, ordinary pain but
also the female.&
hus, the 2ndhalf of the 20thcentury has been the scenery of
a radical change in :orth ;+merican poetry, not only in general
terms but specially in womens poetry.
he emergence of women feminism in the 60s was the
occasion to develop a political and poetic activity with the
conviction that both struggles could be together.
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he poetic activity of these women was characterised
by being accessible and with a direct style.
he basic theme was the feminine experience.
he barrier between the public and the private was
abolished.
hey try to define the self
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o a point, women were accepting this patriarchal order but
once they were aware of their situation, women were in a
position to change. 4n those decades women had to endure a
psychological pregnancy because, they were in constant
preparation for maternity. his happened in the )+S3 -)hite
+nglo
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choose consciously not to explore experiences central to their
sex. o go against conventions was ris!yA it was a challenge
because they are despising by conventional literary criticism.
hese personal experiences were mainly of suffering and
resistance and for these they tried to find suitable new forms and
styles.
he social context from which this poetry too! off was one in
which everything was 1uestioned. +t that time -late 60s all
securities had vanished, so, in this social context many things
come up among themA it was the mother he 1uest for autonomous self he terms in which women define themselves have
nothing to do with the mythic female figure, which male have
forgotten in their mind.
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here is a reputation of that myth. She has decided not to
be the $traditional& male muse. She re=ects the figure of $the
angel of the house&. She does not want to be the ob=ect of
metaphors made by males.
+gain, Sylvia 3lath and +nne Sexton are good examples of
female poets embar!ed in this 1uest. *oth of them write
poems characterised by a recurrent self
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+ctually, psychoanalysis has been of a great help Dcos the
poem of a tormented, repressed person may reveal more than
the mere appearance shows. ften the unconscious spea!s
through the conscious going beyond its barriers and violating
the censure of the super
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revenge -'addy. herefore, when they are frustrated
they release revenge and anger.
B 4n both poems it is evident the desire to relate to each
other. he boundaries of their personalities are open, fluid.
hey are mar!ed by a desire of connection more than
separation. here is mutuality continuity, identification and
physical touch. his contact will affect the way women write
about personal relations, love, time, history, politics, etc. hey
explore continuity between generations.
'aughters write about parents and grandparents. + mother
writes about her children expressing an ambivalent
relationship.
herefore, the presence of the family in 3lath and Sextons
poetry seems to be inevitable showing the importance of
connections between generations.
hese emotions are particularly evident in the mother
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