The Other Sylvia PlathLongman, 2001 - 238 páginas Despite being widely studied on both undergraduate and postgraduate courses the writing of Sylvia Plath has been relatively neglected in relation to the attention given to her life and what drove her to suicide. Tracy Brain aims to remedy this by introducing completely new approaches to Plath's writing, taking the studies away from the familiar concentration to reveal that Plath as a writer was concerned with a much wider range of important cultural and political topics. Unlike most of the existing literary criticism it shifts the focus away from biographical readings and encompasses the full range of Plath's poetry, prose, journals and letters using a variety of critical methods. |
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Página 56
... here to set up a rhetorical identification with her narratee / mother through a celebratory praise of American domestic appliances . The confiding parentheses heighten the effect , suggesting that Plath 56 STRADDLING THE ATLANTIC.
... here to set up a rhetorical identification with her narratee / mother through a celebratory praise of American domestic appliances . The confiding parentheses heighten the effect , suggesting that Plath 56 STRADDLING THE ATLANTIC.
Página 109
... rhetorical pretence that the speaker is a mere third person narrator reporting the elm's words , and not sharing its perspective . Such pretence results from a need to cordon off pain and danger , to attribute them to something or ...
... rhetorical pretence that the speaker is a mere third person narrator reporting the elm's words , and not sharing its perspective . Such pretence results from a need to cordon off pain and danger , to attribute them to something or ...
Página 208
... rhetorical pose suggests that he has no personal involvement in all of this.131 Such a pretence is probably counter- productive , and only reinforces the reader's awareness of the fact that Hughes is , or was , ' her husband ' . To ...
... rhetorical pose suggests that he has no personal involvement in all of this.131 Such a pretence is probably counter- productive , and only reinforces the reader's awareness of the fact that Hughes is , or was , ' her husband ' . To ...
Contenido
Where is Sylvia Plath? | 12 |
The Plath Archives | 22 |
Dearly Beloved | 31 |
Derechos de autor | |
Otras 14 secciones no mostradas
Otras ediciones - Ver todas
Términos y frases comunes
American edition Amnesiac Anne Stevenson appears Ariel Poems Aurelia Plath Axelrod Bell Jar Bible of Dreams biographical Birthday Letters Bitter Fame body Brontë Carson Collected Poems confessional critics cultural Daddy Dalloway Dent & Sons describes drafts England environmental Esther Everyman's Library Faas Faber and Faber Faber edition feminine fiction Fifty-Ninth Bear Folder front cover gender Haunting of Sylvia heroine Howls & Whispers Hughes's Ibid imagine J.M. Dent Jacqueline Rose Johnny Panic Journals of Sylvia Kristeva Lady Lazarus Letters Home LILLY literary London look Lucy male masculine mother narrator nature nonetheless Norton novel person Pheasant Plath MSS Plath Reads Plath's poems Plath's writing poem's poetry poisons Prose published reader refers Room of One's Sagar Scigaj sexual Silent Spring SMITH speaker Stan Smith stanzas story Sylvia Plath Ted Hughes tells typescript Villette voice Waking in Winter Wodwo woman women Woolf written Yorker
Referencias a este libro
Eye Rhymes: Sylvia Plath's Art of the Visual Kathleen Connors,Sally Bayley Sin vista previa disponible - 2007 |
Out of the Cradle Endlessly Rocking: Motherhood in Sylvia Plath's Work Nephie Christodoulides Sin vista previa disponible - 2005 |