Twentieth Century American Poetry

III. Inward: The Authorial Consciousness in "Self-Portrait in a Convex Mirror" 1. The Mirror, the Eye, and the Mirrored Eye The incidences of looking eye-to-eye are as numerous in literature as they are in life. As with Metz's camera/projector,4 though, the slight remove of a work of art facilitates the inward and outward movement we are tracing here, isolating the interaction of consciousnesses and highlighting specific transformative qualities within literature. An example of this comes from one of the most prolonged and considered cases of looking someone (something) in the eye in all of literature, John Ashbery's 1974 ekphrastic poem "Self-Portrait in a Convex Mirror."

This article argues that certain works by John Clare constitute what I term the lyric of withdrawn revelation, in which the lyric subject attempts to inscribe a nonhuman natural object in its discourse, both for mimetic and expressive purposes, but is prevented from doing so because of the nonhuman's radical dissimilarity to the human. The sonnet "November" and the triple sonnet "The Flood" exemplify this type of lyric by deploying two relational tropes, apostrophe and allegory, respectively, to establish an affinity between human subject and nonhuman object that functions on the subject's own terms. The poems' prosodic, sound, and rhetorical patterning facilitates apostrophe's and allegory's logic of resemblance insofar as regular repetition appeals to the human conceptual appetite for patterns; as a result, the nonhuman object's proneness to regularly patterned discourse suggests the object's likeness to the human lyric subject. Syntactic and figurative irregularity, however, emerges equally as an iterative form in these lyrics to clash with regular repetition and disrupt the logic of affinity that the latter furthers. The tension created points to the nonhuman object's status not as a transcendental signified, but as an extra-discursive context that informs yet remains extrinsic to lyric utterance. Midway through his enclosure elegy, "To a Fallen Elm," John Clare reflects on the "friendship" (28) he shared with the defunct tree: Friend not inanimate-tho stocks and stones There are and many cloathed in flesh and bones Thou ownd a language by which hearts are stirred Deeper than by the attribute of words Thine spoke a feeling known in every tongue. (29-33) 1 This address to the nonhuman and inanimate is nothing more than apostrophe's gesture of making "something which cannot normally be addressed into an addressee, treating it as a subject" (Culler 232). Yet, if apostrophe seeks to lie already beyond disbelief by inverting conventional assumptions about "what can act and what cannot" (242), then Clare's redundantly qualifying address-"Friend not inanimate"-betrays anxiety over the trope's intrinsic logic of affinity between speaker and addressee. The repeated use of the second-person singular (one a subject and the other a possessive pronoun)

This study explores the relationship of nature, human endeavor and reality at Stopping by Woods on A Snowy Evening which is written by Robert Frost. The research employs qualitative method which includes content analysis as the research tool. The research findings suggest that throughout a description of journey, the poet has depicted an important message of life. Natural world is highly related with human existence and if a person wants to be dutiful towards his life, he must carry his journey. There might be deep forest which may not be favorable to his journey, but one should not lose his hope or forget his duties to make the journey meaningful. The poem from the perspective ecocriticism, discloses that the woods supply different needs of human being easing the life. But similarly with the destruction of woods, the level of oxygen decreases and environmental pollution increases. The relationship needs to be established on harmonious balance. As the isolation is problem of human life, it needs to be adjusted by keeping the connection with kith and kin.When a person faces the troubles of life, he must try to overcome it for the meaningful life.

This composite paper holds extracts from the central essay of the forthcoming book The Primal Chorus of the Sacred Wood in T.S. Eliot’s The Wasteland (London, spring 2025). It reveals a Proto-Indo-European layer in the opening lines of The Waste Land, used with other poetics to reconstruct the primeval genesis of rhythm, dance, poetry and myth. The genesis of music is shown to be encased in 'Lilacs' [2], as the rapacious Pan pursued the nymph syrinx into a river, where the river nymphs rescued her by turning her into a reed. Pan's frustrated breath playing across that hollow reed of the lilac created the Panpipes. This is also the genesis of myth, including in the form of Nietzsche's beloved satyr, the similarly rapacious man-beast who meets his modern doppelganger in the young man carbuncular of Part III. To position this classical reading, the extracts here comprise the book Introduction, a short essay addressing the writings of Aristotle, Friedrich Nietzsche and Jane Harrison on the genesis of the Greek chorus, poetry and tragedy, and an essay on how modernist writers of Eliot’s time reimagined that birth of culture in music, ritual, poetry and prose. For brevity, only sections of the essay ‘The Chorus of the Sacred Wood’ are included. To further understand the universal reach of the unifying mythic layer in the poem, the essay ‘The Hebrew Legacy from Animism’ is recommended (available on Academia), further revealing the ancient roots of the shared mythos of the Hebraism and Hellenism in the poem.

Attila Dósa read English at the universities of Debrecen, Oxford, and St Andrews (where he earned his PhD) and works now as a full-time lecturer at the University of Miskolc in North Hungary. His new book, Beyond Identity: New Horizons in Scottish Poetry, was published in 2009 at Rodopi. He gave a talk on landscape poetry and identity construction in Douglas Dunn‟s poetry on 29 November 2006 in the Research Forum.

Inédita em vida (ou praticamente), Emily Dickinson escreveu uma obra tão volumosa quanto problemática, na medida em que criava "variantes" de seus poemas, ou "alternativas", o que multiplica potencialmente os quase 1800 poemas. A partir de 1870, Dickinson também começa a escrever textos que já nem mesmo são poemas, mas rascunhos e rabiscos, que não são menos interessantes que os poemas ou as cartas. Este ensaio tenta entender o percurso que vai da obra aos rabiscos, a partir do de uma leitura do poema "Publication – is the the Auction"  e de sua tradução.

Bishop and Olson diverge—one could call it two ways out of Worcester, MA. While Bishop undervalues the map’s instrumentality (in the sense that her map never gives us a clear or stable location), Olson overvalues what he sees as the map’s function, in that it serves as an ‘x-marks-the-spot’ of some transcendent moment of historical revelation, defined within the broader project of The Maximus Poems as a whole. But what I eventually want to consider with my work-in-progress is how these divergent paths ultimately end up in the same place. It turns out that the joy of Olson’s ‘Letter’ is not a summation of insights gleaned from the poet’s hard-won research abilities, but rather our participation in the eclectic assortment of textual strategies the poet uses to defamiliarise the act of map-reading. Inversely, one might say that Bishop’s map does not so much dis-locate as provide a temporary, material location for the more intangible affective topographies of desire, tenderness and intimacy. In both cases, the poets dis-locate so they can locate themselves and their environments differently; processes of dis-location draw into question what exactly it is that we want to locate, and how. The two paths out of Worcester, MA, perhaps, come into proximity when we find ourselves posing such questions.

A reader that recognizes this allusion will find that this rather optimistic poem by Stevens is set against a gloomy background, which makes its proffered hope appear all the more luminous due to the juxtaposition. According to Harold Bloom, Stevens's titular 'rock is the reductive gray particular of man's life'. 4 As far as it goes, that statement is accurate. But it may be taken further-the rock is not simply 'reductive' and 'gray' but hellish. The rock, Stevens writes, is not something that can simply be 'covered' but something that '[w]e must be cured of': BRET VAN DEN BRINK

26 The Real Sylvia Plath Kate Moses Editor's note: This article was originally published in Salon in May 2000. As the original was published in a journalistic academic style, references and citations were not published. This piece was first published within those looser strictures and ...

This article sheds perceptive light on the complex theme of death in Sylvia Plath's poetry. She is considered one of the most significant literary voices of the twentieth century. The combination of Plath's intense personal suffering with her unique stylistic skill makes her an esteemed poet in literature. She not only views death as the inevitable end of life, but embarks on a deeper quest, engaging with death as a dialectic to life, offering a new perspective on the meaning of death in her poetic paradigm. To truly grasp Plath's poems, one must first enter the turbulent terrain of her personal life. Two cataclysmic events stand out: the untimely death of her father and her complicated breakup from her husband Ted Hughes. These traumatic life events not only provide context but become part of her poetic DNA. Through them, Plath unfolds a tapestry of emotions that conveys a deep sense of helplessness in the face of the idea of death as a possible path to redemption. This emotional complexity comes through clearly in her work as a whole. In "Daddy," for example, she channels a potent mix of aggression and fear, a pull that is clearly directed at the main characters in her life. Through the lens of her poetry, death is transformed from a mere ending into a never-ending saga that embodies eternal pain, loss, and an insatiable longing for what was once tangible. This article underscores the intertwined relationship between Plath's personal journey through the shadows of death and the manifestation of these experiences in her poems. Her profound reflections on death not only solidified her literary legacy, but also made a strong mark that resonated deeply with and influenced readers across time and space.

The paper investigates the relation of intertextuality and parallelism between Louis MacNeice's poem "Carrickfergus" and Colette Bryce's poem "Derry". The obvious debt of the younger Northern Irish poet to MacNeice is explicit even from the first line of "Derry" and is recognized as such by Bryce in multiple instances. Besides an overview of the main poetic questions which bring the two poets together, an analysis is conducted of the two poems in parallel, to show their several points of contact.

Considering the importance of trauma to human psychology, reading literary trauma and analyzing the traumatic experience can contribute to the field. Seamus Heaney, known for the portrayal of troubles of Ireland and cultural trauma in his poetry, once more mentions both ideas in his poem 'Casualty' about an unknown old man, later claimed to be Louis O'Neill by Heaney. Heaney's poem gives the reader a perception of what the Irish went through on Bloody Sunday, the Wednesday after it and what he went through after O'Neill's death in the bombing on Wednesday. As a strong work of literary trauma, it is safe to say that 'Casualty' can help its reader understand the cultural trauma the British army created for the Irish at that period. It is anticipated that 'Casualty' will prove Bloody Sunday and death of O'Neill, the bombing, as traumatic experiences and thus, add to our knowledge of trauma.

The Journal of Black Mountain College Studies is a digital publication, intended to be experienced and referenced online. PDFs are made available for offline reading, but may have changes in layout or lack multimedia content (such as audio or video) as compared to the online article.

This meditative essay considers what it might mean to "read" text and terrain comparatively, attending to the nuances of poetic and environmental form that shape experience. I explore this notion through a sensorial reading of a thirty-five-acre plot of land in rural virginia, alongside three poems by American poet charles Wright, "sitting outside at the end of Autumn," "Lines After rereading T. s. eliot," and "rereading Lao Tzu in the new year." examining place in dialogue with poem, I explore how physical and formal elements in both terrains can produce parallel aesthetic, bodily, and emotional effects and resonances.

This article seeks to rethink Wallace Stevens’s elusive philosophicalness, particularly with respect to the apparent resignation of the later poems. I suggest that Stevens’s philosophical preoccupations can be approached as displacements. Stevens’s self-ironizing fervor destabilizes the poetic surface, spawning a curious illusion: the nagging sense that one is reading only a kind of “screen-poem.” Interrogating this vexing rift, I argue that the significance of the anchoring lines wherein Stevens appears to make the philosophic core of his poetic vision tantalizingly concrete is apophatic, revealing only what that vision is (not) and cannot be.

Es gibt Begriffe, die scheinen so gut und wichtig, dass sie kaum in Frage zu stellen sind (vor allem, wenn sie in der neoliberalen Bildungspolitik als Buzzwords und Förderkriterien vorgegeben werden). Einer dieser Begriffe ist Inklusion. Aber so selbstverständlich er scheint, Aber so selbstverständlich er scheint, so problematisch ist er auch. Ich möchte daher mit meinem Beitrag ernsthaft fragen: Warum sollte es der Kunstpädagogik überhaupt um Inklusion gehen? Ich werde dieser Frage entlang von vier Antworten nachgehen: Erstens, weil sie ausschließend ist. Zweitens, weil sie von der (neo)liberalen Kulturalisierung der Politik vereinnahmt wird. Drittens, weil sie mit der radikalen Pädagogik und ihren demokratischen Ansprüchen in Verbindung steht – bei denen Pädagogik als Praxis der Befreiung und Emanzipation gedacht wird. Und viertens weil künstlerische Praktiken der Gegenwart Commons adressieren.

The article examines the hitherto unstudied creative assingnements of Joseph Brodsky, which he offered to his American students. Each of the tasks is a detailed instruction on how to write a poem on a certain topic or/and in a certain genre. Our analysis of the assignments’ structure allows us to distil several foundational principles of Brodsky’s poetics and demonstrate their place within his vision and practice as a poet and teacher

В статье впервые анализируются творческие задания Иосифа Бродского, которые он предлагал своим американским студентам. Каждое из заданий представляет собой подробную инструкцию, как писать стихотворение на определенную тему и/или в определенном жанре. Анализ структуры заданий позволяет нам описать основные принципы «грамматики поэзии» Иосифа Бродского и продемонстрировать, как они вписываются в систему его взглядов на
стихотворчество и поэзию.

Moving literary texts from a peripheral language to a hyper-central one (Heilbron 1999) goes against the general flow of translations, and agents involved in this process play crucial roles in it. In this article, on the case of English translations of Slovak poetry, I set out to investigate how such processes work. My research starts with assembling a bibliography of English translations of Slovak poetry published in book form between 1989 and 2020. The list contains no fewer than 2,500 poems by 161 poets, translated by more than 50 translators. A few observations from the quantitative analysis I conducted help answer such questions as what kind of agents translate poetry in these projects, who gets translated and how likely it is that the volumes reach an international readership. Subsequently, I use tools from Bourdieu’s field theory and Latour’s actor-network theory (ANT) to trace actor-networks pertaining to those translation projects concerning the rendering of two chosen Slovak poets who hold different positions in the Slovak literary field—Mila Haugová (born in 1942) and Milan Richter (born in 1948).

Antologia de Spoon River é a obra máxima do poeta norte-americano Edgar Lee Masters (1868-1950). Nesta obra-prima da poesia norte-americana, 244 personagens nos falam através de seus epitáfios, inscritos nas lápides do cemitério da vila fictícia de Spoon River, inspirada em diversas cidadezinhas do Illinois. Elogiado por poetas e críticos seus contemporâneos como Amy Lowell, Ezra Pound, Edna St. Vincent Millay, Carl Sandburg e Louis Untermeyer, entre outros, Masters é um dos grandes poetas modernos e um dos poucos a conquistar popularidade entre leitores comuns nos EUA. Ainda em 1931, Jorge Luis Borges traduz três poemas de Masters e os publica na revista Sur. Em sua Introducción a la literatura norteamericana, publicada em 1967, Borges reconhece Masters como um dos mais importantes inovadores da poesia estadunidense do século XX e resume assim o seu projeto: "Integram esse livro, que é uma espécie de comédia humana, duzentos e quarenta e quatro epitáfios, ou melhor, confissões de outros tantos mortos de um obscuro povoado provinciano, que nos revelam sua intimidade". No Brasil, permanece quase desconhecido, e foi pouquíssimo lido, mas principalmente por autores como Mário de Andrade, Manuel Bandeira e Jorge de Lima.

Publicada originalmente em 1915, Antologia de Spoon River é uma coleção de 244 epitáfios, poemas cujos títulos são os nomes dos mortos que, como eu líricos, narram brevemente suas vidas, tragédias particulares, sonhos incompletos e memórias, do mais prosaico ao mais profundo, no verso livre sempre ritmado e imagético do poeta norte-americano Edgar Lee Masters. Profundamente humano, o livro aborda temas como morte, frustração, aspirações, dramas interiores e interpessoais, a memória individual e coletiva, a poesia, a guerra e a arte. Os poemas formam uma trama complexa entre os habitantes de Spoon River, de modo que o leitor vai conhecendo aos poucos as nuances de cada personagem e de suas relações com os outros moradores desse vilarejo. O livro de Masters nasce do interesse do autor pela poesia da Grécia antiga, mais especificamente os epitáfios da Antologia Grega, somado ao interesse do poeta pelo verso livre e por temas à época subversivos, resultando em uma poesia essencialmente modernista. Sucesso de público e crítica, a Antologia de Spoon River vendeu mais de 80 mil exemplares nos primeiros quatro anos de sua publicação, e foi calorosamente recebida por poetas e críticos como Ezra Pound.

The following paper will explore the literary and subsequent social significance of madness in literature, notably “The Bell Jar” and “King Lear” since their authors have both similarities and differences in their approaches and contexts surrounding this theme. This paper attempts to explore the how, what and why when it comes to both authors’ approaches to the theme of madness, delving into debates such as the power of social construction in literary media, and addressing timeless social disputes such as gender and age inequality. Ultimately this paper not only explores how the authors of The Bell Jar” and “King Lear” present the theme of madness, but why, it’s still important to understand.

Chcel by som sa po akova doc. Mgr. Vladimírovi Biloveskému, PhD. za odborné rady, ktoré mi poskytol po as písania monografie, ako aj po as celého doktorandského štúdia. akujem aj svojim kolegom za podporu a cenné rady, menovite predovšetkým doc. PhDr. Martinovi Djov ošovi, PhD.

American poetry has evolved with the passage of time reflecting the changes taking place on social, political and cultural fronts. The two world wars left indelible prints on American poetry and this paper traces the major events since World War I and links the impact of major political developments with the works of major American poets.

Neste artigo, são apresentados os poemas “I Sit and Sew” (1918), “You! Inez!” (1921) e “Violets” (1917), de autoria de Alice-Dunbar Nelson, vertidos para o português. Os textos são  fruto  de  traduções  coletivas,  dialogadas  e  compartilhadas.  Apresentamos  aspectos  biográficos de Dunbar-Nelson que são importantes para o estudo crítico de seus textos e para o objetivo de preservação da crítica literária produzida acerca da escrita de mulheres negras  da  diáspora  (Hull,  1980;  1988).  Observamos,  ainda,  o  contexto  de  publicação  e  escrita dos poemas, discutindo a interpretação destes e os desafios enfrentados ao longo do processo tradutório. Discorremos sobre as teorias da tradução que embasam o trabalho aqui  apresentado  (Britto,  2012;  2017)  e  pensamos  a  tradução  como  um  projeto  de  importância política, na medida em que amplia a possibilidade de leitura de autoras negras de língua inglesa no contexto brasileiro.
__________
This  article  presents  the  poems  “I  Sit  and  Sew”  (1918),  “You!  Inez!”  (1921),  and  “Violets” (1917), by Alice-Dunbar Nelson, translated into Portuguese. The texts are the result of collective, dialogical and shared translations. We present biographical aspects of Dunbar-Nelson that are important for the critical study of her texts and the preservation the literary criticism produced about the writing of black women from the diaspora (Hull, 1980;  1988).  We  also  examine  the  context  in  which  the  poems  were  published  and  written,  discussing  their  interpretation  and  the  challenges  faced  during  the  translation  process. We reflect on the theories of translation underpinning this paper (Britto, 2012, 2017) and think of translation as a project of political importance, insofar as it expands the possibility of reading black English-speaking authors in the Brazilian context.

(Publisher's Description)

Providing an unprecedented exploration of key moments in queer literary history, Never By Itself Alone changes our sense of both the American literary and political landscapes from the late 1940s through the 21st century. Grundy presents the first comprehensive history of post-war queer writing in Boston and San Francisco, intertwining analysis of lesbian, gay, and queer writing, and insisting on the link between activism and literature.

The book centers a host of underrepresented writers, especially writers of color and those with gender non-conforming identities, and challenges the Stonewall exceptionalism of queer historiography. Starting with Robert Duncan's 1944 essay, 'The Homosexual in Society', one of the first significant public defenses of homosexuality in the US, Grundy takes the reader through pioneering works by queer voices of the era, including Adrian Stanford's Black and Queer, the first published book by an out, Black gay poet in the US; the Boston collective Fag Rag and their radical reconsideration of family, private property and the State; the Combahee River Collective, whose Black Feminist analysis drew together race, class, and sexuality; the anthology This Bridge Called My Back, in which women of color spoke truth to power, together; and New Narrative writing, which audaciously mixed Marxism, porn and gossip while uniting against the New Right. Linking these works to the context which produced them, Grundy uncovers the communities formed around activism and small press publishing during this era and elevates neglected voices to narrate a history that before now has never been told in its entirety.

Drawing on extensive archival research, Never By Itself Alone is a rigorous and unmatched work of both literary criticism and queer scholarship which underscores the vital importance of radical accounts of race, class, and gender in any queer studies worthy of the name.

Básne Jána Poničana obsahujú mnohé reprezentácie moderného mesta a zvlášť Bratislavy. Z tohto hľadiska má osobité postavenie jeho zbierka Mesto (1947). Zahŕňa básne najmä z prelomu 30. a 40. rokov. Štúdia stručne opisuje túto zbierku a analyticko-interpretačne skúma jednu vybranú báseň z knihy, ťažiskový text Pieseň o meste. Báseň sa dá chápať ako individualizovaný príbeh generačne a skupinovo motivovanej skúsenosti s medzivojnovou slovakizáciou Bratislavy s predpokladom jej proletarizácie. V popredí analýzy sú motívy mesta ako ženy s variantmi pobehlica, rodička, panna a zobrazenie subjektu v premenlivých rolách tuláka, dobyvateľa, spasiteľa. Príležitostný charakter básne, ktorá je svojím vznikom zviazaná s Viedenskou arbitrážou z novembra 1938, báseň začleňuje k varovným alegóriám. Oneskorené publikovanie umožňuje čítať text už aj z povojnovej perspektívy. Tieto interpretačné možnosti sú naznačené v závere state.

Ești activ ca poet, scriitor și traducător din engleză și limba ebraică. Ai publicat volume diverse, articole despre artă și cultură în limbile ebraică, engleză, română. Ești cel mai puternic susținător al culturii românești din diasporă, încurajezi scriitori, ceramiști, muzicieni din România sau de origine română de pretutindeni și ai un al nouălea simț în promovarea celor talentați și foarte talentați chiar dacă nu toți cunoscuți publicului din România. In anul 2014 ai lansat "Almanahul Poeziei de Război" cu 45 de participanți. Avangarda în cultură te-a preocupat și continuă să te preocupe, promovezi poezía angajată. Cine este, polivalentul Adrian Grauenfels?

Le présent ouvrage se propose d’explorer certaines zones d’ombre de l’univers poétique de Philippe Jaccottet, dont l’œuvre est généralement considérée comme limpide, transparente et mise à l’abri des turbulences historiques.

L’objet de notre enquête a visé ce que nous avons appelé le « refoulé » de cette œuvre, c’est-à-dire ce que l’écriture jaccottéenne n’affirmait pas de manière explicite ou ce qu’elle semblait rejeter.

Nous avons voulu montrer que l’Histoire, la grande absente des textes canoniques de Jaccottet, s’y révélait pourtant en filigrane, le plus souvent dans l’implicite de son œuvre, à travers des allusions, des non-dits, des ambiguïtés, des contradictions ou des motifs poétiques réclamant, pour leur compréhension, une analyse qui dépasserait une simple lecture transhistorique.

En fin de compte, moins que de répondre à des questions déjà posées, cet ouvrage s’est proposé de lancer de nouvelles interrogations, en pratiquant une « lecture du soupçon » qui, nous l’espérons, n’exclut pas le plaisir candide de la lecture innocente, celle d’une étreinte amoureuse de l’objet étudié.

What can poetry illuminate/do to/for/in Critical Studies on Security? In this special section, our inspirations to illuminate in/security through poems were two intertwined forms of writing: from the lived and the imagined. As we will demonstrate in what follows, these forms of writing are informed by intersectional feminist and queer approaches/politics to poetry editing and writing and our experiences as queer scholars of colour researching international security while living the consequences of (capitalistic, cis-hetero-patriarchal, colonial, and white) regimes of in/security. It is through spoken and written poetry that those living in the margins of societies and under gendered/colonial/imperial in/securities express their rage, pain, revolutionary ideas and solidarities. The twenty poets writing from or on Afghanistan, Canada, India, Iran, Iraq, Israel, Italy, Kurdistan, Ladakh, Lebanon, Mexico, Palestine, Russia, The United Kingdom, Ukraine, and Uganda meditate, and at times theorise, on lived and imagined in/securities, artistically and across borders. They name affects, bodies, ideas, religiosities, social movements, and territories that interrogate and transform the discipline across different axes of oppression.

The article focuses on the seminal Slovak poet Miroslav Válek (1927-1991) and his place in the Slovak literary canon. It reconstructs Válek's literary trajectory, from being a poet of individualist and intimate verse who entered Slovak literature during the political thaw and liberalisation, as an important voice of the generation, to a poet who inclined towards long associative poems with political overtones, culminating in his controversial book-length poem in the 1970s, during his no less controversial time as minister of culture of the Slovak Socialist Republic. Based on the critical reception and publishing history of Válek's poetry, the paper pays attention to shifts and ambiguities in the poet's position in both the socialist and post-socialist literary canons. Despite certain fluctuations, the basis of his image remains the same, rooted in his own poetic programme, which coincided with the preferred image of a poet's work at the time: Válek was and remains both a poet and a politician, a poet of inner turmoil, and a poet of social and political being. The difference the paper attempts to describe is that the socialist literary canon did not differentiate between these extremes (at least in official literary criticism), whereas the Slovak post-socialist canon, which is generally sceptical towards political tones in art, makes the distinction clearly.

This bachelor thesis deals with the theme of women's identity crisis in Sylvia Plath's novel The Bell Jar and the selected poems from her late poetry collection Ariel, focusing predominantly on the portrayal of lost and fragmented identity. It establishes Plath's work within the context of her time and argues that the depicted issue of fragmentation does not merely concern a crisis of the individual, rather, it reflects a general sentiment shared by women in the Cold War Era. The objective of the thesis is to determine some of the principal causes of identity disintegration and show its detrimental impact on women's psyche. The analysis further aims to unfold the ways in which Plath's work offers an escape from the inner turmoil, and thus identify the potential resolution to the identity crisis. The thesis is divided into three separate chapters followed by a conclusion. The introductory chapter provides a general overview of the Cold War era, focusing on the cha...

This research studies the specific analysis of power relations and feminist stylistic reading as explored by Burton in the context of The Bell Jar. Sylvia Plath's novel, The Bell Jar (1963), stands as a literary testament to the complexities of the human psyche, offering a profound portrayal of its protagonist's descent into mental illness. This research paper employs a stylistic approach to delve into the intricate web of language, symbolism, and narrative techniques employed by Plath in crafting this seminal work. By examining elements such as imagery, tone, syntax, and narrative structure, this paper aims to illuminate the stylistic intricacies that contribute to the thematic depth and emotional resonance of The Bell Jar. By analyzing the semantic components of sentences in the extract, Burton explores the linguistic representations of power relations and what is affecting who through a transitivity model in order to question the construction of the female character in that situation and highlight the feminist stylistic reading of Plath's novel. In the extract analyzed by the researchers, it can be thence concluded that Burton successfully manages to demonstrate the persona's powerless position while receiving electroshock therapy through focusing on Plath's representation of Esther as a character who is unable to affect her reality, a mere recipient of processes.

literárny kánon v prekladovom a kultúrnom priestore KaTaRína BEDnáRová NA ÚVOD V posledných desaťročiach, keď zaznamenávame aktuálne a frekventované pertraktovanie i teoretizáciu témy kánonu, najmä v súvislosti s uvažovaním o rôznych konceptoch písania dejín literatúry, sa zdá potrebné položiť si otázku, ako sa konštituuje, ako vyzerá a ako sa vníma literárny kánon z pohľadu prekladu. Cieľom tejto štúdie teda nie je sumarizovať doterajšie poznatky o kánone ani polemizovať o ňom či nanovo ho uchopiť. Ponímanie kánonu má už svoje vývinové trajektórie a môže meniť podobu podľa literárnoteoretických konceptov, podľa času a priestoru, konvergentnosťou i divergentnosťou rôznych pohľadov a parciálnych fenoménov. Mohli by sme sa však zhodnúť na konštatácii plauzibilnej aj pre priestor prekladu, na konštatácii, ktorú vyslovil Roman Mikuláš, spoluzostavovateľ tematického čísla World Literature Studies, nazvaného Kontúry tvorby a výskumu literárneho kánonu, a ktorú možno prijať ako sumár a konsenzus: Kánon je záležitosť výberu, hodnotenia, orientácie, redukcie istého nedefinovateľného (neštruktúrovaného) dynamického množstva na vymedzený priestor s orientačnými bodmi. Je to záležitosť tvorby konsenzu o kódovaní systému literatúry, o estetických kritériách, o hodnotnom a nehodnotnom, o závažnom a triviálnom, o príznakoch a kritériách. Hodnotenie tvorí akýsi rámec, v ktorom sa tvorba kánonu odohráva. Hodnotenie a tvorba kánonu predstavujú spojené nádoby […] (2015, 65).