Ariel of Sylvia Plath through the deconstructive lens of self and identity conflict
In the deconstructive approach, self and identity are two separate but interconnected phenomena that are representative of Ariel in Plath. Previously in the social and political context, the poetess's ridicule of external factors seems to be related to her recent poetry. The duality of Sylvia Plath as her daughter and Plath as a daughter, as her mother and others expected, is the key to reciting her poetry. The schizophrenic character of postmodern identity has no choice but to experience mystery [brain, 65] and face double [ibid.].
In fact, the attitude towards the inner disease of poetry paved the way for deconstruction. Since deconstructive behavior is like surgery applied to texts and works, then analyzing human psychology opens up a good range in this field. In fact, everyone is born with a double, the entire human struggle is to protect this spontaneous dual creation to protect life. When the "I" is repeated, the self and its copy are called to question.
In most of Ariel's Plath poems, there is a clear contradiction between the identity and personality of the characters. Even the most grotesque and comedic poetry hidden under their physical layer will not be different from Hemingway's Iceberg Principal. Although each text may have an icy and sturdy surface, this does not only mean that the core of the access work is not feasible.
Problematic identity, dual and dual motifs
In order to discuss the self, people should recall and convey the challenging concept of identity and its views on duality and duality. The artist's entire life is summed up in one task, the process of finding identity. It is almost inevitable that all of Plath's poems deliberately imply gender infinity to eliminate all identities that are plausible in the narrator's personality.
In the heavy book that cites Tracy Brain, The Other Sylvia Plath is one of the twentieth-century literary breakthroughs that will conceptualize the identity concept of Sylvia Plath's own identity. Brain provides readers with Plathian Doubleness [Brain, 121] and a striking hint of Sylvia Plath's paper on Dostoyevsky's use of double in her masterpiece MA project. Therefore, she is not only not familiar with this kind of literature, but also focuses on the characters and their dual identities, and is also a qualified and professional enthusiast about the so-called theme. Considering that her self has doubled, Plath's Ariel has no gender speaker, no specific nationality and gender, and has painted a new cubist color on her poetry canvas.
In "Tulips", the poems collected by Sylvia Plath, edited by Ted Hughes, depicting the person who lost her self in the hospital experience through these lines, she lost all the marriage on the ground, They "catch" her skin "[line 25, page 161] like "small smile hook" [ibid.]:
I am no one
I have nothing to do with the explosion.
I gave my name and my daily clothes to the nurse.
And my history gives the anesthesiologist and my body to the surgeon
.................................................... ..............................
Now I am lost myself [lines 6-11]
Watching her identity recede, she saw the tulips and everything was in trouble like a marriage ring. The imbalance of the speaker's voice here is mixed with the artistic frenzy of the creator's mind.
The trap of "I" in Ariel's poetry
The conceptual interpretation of "I" is reiterated in Ariel's poetry. A person is formed around this synonym, and in the unnecessary understanding and perception of this mysterious entity, modern criticism is unreasonable and unfounded. The facts behind these repetitions affirm the unity of "I", but at the same time put it in doubt and ambiguity. [328], when the unitation of the instruction/signifier is broken and torn by the repetition of the repeated "I am me, I...", in other words, the expression of "I" masks the self. The lack of, or the use of Derrida's terminology, the voice masks the "always already absent."
Considering the fact that "I" can play externally and stress from, from
Despite this, this invasive synonym still challenges the legitimacy of the self. In fact, "I" misunderstood a person as a singular fallacy from. from
In order to further broaden Derrida's philosophy, "I am me", as if "I" is trapped between two opposite mirrors. Therefore, the origin seems to be impossible to achieve, because "reflection, image, double split it doubles things." [325]. Self-identity from
Multiply within the frame in an infinite range of frames, so the self entity without "I" claims "I am me."
There is a lack of self-identity in a poem of "Papa" by Plath, in which the origin of the character is irretrievably lost. This poem may have mimicked the distorted identity, and the language itself has promoted the schizophrenia of the narrator to achieve a language that is divided and inconsistent. Dad's gender and masculinity instability significantly weaken the hegemony and power of patriarchy. In order to identify a person's feet and roots, in the daughter, the duality of the two ethnic heritages cancels each other in a grotesque way. This fall of identity severely applies speech language to this atmosphere.
Despite the doubts and impossibility of various shapes, in the "Mrs. Lazarus", Plath mentioned her inevitable I-affirmation:
Yes, yes, Professor Herr
it's me
Can you deny it? [Poetry, p. 246, line 79]
These self-affirming paradoxes and contradictory self-rejection have greatly contributed to the instability of identity itself.
Through repeated words, poetry shaping and the fragile position of its identity and language can be observed, and the guaranteed ideas and uncertainties are pushed forward. It seems that the speaker tried to attract the recognition and permission of the audience through repetition and retelling. Due to the influence of copying, the speaker did not have the confidence to correctly convey her thoughts. "I" is the most important Self-identity from
Has been submitted to "Ich", German is equivalent to the pronoun "I". The application of "Ich" can be regarded as a reference to Plath's dual ethnic identity, and is also considered to be due to the end of the consonant and the pronoun "Ich" means the closure of its detachment and suffocation.
As a result, it thwarted any self-definition that has occupied most of Ariel's poems in Plath.
Compared with "I", "I" is free and liberalized at least in its definition, but there are some obstacles and shortcomings in its definition and scope. "ich" seems to be timid and unreleased. .
The tarnished personally hosted poetry, the disturbing ambiguity of this understanding makes this character a passive and non-subjective. Any self-defining impossibility makes the narrator very close to the disintegration and dehumanization of the personality, which means equating people and things with the devaluation of life and relationships. In this way, the "applicant" loses personality and affiliation:
I noticed that you are naked.
How about this suit - black and stiff,
But not very bad.
Would you like to marry it? [P. 221, pp. 19-22]
Marrying a black and stiff suit is the death of all married couples. Personalization is used to reduce the integration of human personality. Ariel's poetry is the exact mirror image of identity and everything related to it. "I" is trapped, dismembered and equated with goods that are taken for granted. This is the guilt and responsibility that modern people must pay for the price of the industrial machinery world. "Cut" is considered a good example:
How exciting -
My thumb instead of onions
............................
Skin
a flap like a hat,
Dead white.
That red plush [Collected Poems, P235, lines 1-8]
In order to personalize the injured finger here because of dismemberment, the poetess tries to reflect the solo finger by solving it:
mine
Homunculus, I am sick.
I ate a medicine to kill
Thin
Paper texture [P235, lines 22-26]
There is no doubt that it must be the thumb of the speaker being spoken because it is the shortest finger, such as the cerebellum and the dwarf. The use of drugs as anesthetics and sedatives to soothe and alleviate the pain of injured fingers actually cures the separated and dehumanized self, thus killing the disintegration of personality like a papery sensation. Paper can be thought of as a whiteboard where identity will define itself. But the "paper feel" is fragile and weak. It feels like a paper, and it is definitely the recipient of the disintegration and depreciation of human life. It can also be assumed that paper is associated with a formal atmosphere and any social ritual issues. As previously announced here, disintegration and fragmentation of personality is a prominent feature in Ariel's poetry, and researchers tend to end this part of the discussion with Sylvia Plath in her poem "The Banyan Tree" The apparent anthropomorphic image of the sexual image, on line 24, she wrote very well:
"The moon is also ruthless." [Poetry, 192]
Assume that the moon is as ruthless as a creature, that is, the requirements of human characteristics and the grotesque image of concrete.
Self-objectification of shrinking and losing weight in a socio-economic atmosphere...
Orignal From: Silvia Plath's conflict between self and identity through a deconstructive lens
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