La voce di Ariel. Sylvia Plath e la transustanziazione della parola poetica (original) (raw)
This article aims to discuss the marked turn that characterizes the final stage of Sylvia Plath’s poetry. By reading selected passages from Ariel, in the restored edition that corresponds to Plath’s meticulously conceived sequence, I will outline the coordinates of a project that echoes ancient cosmologies, as Plath attempts to give birth to a new and more intimate world, finally free of painful separations. Without any doubt, a sense of creation pervades Ariel, and yet, as Nadia Fusini has pointed out, what readers ultimately witness is a miracle of transubstantiation whereby Plath transforms her writing into a living organism. To elaborate on this assertion, the article argues that, in Ariel, Plath no longer shields herself behind her masterful technique: instead, creator and creature must now become the same thing. This is the beginning of a process that will lead her not only to become a Poet, but to embody poetry.
Sign up for access to the world's latest research.
checkGet notified about relevant papers
checkSave papers to use in your research
checkJoin the discussion with peers
checkTrack your impact
Related papers
L'immaginario ekfrastico nella scrittura di Sylvia Plath
Elephant&Castle, 2016
Before Kathleen Connors and Sally Bayley published an interesting book emblematically titled Eye Rhymes. Sylvia Plath's Art of the Visual, the impact of visual art in the development of Plath’s poetics was scarcely known. As a matter of facts, also today many people ignore that Sylvia Plath in her childhood and during her school education, moved between writing and drawing constantly; only after the age of twenty – and also when the opinions expressed by the critics and teachers to whom she used to submit her drawings began to express some doubts about their artistic value – Plath decided to dedicate herself professionally only to writing. However, she didn’t abandon her interest in art because it merged into her poetic according to an idea of “ekfrastic coexistence”, which incorporates a double creative force, images and words which together can create art poems, directly into dialogue with the paintings of Rousseau, Gauguin, Klee, de Chirico; the "primitives", as Plath used to call them. After individuating three main periods in Plath’s production – as Fan Jinghua suggested – this contribution aims to investigate the peculiar role of visual imagery in the poetics of the poetess from Boston and to discuss its evolution, from an initial technical-formal concern through which she tried to put in words her preferred artists’ works of art, to its mutation in morphogen scenario, a pathological situation where the referents cannot be found into the reality but only in Plath’s psychic Real.
LEA. Lingue e letterature d'Oriente e d'Occidente, 2018
This article analyses the different forms that death and mourning take on in the making of Rosselli and Plath's poetics. Starting from a shared biographical event-the death of their fathers-and through the analysis of a limited sample of poems (in particular "Perché il cielo divinasse la tua ansia di morire" by Rosselli and "Electra on Azalea Path" by Plath), our aim is to discuss, firstly, the different meaning that paternal loss takes on in their lives, and then, the divergent way in which their poetry constantly echoes this fundamental absence.
TRASCRIZIONE E TRADUZIONE: ESPERIENZE PARALLELE IN MUSICA E POESIA
Transcription and translation: parallel experiences in music and poetry – Referring to some personal experiences and some statements by Norman Davies, Umberto Eco and Fabio Scotto, the author tries to find analogies between translating poetry and transcribing music. Before and behind the performer's work, the translator and the transcriber deal with important issues such as timbre and tone, which are not less important than parameters easier to define and more debated (rhythm, phonics). The translator of poetry should " think for poetry " , paraphrasing the title of Leibowitz's book about transcription "Thinking for orchestra".
Il sacrificio poetico e la basiléia filosofica
The paper analyses the question of the birth of political philosophy starting from the platonic condemnation of mythical and poetical knowledge and the resulting statement affirming that political life can be reordered only by means of logos. With this founding act, political philosophy is staged for the first time with its methods , languages and instruments, but it can't be considered without the previous sacrificial act excluding a language based on " irrational " thought. The platonic condemnation sanctions not only the separation between philosophy and poetry, but also one of the strongest and long-lasting axis of western political philosophy: the idea that politics can be reordered only by rational means.
in L.Lala, E. Castro, Il verbo in italiano. Morfologia, sintassi, semantica e testualità, Firenze, Franco Cesati Editore, 2024
Il contributo si propone di delineare la genesi della costruzione perifrastica “essere + participio presente“ nella lirica italiana pre-stilnovista. L'analisi diacronica dell'evoluzione di tale struttura prenderà avvio dal valore verbale da essa assunto nel latino alto-medievale, per poi approfondirne i potenziali influssi della lirica trobadorica occitana. In tal senso, l'indagine degli usi verbali, aggettivali e sostantivali della struttura perifrastica, accanto alla valutazione del suo valore aspettuale (durativo-progressivo o imminenziale), consentirà di distinguere le componenti di matrice provenzale dagli elementi innovativi propri della tradizione poetica italiana delle origini.
Martina Della Casa Postfazione. Traversate poetiche. Ragioni ed esiti della forma dialogica Due voci sono il minimum della vita... M. Bachtin, Dostoevskij. Poetica e stilistica, 1963
Dal silenzio alla parola. Tracce di un’ontologia del linguaggio in Simone Weil
Simone Weil protagonista della filosofia del ‘900. Ritrovare l’umano, Studium, 2020
Nella riflessione filosofica di Simone Weil è possibile rintracciare una doppia origine del linguaggio: una puramente naturale e sociale e un’altra che ha le sue radici nel trascendente, nel Dio uno e trino cristiano che per Weil è fondamento e pienezza dell'essere come relazione. Il vero linguaggio dunque imita e incarna la “grammatica trinitaria” che si esprime ad intra e ad extra attraverso la sua unica Parola d'amore pronunciata nell’Eterno silenzio. In Simone Weil's philosophical reflection it is possible to trace a double origin of human language. One that is purely natural and social and another that has its roots in the transcendent, that is, in the Triune Christian God who for Weil is the foundation and fullness of being as relationship. True language therefore imitates and embodies the Trinitarian grammar which is expressed ad intra and ad extra through its unique Word of love uttered in the Eternal silence.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.