Skip to main navigation Skip to main content
info(at)avldigital.remove-this.de
Deutsch English
Narrow Search
Search narrowed by
Last searches

Results for *

Displaying results 1 to 1 of 1.

  1. Representing Sylvia Plath
    Published: 2011
    Publisher:  Cambridge University Press, Cambridge

    An exploration of the elusive nature of representation in Plath's poetry and the various versions of her that readers encounter more

    Location:
    Universitätsbibliothek Erfurt / Forschungsbibliothek Gotha, Universitätsbibliothek Erfurt
    Inter-library loan:
    No inter-library loan

     

    An exploration of the elusive nature of representation in Plath's poetry and the various versions of her that readers encounter

     
    Export to reference management software   RIS file
      BibTeX file
    Content information
    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 128334193X; 9781107006751; 9781139103527; 9781283341936
    Other subjects: Plath, Sylvia
    Scope: Online-Ressource (xiv, 249 p.), ill
    Notes:

    Includes bibliographical references (p. 235-243) and index

    Electronic reproduction; Available via World Wide Web

    CAMER A WORK IN AUTO-PORTRAITURE; 'IN THE PICTURE I HAVE OF YOU': ANNOTATING A PHOTOGRAPH OF OTTO PL ATH; NOTES; CHAPTER 3 'O the tangles of that old bed': fantasies of incest and the 'Daddy' narrative in Ariel: Cover; REPRESENTING SYLVIA PLATH; Title; Copyright; Contents; Illustrations; Notes on contributors; Acknowledgements; Abbreviations; Introduction: 'Purdah' and the enigma of representation; PART I Contexts; CHAPTER 1 'Mailed into space': on Sylvia Plath's letters; NOTES; CHAPTER 2 'The photographic chamber of the eye': Plath, photography and the post-confessional muse; MAKING A FACE

    NOTESCHAPTER 4 Plath and torture: cultural contexts for Plath's imagery of the Holocaust; NOTES; PART II Poetics and composition; CHAPTER 5 'The trees of the mind are black, the light is blue': sublime encounters in Sylvia Plath's 'tree poems'; THE THEATRICAL LANDSCAPE; 'ELM''S EERI E SELF-REVISIONING; L ANDSCAPES 'IN ME'; INTERCESSORY FIGURES; THE DARK THING WITHIN; NOTES; CHAPTER 6 Coming to terms with colour: Plath's visual aesthetic; COLOURED INKS; 'WATERCOLOR MOOD': THE POEM AS VERBAL ICON; THE FEAR OF COLOUR; FEEDING ONRED: 'YADWIGHA'

    COLOUR, BODY AND VOICE: PLATH'S EXPRESSIONIST POEMS'RED WAS YOUR COLOUR'; COMING TO TERMS WI TH COLOUR : THE SECRET V ISUAL ARCHIVE; NOTES; CHAPTER 7 'Madonna (of the Refrigerator)': mapping Sylvia Plath's double in 'The Babysitters' drafts; FIRST IMPRESSIONS; 'MADONNA' DRAFT ONE; 'MADONNA (OF THE REFRIGERATOR)' DRAFT TWO; DRAFT THREE; DRAFTS FOUR TO EIGHT; NOTES; CHAPTER 8 'Procrustean identity': Sylvia Plath's women's magazine fiction; HELP WANTED: WOMEN'S MAGAZINE FEATURES; REGULAR AMERICAN WITCHES: WOMEN'S MAGAZINE STORIES; INDEFINABLE SOMETHINGS: PL ATH'S STORIES; NOTES

    PART III RepresentationCHAPTER 9 Confession, contrition and concealment: evoking Plath in Ted Hughes's Howls & Whispers; NOTES; CHAPTER 10 Fictionalizing Sylvia Plath; NOTES; CHAPTER 11 Primary representations: three artists respond to Sylvia Plath; Adolescent Plath: The Girl Who Would Be God; PLAYING AT GOD; THE EMERGING DEBUTANTE; THE SOUND WORLD; Bodily imprints: a choreographic response to Sylvia Plath's 'poppy poems'; A NEW AND COMMISSIONED BODY; GETTING THERE; Stella Vine's peanut-crunching Plath; CREATION MYTHS; TELLING DISNEY TALES; THE MIMETIC DEEP FREEZE; EXPRESSIONISTIC GESTURES

    NOT-INOTES; Bibliography; Index;