2 research outputs found
Las diosas saben crear: Alejandra Pizarnik y Sylvia Plath
Aquest article analitza dos poemaris, Ărbol de Diana (1963) d'Alejandra Pizarnik i Ariel (1965), de Sylvia Plath en directa relaciĂł amb les idees plantejades per Robert Graves en The White Goddess: A Historical Grammar of Poetical Myth (1948). La lectura aquĂ plantejada neix, d'una banda, de la necessitat crĂtica de crear un espai de diĂ leg que reveli una estructura mĂtica comuna a totes dues poetes radicada fora de lâĂ mbit biogrĂ fic. Per una altra, d'observar com sobre la base d'aquesta mateixa estructura mĂtica la seva poesia ressignifica el rol de la dona creadora com a idea, sĂmbol, metĂ fora, ideal, i finalment, com a dona de carn i os amb veu prĂČpia.This article analyzes two poetry collections, Ărbol de Diana (1963) by Alejandra Pizarnik and Ariel (1965) by Sylvia Plath, in direct relation to the ideas put forward by Robert Graves in The White Goddess: A Historical Grammar of Poetical Myth (1948). The reading offered here is born out of the critical necessity, on the one hand, to create a space of dialogue that may reveal a common mythical structure shared by both poets and that lies outside the merely biographical. On the other, from observing how this same mythical structure in their poetry resignifies the role of the female creator as idea, symbol, metaphor, ideal and, ultimately, as a woman of flesh and bone with a voice of her own.Este artĂculo analiza dos poemarios, Ărbol de Diana (1963) de Alejandra Pizarnik y Ariel (1965) de Sylvia Plath, en directa relaciĂłn con las ideas planteadas por Robert Graves en The White Goddess: A Historical Grammar of Poetical Myth (1948). La lectura aquĂ planteada nace, por un lado, de la necesidad crĂtica de crear un espacio de diĂĄlogo que revele una estructura mĂtica comĂșn a ambas poetas radicada fuera de lo biogrĂĄfico. Por otro, de observar cĂłmo en base a esta misma estructura mĂtica su poesĂa resignifica el rol de la mujer creadora como idea, sĂmbolo, metĂĄfora, ideal, y finalmente, como mujer de carne y hueso con voz propia
Gendering the marvellous: Strategies of response in Remedios Varo, Elena Garro and Carmen Boullosa
My doctoral research constitutes three case studies dealing with the work of the
painter Remedios Varo and the writers Elena Garro and Carmen Boullosa. Their
works incorporate a mixed imagery and iconography to which criticism has
attached the label of surrealist, fantastic or magical realist respectively and
sometimes even indiscriminately. Uncertain about the usefulness of defining this
artist and these writers as âsurrealistâ or âmarvelous realistâ, I would rather suggest
that their work enters into dialogue with surrealism, as well with the specific
American vocabulary Carpentier attributed to lo real maravilloso americano. The
fundamental objective of this thesis is to prove how this dialogue creates a counter
aesthetic of ârevisionist mythmakingâ that foregrounds the existing gender
problematic within these two discourses, while strategically reassessing the role
woman has played in relationship to love, myth, history and creativity. It is my
belief that a different account of surrealism and lo real maravilloso lies within the
work of these women and that to start writing the story of such account will reveal
important connections between Varoâs assimilation of Latin American narratives
and Garroâs and Boullosaâs absorption of surrealism. On the one hand, this study
provides a new insight from which to comprehend the transcendence of surrealism
in the ambit of Mexican culture, amplifying the already existing critical work on the
field. On the other, it provides a new lens through which to understand and read
the specific work of Remedios Varo, Elena Garro and Carmen Boullosa while
discerning a common strategy of response between them