Las diosas saben crear: Alejandra Pizarnik y Sylvia Plath

Aquest article analitza dos poemaris, Árbol de Diana (1963) d'Alejandra Pizarnik i Ariel (1965), de Sylvia Plath en directa relació amb les idees plantejades per Robert Graves en The White Goddess: A Historical Grammar of Poetical Myth (1948). La lectura aquí plantejada neix, d'una banda, de la necessitat crítica de crear un espai de diàleg que reveli una estructura mítica comuna a totes dues poetes radicada fora de l’àmbit biogràfic. Per una altra, d'observar com sobre la base d'aquesta mateixa estructura mítica la seva poesia ressignifica el rol de la dona creadora com a idea, símbol, metàfora, ideal, i finalment, com a dona de carn i os amb veu pròpia.This article analyzes two poetry collections, Árbol 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 artículo analiza dos poemarios, Árbol de Diana (1963) de Alejandra Pizarnik y Ariel (1965) de Sylvia Plath, en directa relación con las ideas planteadas por Robert Graves en The White Goddess: A Historical Grammar of Poetical Myth (1948). La lectura aquí planteada nace, por un lado, de la necesidad crítica de crear un espacio de diálogo que revele una estructura mítica común a ambas poetas radicada fuera de lo biográfico. Por otro, de observar cómo en base a esta misma estructura mítica su poesía resignifica el rol de la mujer creadora como idea, símbolo, metáfora, 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 ‘surrealist’ or ‘marvelous realist’, 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 ‘revisionist mythmaking’ 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 Varo’s assimilation of Latin American narratives and Garro’s and Boullosa’s 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