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THE WOUNDEDNESS OF SYLVIA PLATH’S POETIC BEING have said, Plath’s temporality is a traumatic one, a result of her unsolved melancholia. The poetic subject never seems able to get out of the circularity of her mourning. When she apparently frees herself from the suffering originating in the past, this is only for a short-lived moment: the visions of identity are vulnerable, exposed, false, transitory, they only inscribe the subject’s journey into nothingness, into a Paradise she never believes in, into a sky whose blackness is an amnesia, and whose stars are only “stupid confetti”. The actions of the persona in Lady Lazarus, for example, are articulated as moments of a present meant to stop the flow of time, to arrest both the past and the future within its black hole. The two failed suicidal attempts that belong to the past are remembered and re-evaluated by the persona in the poem from the perspective of the rebellious present, in order to re-open a wound and to take it to a state in which the subject could control it. The gradual intensification of physical pain and of psychic suffering reaches a final point in which the fierceness of words menaces and forbids any possible future: “Out of the ash/ I rise with my red hair/ And I eat men like air.” (Lady Lazarus 1972) Woundedness is taken to a climax (the tentative resurrection of the redhaired female spirit from the ash) which does not appease suffering, but stops it through the denial of the subject’s own individuality. It is what happens in such poems as Daddy, Ariel, Fever 103°, Medusa and others. The body that provides the poetic “I” with a source of signification is also a body that jeopardizes meaning. The many masks chosen by the self as markers or representatives of her identity only conceal an emptiness. When deprived of her suffering, that is, of her connections, Plath’s self loses the power to put herself into words. The persona in Tulips simply puts it: “I am nobody”. (1972) Later, in one poem written during the last weeks of her life, she encodes her ambivalent relation to the body in a line whose meanings will be for ever in conflict with one another: “Meaning leaks from the molecules.” (Mystic 1972) 1 In one journal entry dating from her college days, Plath significantly writes about loneliness that “It comes from a vague core of the self – like a disease of the blood, dispersed throughout the whole body so that one cannot locate the matrix, the spot of contagion.” (Journals 2000: 29) 2 The image of words as axes haunted not only Plath, but also Anne Sexton (the two poets actually knew each other and attended together Robert Lowell’s course of creative writing at Boston University). The latter chose a sentence from one of Kafka’s letters and made it into an epigraph to her second volume of poetry: “a book should serve as the ax for the frozen sea within us.” (David Perkins, 2001: 595) References: Aird, E. 1977. Sylvia Plath, Edinburgh: Oliver & Boyd Britzolakis, C. 1999. Sylvia Plath and the Theatre of Mourning, Oxford: Clarendon Press Hughes, T. 1989. ‘Sylvia Plath and Her Journals’, in Bloom, H. (ed.), Modern Critical Views. Sylvia Plath, New York: Chelsea House Publishers 125
ELENA CIOBANU Merleau Ponty, M. 1999. Fenomenologia percepţiei, transl. I. Câmpeanu, G. Vătăjelu, Oradea: Ed. Aion Perkins, D. 2001. A History of Modern Poetry, Massachusetts: Harvard University Press Plath, S. 1972. Ariel, London: Faber and Faber Plath, S. 1989. Collected Poems, ed. by Ted Hughes, London, Boston: Faber and Faber Plath, S. 2000. The Journals of Sylvia Plath, ed. by Karen V. Kukil, London: Faber and Faber 126
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CULTURE, SUBCULTURE, COUNTERCULTURE
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GENERAL EDITORS: Michaela Praisler
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Doiniţa Milea On the Plurilinguist
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EDITORS’ NOTE The papers in the p
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PETRU IAMANDI National fandom reall
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PETRU IAMANDI NBC started broadcast
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PETRU IAMANDI those searching simpl
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MICHAELA PRAISLER, STELUŢA STAN ch
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MICHAELA PRAISLER, STELUŢA STAN ma
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MICHAELA PRAISLER, STELUŢA STAN mu
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KATHY ACKER’S PIERCING METHOD: DO
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RUXANDA BONTILĂ machine at the lev
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RUXANDA BONTILĂ head on every desk
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RUXANDA BONTILĂ language that was
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RUXANDA BONTILĂ pernicious charact
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LIDIA MIHAELA NECULA writing Englis
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LIDIA MIHAELA NECULA very beginning
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LIDIA MIHAELA NECULA a forceful veh
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(RE)CREATING CULTURAL IDENTITY - SA
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ANCA MIHAELA DOBRINESCU oscillate b
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ANCA MIHAELA DOBRINESCU commands of
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THE POWER OF PLACE: THE POLITICS OF
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REMUS BEJAN Representational space
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REMUS BEJAN step out of the backs o
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REMUS BEJAN Store and spread itself
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CROSSING BORDERS THROUGH MUSIC IN R
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TITUS POP in 1937, and Vina Apsara,
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TITUS POP book’s pages. Some are
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TITUS POP westward, he not only rev
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TITUS POP Conclusion To conclude, m
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GABRIELA IULIANA COLIPCĂ Yet, thes
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GABRIELA IULIANA COLIPCĂ open, pub
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GABRIELA IULIANA COLIPCĂ in the fi
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GABRIELA IULIANA COLIPCĂ perversel
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GABRIELA IULIANA COLIPCĂ despair a
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CULTURAL TYPES AND THEIR DISCOURSE
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Page 77 and 78: MIHAELA CULEA interference of women
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Page 83 and 84: ON THE PLURILINGUISTIC AND THE MULT
Page 85 and 86: DOINIŢA MILEA The transformation o
Page 87 and 88: DOINIŢA MILEA After a synthesis de
Page 89 and 90: DOINIŢA MILEA revolutionary Vilniu
Page 91 and 92: THE FRUSTRATION OF THE JEWISH SPIRI
Page 93 and 94: ALINA BEATRICE CHEŞCĂ of somewhat
Page 95 and 96: ALINA BEATRICE CHEŞCĂ down in it
Page 97 and 98: (PSEUDO-)MYTHS OF THE 20 TH CENTURY
Page 99 and 100: ANDREIA IRINA SUCIU enacting some p
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Page 103 and 104: ANDREIA IRINA SUCIU exchange betwee
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Page 107 and 108: ANDREIA IRINA SUCIU Englishman who
Page 109 and 110: ANDREIA IRINA SUCIU impatient to mo
Page 111 and 112: A MYTH-ANALYSIS OF POLITICAL AND NO
Page 113 and 114: ALINA CRIHANĂ, DANIELA ŞORCARU su
Page 115 and 116: ALINA CRIHANĂ, DANIELA ŞORCARU th
Page 117 and 118: SIMONA ANTOFI critics may relate th
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Page 121 and 122: THE WOUNDEDNESS OF SYLVIA PLATH’S
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Page 139 and 140: MARIANA NEAGU 1.3 Purpose In this p
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Page 145 and 146: MARIANA NEAGU Radden (2006) argues
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Page 149 and 150: MARIANA NEAGU (8) Vremea trecea! An
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Page 153 and 154: MARIANA NEAGU environment, geopolit
Page 155 and 156: MARIANA NEAGU Gentner, D., Imai, M.
Page 157 and 158: GLOBALIZATION AND ITS METAPHORS IUL
Page 159 and 160: IULIANA LUNGU “To change markets
Page 161 and 162: EPONYMS: AN INSTANCE OF LINGUISTIC
Page 163 and 164: FLORIANA POPESCU, DANIELA ŞORCARU
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CAMELIA BEJAN 2.2.2 Psychological n
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SMALL CULTURE AND VERNACULAR LANGUA
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ELENA CROITORU speech differing fro
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ELENA CROITORU - Na-vă de cheltuia
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ELENA CROITORU her! She very nearly
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TRANSLATING DRAMA: THE MAIN ISSUES
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IOAN - LUCIAN POPA the other, the t
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IOAN - LUCIAN POPA reception orient
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IOAN - LUCIAN POPA References: Aalt
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STELUŢA STAN, MICHAELA PRAISLER re
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STELUŢA STAN, MICHAELA PRAISLER de
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STELUŢA STAN, MICHAELA PRAISLER th
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STELUŢA STAN, MICHAELA PRAISLER 4
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ANITA STASULANE, JANIS PRIEDE more
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ANITA STASULANE, JANIS PRIEDE Howev
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ANITA STASULANE, JANIS PRIEDE Rēri
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ANITA STASULANE, JANIS PRIEDE /keme
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WALLOON AND FLEMISH PARADIGMS OF TH
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CARMEN ANDREI, IOANA MOHOR-IVAN Lou
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CARMEN ANDREI, IOANA MOHOR-IVAN Bru
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CARMEN ANDREI, IOANA MOHOR-IVAN loc
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CARMEN ANDREI, IOANA MOHOR-IVAN cre
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FREDERIK STIERNSTEDT, LINUS ANDERSS
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THE ORIGINS OF ROMANIAN HIP-HOP: SO
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DANIELA ŞORCARU Their next album,
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DANIELA ŞORCARU with TV stations o
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DANIELA ŞORCARU first appears live
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DANIELA ŞORCARU violent”. The ly
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DANIELA ŞORCARU Although the album
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DANIELA ŞORCARU In 2007 they settl
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LIGIA PÎRVU opposed by many other
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LIGIA PÎRVU famous people of this
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GABRIELA DIMA Rembrandt’s Lucreti
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APPROACHES TO THE CULTURE OF THE ED
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SIMONA ALECU external pressures hav
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SIMONA ALECU This is the reason why
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THE ROLE AND PLACE OF ECOLOGICAL ET
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VIORICA - TORII CACIUC and the Univ
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VIORICA - TORII CACIUC inscribe env
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IULIANA BARNA In the present paper,
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IULIANA BARNA cigarettes will be ex
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IULIANA BARNA References: Stanciu,
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