SIMBOLIKA CRVENOG CVEĆA U POEZIJI SILVIJE PLAT
Ključne reči:
crveni cvet, bulka, lala, Persefona, mit
Apstrakt
Rad se bavi analizom kompleksa motiva obrazovanih oko simbolike crvenog cveta od rane pesme iz 1956. godine, Dve Persefonine sestre, preko ciklusa Pesma za moj rođendan i pesme Lale, u kojima se za crveni cvet vezuju oralne i maternalne slike, sve do pesama nastalih poslednje godine života Silvije Plat – Bulke u julu, Bulke u oktobru, Tri žene: pesma u tri glasa i Ivica. Cilj rada je da osvetli značaj mitološke i književne tradicije u pesničkom jeziku Silvije Plat, kao i da na primeru crvenog cveća ukaže na stalne motive u njenoj poeziji.
Reference
Bahtin, Mihail. 1978. Stvaralaštvo Fransoa Rablea i narodna kultura srednjega veka i renesanse. Beograd: Nolit.
Bassnett, Susan. 2005. Sylvia Plath: An Introduction to the Poetry. New York: Palgrave Macmillan.
Birckle, Carmen. 1996. Women’s Stories of the Looking Glass: Autobiographical Reflections and Self-Representations in the Poetry of Sylvia Plath, Adrienne Rich, and Audre Lorde. München: Wilhelm Fink Verlag.
Britzolakis, Christina. 2001. Sylvia Plath and the Theatre of Mourning. Oxford: Clarendon Press.
Broe, Mary Lynn. 1980. Protean Poetic: the poetry of Sylvia Plath. Columbia: University of Missouri Press.
Görey, Özlem. 2000. Three Sibyls on a Tripod: Revisionary Mythmaking in the Poetry of H. D., Sylvia Plath, and Adrienne Rich. University of Leicester. Neobjavljena doktorska teza.
Grevs, Robert. 2012. Grčki mitovi. Beograd: Admiral books.
Hughes, Ted. 2003. Collected Poems, ed. Paul Keegan. New York: Farrar, Straus and Giroux.
Lawrence, D. H. 1964. The Complete Poems of D. H. Lawrence, London: Heinemann: 307–308.
Plat, Silvija. 2010. Rani odlazak. Beograd: Paidea.
Plat, Silvija. 2010a. Stakleno zvono. Beograd: Paideia.
Plath, Sylvia. 1981. The Collected Poems, ed. Ted Hughes. New York: Harper & Row Publishers.
Plath, Sylvia. 2000. The Unabridged Journals of Sylvia Plath. New York: Anchor Books.
Rosenblatt, Jon. 1979. “Sylvia Plath: The Drama of Initiation”. Twentieth Century Literature, Vol. 25, No. 1, 21–36.
Stojanović, Dragana. 2015. Interpretacije mapiranja ženskog tela u tekstualnim prostorima umetnosti i kulture. Beograd: Fakultet za medije i komunikacije/ Orion Art.
Wurst, Gayle. 1990. “I’ve boarded the train there’s no getting off: The Body as Metaphor in the Poetry of Sylvia Plath”. Revue française d’etudes américaines, No. 44: 22–35.
Bassnett, Susan. 2005. Sylvia Plath: An Introduction to the Poetry. New York: Palgrave Macmillan.
Birckle, Carmen. 1996. Women’s Stories of the Looking Glass: Autobiographical Reflections and Self-Representations in the Poetry of Sylvia Plath, Adrienne Rich, and Audre Lorde. München: Wilhelm Fink Verlag.
Britzolakis, Christina. 2001. Sylvia Plath and the Theatre of Mourning. Oxford: Clarendon Press.
Broe, Mary Lynn. 1980. Protean Poetic: the poetry of Sylvia Plath. Columbia: University of Missouri Press.
Görey, Özlem. 2000. Three Sibyls on a Tripod: Revisionary Mythmaking in the Poetry of H. D., Sylvia Plath, and Adrienne Rich. University of Leicester. Neobjavljena doktorska teza.
Grevs, Robert. 2012. Grčki mitovi. Beograd: Admiral books.
Hughes, Ted. 2003. Collected Poems, ed. Paul Keegan. New York: Farrar, Straus and Giroux.
Lawrence, D. H. 1964. The Complete Poems of D. H. Lawrence, London: Heinemann: 307–308.
Plat, Silvija. 2010. Rani odlazak. Beograd: Paidea.
Plat, Silvija. 2010a. Stakleno zvono. Beograd: Paideia.
Plath, Sylvia. 1981. The Collected Poems, ed. Ted Hughes. New York: Harper & Row Publishers.
Plath, Sylvia. 2000. The Unabridged Journals of Sylvia Plath. New York: Anchor Books.
Rosenblatt, Jon. 1979. “Sylvia Plath: The Drama of Initiation”. Twentieth Century Literature, Vol. 25, No. 1, 21–36.
Stojanović, Dragana. 2015. Interpretacije mapiranja ženskog tela u tekstualnim prostorima umetnosti i kulture. Beograd: Fakultet za medije i komunikacije/ Orion Art.
Wurst, Gayle. 1990. “I’ve boarded the train there’s no getting off: The Body as Metaphor in the Poetry of Sylvia Plath”. Revue française d’etudes américaines, No. 44: 22–35.
