지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Since Plath killed herself in 1963, the theme of death has become one of the
central motifs and allusions in her work. The biographical emphasis continues
to blur the boundary between the artistic world and the material world. While
approaching Plath’s work from the perspective of personal experience, the
objective of this paper is not to suggest that we encounter Plath’s personal
voice and emotions directly in her work. Rather, I emphasize how Plath’s
work of mourning is substantiated in the act of writing. Plath protects herself
from the unnamable or the existential void by writing poems. She shows the
way in which art or writing enables the subject to confront traumatic memory.
While the death drive propels Plath towards destruction, artistic formation
serves to alleviate her psychic crisis. What I shall suggest in the paper is how
works of art lead the melancholic subject to challenge traumatic events. Plath
herself suggests the therapeutic power of language. Plath’s hostility toward
women as well as men situates her work nearer to the Kristevan psychoanalytic
theory which examines depressive anxieties intrinsically linked to the
loss of maternal objects. Kristeva’s particular focus on the concept of “deathbearing
mother” or the unnamable offers a fruitful reading of the representation
of infantile fantasies, sexuality, anger, and ambivalence toward lost loved
object which clearly dominates most of Plath’s poems. Kristeva elaborates
mourning and melancholia through the framework of signification and it is of
especial relevance in deciphering the recurring death drive and melancholic
rage in Plath’s work. Melancholic subjects in Plath’s work are characterized
by an amorphous state, occupying a borderline state regulated by the death
drive.
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