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Sex Without Love by Sharon Old Essay

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essays on bell jar The Separative Self in Love by Sharon Old Essay Sylvia Plath's The Bell Jar Critic: Diane S. Bonds Source: Women's Studies, Vol. 18, No. Much Nothing Short. 1, May, 1990, pp. 49-64. Reproduced by permission Criticism about: Sylvia Plath (1932-1963), also known as: Victoria Lucas, Mrs. Ted Hughes The Separative Self in Sylvia Plath's The Bell Jar , [(essay date May 1990) In the following essay, Bonds reconsiders feminist critical analysis of The Bell Jar, drawing attention to Esther Greenwood's recovery in the novel. According to Bonds, Esther fails to establish an autonomous, or separative, self, and Love Old Essay ultimately resorts to culturally-ingrained stereotypes of The Effects On Music Who Create women.] Plath's novel The Bell Jar dramatizes the collusion between the notion of a separate and separative self (or bounded, autonomous subject) and the cultural forces that have oppressed women.

The pervasive imagery of dismemberment conveys the alienation and self-alienation leading to Esther Greenwood's breakdown and suicide attempt; the recovery which Plath constructs for her heroine merely reenacts the dismemberments obsessively imaged in the first half of the Sex Without Old Essay novel. This recovery denies the relationality of the self and leaves Esther to define herself unwittingly and unwillingly in relation to culturally-ingrained stereotypes of women. Contemporary feminist theory has questioned the definitions validity of the separative model of selfhood, but literary critics have brought to the novel the same assumptions about the self which inform Plath's book. Thus they have failed to recognize what the novel has to teach about the destructive effects--at least for women--of our cultural commitment to that model. As Paula Bennett has written, Sylvia Plath's The Bell Jar offers a brilliant evocation of the oppressive atmosphere of the 1950s and the soul-destroying effect this atmosphere could have on ambitious, high-minded young women like Plath. It has not been widely recognized, however, that the soul-destroying effect of Plath's social context is dramatized as vividly by the putative recovery of the Sex Without Love by Sharon Old Essay heroine as by her breakdown and attempted suicide. The novel presents the transformation of much short summary Esther Greenwood from a young woman who hates the idea of serving men in by Sharon Old Essay any way to one who appears to earn her exit from the asylum by committing herself, albeit unwittingly, precisely to that project. In the maccormick first half of the novel, the Sex Without Old Essay pervasive imagery of dismemberment conveys the alienation and self-alienation leading to Esther's breakdown and suicide attempt.

In the sigmund psychosexual second half of the novel a pattern of by Sharon Old Essay symbolic rebirth is superimposed on a narrative which in its details suggests that Esther purchases her new self by the discontinuance of any relations that might threaten by means of intimacy or tenderness the Orientalism as termed Said Essay boundaries of a self conceived as an autonomous entity, as a separate and separative self. Contemporary feminist theory has questioned the validity of this model of the Love self. Stages. Catherine Keller, for Love by Sharon Old Essay example, has recently drawn on theology, philosophy, psychology (including the Apocalypse work of Nancy Chodorow and Love by Sharon Carol Gilligan), and literature, to demonstrate in impressive detail the historic collusion between the notion of a separate subject or bounded, autonomous self and the cultural forces that have oppressed women. The Bell Jar vividly illustrates that collusion by proposing, through its representation of Esther's recovery, an ideal of a self uncontaminated by others. Stages. But such a conception of the self denies the undeniable: the relationality of selfhood. The recovery which Plath constructs for her heroine reenacts the dismemberments obsessively imaged in the first half of the novel; I would argue that it merely leaves Esther prey to defining herself unwittingly and unwillingly in relation to by Sharon all that remains to definitions of deviant behavior to her: culturally-ingrained stereotypes of Sex Without by Sharon Old Essay women. Critics for the most part seem to have brought to Apocalypse the novel the same assumptions about the self which inform Plath's book, assumptions deriving from a separative model of the self. Thus they have failed to Old Essay recognize what the novel has to teach about the effects of our cultural commitment to that model.

In the sigmund freud psychosexual stages first part of Plath's novel, both the commitment to the separative self and the effects of that commitment are woven into the text through the pervasive imagery of dismemberment. This imagery suggests Esther's alienation and fragmentation as well as a thwarted longing for relatedness with others and for a reconnection of dismembered part to by Sharon whole. A signal example of this imagery is the image of Technology And Change: The Effects Artists Who Create a cadaver head which occurs on the first page of the Love Old Essay novel: I kept hearing about the Rosenbergs over the radio and at the office until I couldn't get them out of my mind. It was like the first time I saw a cadaver. For weeks afterward, the cadaver's head--or what there was left of it--floated up behind my eggs and bacon at breakfast. . Psychosexual. . . I felt as though I was carrying that cadaver's head around with me on a string, like some black, noseless balloon stinking of vinegar. This image anticipates and comprehends the disembodied faces that Esther repeatedly encounters, faces always associated with the threat of the loss of self. She repeatedly confronts her own unrecognized or distorted image in the mirror, mistaken on one occasion for a big, smudgy-eyed Chinese woman, looking like a sick Indian on another; a third time, in the hospital after her suicide attempt, she thinks she is looking at a picture of another person, unrecognizably male or female, with their hair . . . shaved off and sprouted in bristly chicken-feather tufts all over their head. The faces of Love Old Essay others hover over her or float in definitions of deviant behavior tend to front of her eyes with startling frequency: the face of Buddy Willard hanging over her after her skiing accident, announcing with some satisfaction You'll be stuck in a cast for months; the face of Joan Gilling floating before her, bodiless and smiling, like the face of the Cheshire cat, an image that comes to Esther immediately before she learns of Joan's suicide by hanging; on Sex Without Love the next page her mother's face floating to mind, a pale reproachful moon. It is possible that the by Edward Said precursor of these and other apparently disembodied heads is the head of the baby born in the traumatic episode in which Buddy Willard, a medical student, takes Esther into the delivery room to witness a birth. The episode, a flashback, is permeated with images of Sex Without Love by Sharon Old Essay dismemberment: the definitions of deviant behavior tend to stomach of the woman in labor sticks up so high that her face cannot be seen; the baby's head is the by Sharon Old Essay first thing to summary appear in the delivery, a dark fuzzy thing that emerges through the split, shaven place between [the woman's legs], lurid with disinfectant.

The images of dismemberment seem to be linked as well to the image of a baby pickled in laboratory jar which occurs at the end of the first chapter. If, as Jung has taught us, the baby is an archetypal symbol of the self in crisis, then the Love image of the pickled baby, along with the images of dismembered body parts, accurately conveys the nature of Esther's crisis: each of the various paths open to her will require that she dispense with, leave undeveloped, some important part of herself. Psychosexual. Imagistically the novel makes this point through scenes like that in Sex Without Love Old Essay the delivery room where the emergence of the infant's head is accompanied by the decapitation of the mother. Thus at the beginning of the novel, as Esther walks along the Technology And Change: It New York streets wondering what it would be like, being burned alive all along your nerves, her musing is not merely a response to Sex Without Old Essay the electrocution of the Rosenbergs but to her own growing sense of alienation from the cultural demands and images of women with which she is daily bombarded during her guest editorship at Ladies' Day. These seem implicitly to reinforce the lessons of the preceding year, especially those of her relationship with Buddy Willard, suggesting that she must mutilate or deform herself through mating, marriage, and motherhood. It is not entirely surprising then that she begins to see the city as a collocation of dismembered body parts: goggle-eyed headlines stare up at her on And Change: The Effects On Music And The Who Create every street corner and at the fusty, peanut-smelling mouth of Sex Without Love by Sharon every subway. Her friend Doreen, too, is presented as such a collocation: bright white hair standing out in a cotton candy fluff and blue eyes like transparent agate marbles, hard and maccormick polished and just about Sex Without Love by Sharon Old Essay indestructible, and a mouth set in a sort of perpetual sneer, long, nicotine-yellow nails and the breasts which pop out of her dress later at Lenny's apartment. The dismembered animal parts that decorate that apartment--the white bearskins, the antlers and buffalo horns and definitions behavior [the] stuffed rabbit head with its meek little grey muzzle and Sex Without Love by Sharon Old Essay the stiff, jackrabbit ears--are tokens of the sexual hunt in which it is assumed all the young guest editors at Ladies' Day will gladly play their parts, oozing enthusiasm, like Betsy, about learning the Technology The Effects Artists Who Create It latest way to Sex Without Old Essay make an all purpose neckerchief out of The Effects And The Artists Who Create mink tails.

Feeling as cut off as these excised animal parts from the Sex Without Love culture which expects her participation in this hunt, Esther is haunted by images suggesting the self-mutilations of maccormick v lord advocate marriage and motherhood. She recalls the way in which Buddy Willard's mother weaves a beautiful rug only to destroy its beauty in by Sharon a matter of days by using it as a kitchen mat. The message is definitions tend, clear to Esther: . . . I knew that in spite of all the roses and Sex Without Love by Sharon the kisses . Freud Stages. . . what [a man] secretly wanted when the wedding service ended was for [the wife] to flatten out underneath his feet like Mrs. Willard's kitchen mat. Her reaction against this form of mutilation is clear in her violent sensitivity upon her return home to the presence of Dodo Conway, a neighbor who had gone to Barnard and who is now pregnant with her seventh child.

The vision of Dodo, not five feet tall, with a grotesque, protruding stomach. . By Sharon. . . Her head tilted happily back, like a sparrow egg perched on a duck egg, elicits from freud stages, Esther the following reaction: Children made me sick. . . Sex Without Love By Sharon Old Essay. . I couldn't see the point of getting up. I had nothing to look forward to. Esther sees Dodo as a grotesque collection of unrelated and incompatible parts, a vision which we may read as a projection of her own sense of as termed by Edward Said self. It is Love Old Essay, crucial to emphasize at this point in the argument, however, that the tend imagery of Sex Without Old Essay dismemberment in The Bell Jar does not simply communicate Esther's psychic disturbance or a set of feelings characterizing a certain point in her history; the much ado about nothing short imagery also implies a certain model of the self. Imagery focusing our attention on part-whole relations (or dis-relations) presupposes that the self is a bounded entity, something with separate and distinct existence and of which certain kinds of Sex Without Love Old Essay things may be said: it is a whole; it may have parts or members; if some of these parts or members are removed, then the entity is not whole; neither are the advocate severed parts, from this perspective, wholes.

The model of the Love by Sharon Old Essay self implied by the imagery of dismemberment, in short, coincides with the model of Apocalypse Essay a bounded self, an autonomous subject, that has dominance in Sex Without by Sharon Old Essay our culture. The notion of Essay a separate, bounded self of course corresponds to our sense of being locked into Sex Without, our own bodies, of being separate and distinct entities. But it is important to stress that the model of an autonomous bounded self does not represent the only way in which the self may be conceived, and much nothing short summary according to some theorists it does not represent the most accurate way of conceiving selfhood. Catherine Keller compellingly argues for the possibility of Sex Without Love by Sharon a relational model of selfhood that does not preclude a sense of differentiated identity or imply, as some feminists have argued, submersion of the self in others. Based on the assumption that the self is constituted in and through relationships with others, the relational model rejects subject-object dualism (and the system of hierarchical oppositions in Orientalism by Edward Said Essay which it is embedded), and it recognizes the fluid, permeable boundaries of self. Sex Without Love Old Essay. Conceived not as an entity, but as a nexus of relations, the self might be imaged through metaphors of webs and linkages.

Conceived not as a substance, but as a process, it might be imaged through metaphors of fluidity. Or, conversely, a predominance of images of webs, linkages, process and Orientalism by Edward Said Essay fluidity, might imply an entirely different conception of the self from that informing The Bell Jar. That such metaphors are absent from Plath's novel suggests how thoroughly dominated by the separative model was the novelist's imagination. One image of linkage, of apparent significance because of its location in the last paragraph of the novel, is qualified by the paragraph which precedes it: Pausing, for a brief breath, on the threshold I saw the silver-haired doctor . . . and the pocked, cadaverous face of Miss Huey, and eyes I thought I had recognized over white masks. The eyes and the faces all turned themselves toward me, and guiding myself by them, as by a magical thread, I stepped into the room. Old Essay. The reminder in the image of Miss Huey of the cadaver head which obsesses Esther, the recalled image of eyes floating over masks--there is by Edward Essay, little qualitative difference between the vision represented here and that at the beginning of the novel, though the narrator's tone may have changed. The magical thread does not so much provide a link to Love others constitutive of the summary self as it does a line to those who hold the Sex Without by Sharon Old Essay power of ado about nothing short release from by Sharon, daily confrontation with the self and sigmund its agonies. Despite the Old Essay ambiguities of the closing of The Bell Jar, critics have been surprisingly willing to accept that Esther is in some positive sense reborn even if her future is uncertain.

In the final episode, when Esther readies herself to meet the board of doctors who will certify her release from the hospital, she behaves as if she is preparing for a bridegroom or a date; she checks her stocking seams, muttering to herself Something old, something new. . . . But, she goes on, I wasn't getting married. There ought, I thought, to be a ritual for stages being born twice--patched, retreaded, and by Sharon approved for the road, I was trying to think of an appropriate one. Orientalism As Termed By Edward Essay. . Sex Without By Sharon. . . Critics who have been willing to by Edward Said Essay see a reborn Esther have generally done so without ever questioning the propriety of the reference to a retread job. Linda Wagner, for example, ignores this passage and concentrates on by Sharon Old Essay subsequent paragraphs, where the image of an open door and behavior tend to Esther's ability to Love Old Essay breathe are, Wagner writes, surely positive images. Susan Coyle writes that the tire image seems to be accurate, since the reader does not have a sense of [Esther] as a brand-new, unblemished tire but of one that has been painstakingly reworked, remade; Coyle claims that Esther has taken steps that however tentative, do lead her toward an authentic self that was previously impossible for her. Not only freud psychosexual stages, do the comments of Coyle and Wagner ignore the implication of choosing the tire image in the first place; they also miss an affinity of the passage with one I quoted earlier in which Esther views wifehood in terms of service as a kitchen mat.

The tire, like a kitchen mat, presents us with a utilitarian object, easily repaired or replaced, as a metaphor for a woman. Sex Without Love By Sharon. It is worth observing that a patched, retreaded tire may be ready for much ado about short the road, but somewhere down the Sex Without Old Essay highway the owner can expect a flat. Now flatten out is exactly what Esther suspects--or had suspected--women do in marriage. Yet it is precisely for marriage that Esther seems confusedly to be preparing herself in the final episode as she straightens her seams. It is true that she withdraws her reference to much short marriage, but despite her disclaimer, it seems to me, a retread job can only be a travesty of rebirth. The metaphor of rebirth or a second birth is thus especially suspicious because of the way in which the tire image obliquely forces us to associate Esther's new lease on life with role expectations that contributed to her breakdown in the first place: the domestic servitude that Esther painfully recognizes as a dreary and wasted life for a girl with fifteen years of Sex Without Love straight A's. Although Esther's breakdown may have sources lying buried in the past along with her father, the novel makes it sufficiently clear that she is torn apart by the intolerable conflict between her wish to avoid domesticity, marriage and motherhood, on Technology Artists It the one hand, and her inability to conceive of a viable future in which she avoids that fate, on the other. Plath's inability to resolve that conflict in her own life is well known. In an essay entitled Sylvia Plath's 'Sivvy' Poems: A Portrait of the Poet as a Daughter, Marjorie Perloff concludes: The first shock of recognition produced by Sylvia Plath's 'independence' from her husband and her mother was the stimulus that gave rise to the Ariel poems. Sex Without Love. But given the 'psychic osmosis' between herself and Aurelia Plath . Sigmund Freud. . . given the years of iron discipline during which Sylvia had been her mother's Sivvy, the Love by Sharon Old Essay touching assertion [in Medusa] that 'There is nothing between us' could only mean that now there would be nothing at all.

Whatever the biographical validity of Perloff's argument, it may help us to define a pattern that has not been discerned in The Bell Jar. Esther's movement toward her breakdown entails a series of rejections of or separations from women who, though they may be associated with some stereotype of womanhood unacceptable to Esther, have nurtured some important aspect of her evolving identity; as I want to show, the supposed cure which she undergoes is sigmund, actually a continuation of a pattern in which Esther severs relations precisely with those whose presence in her self has been constitutive. Such a series of rejections may dramatize a deluded notion that an autonomous and authentic self may be derived through purging the self of the influence of others, but there is Sex Without Love, good reason to suppose that the process actually means that little or nothing would remain to Esther, as means of maccormick modeling identity, except forms of womanhood offered to her by Love by Sharon the very stereotypes she has sought to elude. Nothing. The irony here is that in the attempt to avoid dismemberment, disfiguration or mutilation of the self, the heroine undergoes a process of Sex Without by Sharon self-dismemberment. The novel provides another metaphor for of deviant the process I am describing in the repeated binge-and-purge episodes of the first portion of the novel. Sex Without Love By Sharon. In chapter 2, Esther vicariously participates in Doreen's debauch with Lenny, then returns to the hotel and Apocalypse Essay a bath of purification; the pattern is repeated when Doreen returns, to pass out in a pool of her own vomit. Chapter 4 presents another purgative cleansing; after gorging on caviar at a luncheon, Esther is leveled by food poisoning, an experience which makes her feel purged and Sex Without holy and ready for a new life. Shortly after this purgation, she announces: I'm starving. In somewhat a similar manner, I am arguing, Esther embraces relations with most of the women in the novel only to cast them off, as if they constituted a foreign presence within the purity of her own identity, some threat to her integrity.

Doreen, for example, speaks to her with a voice like a secret voice speaking straight out of [her] own bones, but after the Orientalism by Edward Said Essay evening in Lenny's apartment, Esther decides to Sex Without Love have nothing to do with her. Technology And Change: On Music Who Create. A similar pattern is repeated with every female character in the novel, including Dr. Nolan, the psychiatrist who brings about Love by Sharon Old Essay Esther's recovery, and Esther's mother. Esther's aversion from her mother is obvious, ascending in stridency from the mild understatement, My own mother wasn't much help to the murderous fantasy inspired by sharing a room with her mother: one sleepless night, after staring at the pin curls on her [mother's] head glittering like a row of little bayonets, Esther comes to feel that the only way she can escape the annoying sound of her mother's faint snore would be to take the column of skin and sinew from maccormick advocate, which it rose and twist it to silence between [her] hands. Even though Esther at one point wishes that she had a mother like Jay Cee, the editor for whom she works at Love by Sharon Old Essay Ladies' Day, her ambivalence toward Jay Cee and other women who have nurtured her talents is profound--and it appears to derive, quite simply, from their supposed unattractiveness to men.

Of Jay Cee, Esther says . . . I liked her a lot. . . . [She] had brains, so her plug-ugly looks didn't seem to matter; but sentences later, after admitting that she cannot imagine Jay Cee in bed with her husband, Esther changes her attitude abruptly: Jay Cee wanted to teach me something, all the old ladies I ever knew wanted to maccormick v lord advocate teach me something, but I suddenly didn't think they had anything to teach me. A similar reflection recurs near the end of the Sex Without Old Essay novel in a scene where the lesbian Joan Gilling lounges on Esther's bed in the asylum and Esther's revery seems to lump the unattractive, the Essay manless, and the woman-loving together. She remembers: . . . the famous woman poet at my college [who] lived with another woman--a stumpy old Classical scholar with a cropped Dutch cut. When I told the poet that I might well get married and have a pack of children someday, she stared at Sex Without by Sharon me in horror. But what about your career? she had cried. My head ached. Orientalism As Termed By Edward Said. Why did I attract these weird old women: There was the famous poet, and Philomena Guinea, and Jay Cee, and the Christian Scientist lady, and lord knows who, and Love Old Essay they all wanted to Essay adopt me in some way, and, for the price of their care and Sex Without by Sharon influence, have me resemble them. This passage focuses our attention on the immersion of Plath/Esther in what Adrienne Rich has called the compulsory heterosexuality, the pervasive heterosexism, of our culture. And Change: The Effects Who Create It. It also reinforces our awareness that despite her intelligence, imagination and professional ambition, Esther's sense of identity as a woman is predicated on Love by Sharon finding the right man. That Esther categorizes Jay Cee, Philomena Guinea, and the woman poet at college (who is never named)--along with the Christian Scientist lady whom she does not know--as weird old women who want to save her is a way of rejecting these women's very real contributions and potential contributions to her own evolving identity.

The claim would seem to be at least partly a projection of her own desire to be saved from becoming like these women with whom she shares certain talents, capacities, and interests. Essay. I want to Sex Without Love Old Essay suggest that there may be a kind of psychic dismemberment signified by the separation of self thus from one's nurturers; denying their influence is like peeling off layers of her own self--or cutting off important members. It is especially important to notice in this regard that the And Change: The Effects On Music And The Artists Who Create point where Esther turns her back on Jay Cee coincides with the diminishment of her sense of competence, which becomes increasingly worse as the weeks pass in New York. In rejecting the weird old women who want to save her, she appears to become increasingly disempowered; that is, she appears to Sex Without Love by Sharon lose touch with the talents and skills that these women nurtured. Esther's recovery involves a reinstitution of the problems that led to her breakdown. If, as I have already suggested, the reconstructed Esther is a retreaded tire doomed to go flat (and probably on the same highway that brought her to the asylum in the first place), that is partly because her cure perpetuates the disease. The recovery process of this heroine merely extends the series of separations from much ado about summary, or rejections of others which seems to have played an important part in bringing about by Sharon her breakdown. By the closing pages of the novel, two meaningful relations with women are open to Esther, relations with her friend, Joan Gilling, and her psychiatrist, Dr. Nolan.

The first of these relations is terminated decisively by the character's suicide, which renders irreversible Esther's prior rejection of that character. In the penultimate scene of the novel, Esther attends Joan's funeral, wondering, she tells us, what I thought I was burying and listening to ado about short the insistent brag of [her own] heart--I am, I am, I am. Since Esther springs to Sex Without by Sharon new life as Joan is buried, it would be difficult not to conclude that Plath is putting aside, burying, some unacceptable part of her heroine: Esther has even explicitly identified Joan as the beaming double of my old best self. Like the metaphor of a retread, however, this comment exemplifies the uncertainty of tone that, according to Rosellen Brown, manages to trivialize . . . [the novel's] heavy freight of pain. Of Deviant Tend. If the passage hints Esther's awareness that her old best self is peculiarly vulnerable to disintegration precisely because of the intolerable psychic conflict produced by trying to meet cultural expectations of women, it also--to the extent that it is sarcastic--distances Esther from Joan and from the Love painful feelings that she shares with Joan. Until the revelation that Joan is involved in a lesbian relationship, that young woman is Essay, associated with a potential for intimacy that seems more positive than negative. Sex Without Love By Sharon Old Essay. Joan replaces, as Esther's neighbor, Miss Norris, with whom Esther shares an hour of close, sisterly silence.

Joan's intimacy with Dee Dee is associated with improving health ( pace Vance Bourjaily, who writes that a relapse is indicated by Joan's lesbian involvement--the novel simply contradicts this). Esther even feels free to curl up on Joan's bed on sigmund psychosexual first encountering her at one asylum, though she admits to having known Joan at college only at a cool distance. After discovering Joan with Dee Dee, however, Esther's treatment of Joan begins to be marked by a blatant cruelty, as when Esther tells Joan, 'I don't like you. You make me want to puke, if you want to know.' A less explicit cruelty, implicating not merely the character Esther but the author Plath, pervades the scene where Joan seeks medical attention for Esther's hemorrhaging after Esther's encounter with Irwin. Esther/Plath clearly has one eye on humiliating Joan.

Because Joan is allowed to surmise that the bleeding is some mysterious menstrual problem rather than connected to Love Esther's loss of virginity, she is made to look like a bumbler. Apocalypse Essay. She has difficulty explaining the problem clearly enough to get emergency aid, a problem which of Love by Sharon Old Essay course increases the danger to as termed Esther, but a pun seems more important here than prompt medical assistance. Sex Without. When Joan asks about the man who has dropped Esther off, Esther says: I realized that she honestly took my explanation at ado about nothing summary face value . Sex Without Love By Sharon. . . and his appearance [was] a mere prick to sigmund freud psychosexual stages her pleasure at my arrival. The oddity of her mentioning, in Sex Without by Sharon Old Essay circumstances where every beat of sigmund freud psychosexual her heart pushed forth another gush of blood, Joan's pleasure at her arrival is matched by what looks like a kind of desperation to hide from Joan the cause of the hemorrhaging. The peculiarities of by Sharon this scene create ambiguities about Esther's motives and suggest confusion on On Music And The Who Create Plath's part. Still Plath's imagery hints at a causal link between Esther's hemorrhaging and Joan's death. Often described before this episode in terms of Love horse imagery, Joan is here described as a myopic owl in an image that appears paradoxically to reveal what it intends to obscure: Joan's knowledge of the cause of Esther's suffering and v lord the trauma of the rejection that Esther's suffering represents.

Similarly, the structuring of the narrative implies a link between Joan's death and Esther's rebirth. Before she gets to the Emergency Room, Esther remembers a worrisome course in the Victorian novel where woman after woman died, palely and nobly, in torrents of Love blood, after a difficult childbirth. The birth that is brought about here, however, is not that of a strong new self but of an Esther who gives in to her fear of the love and nurturance of women--exemplified by Joan's role as nurse in Essay this scene--an Esther who buries her capacity for identification with women and by Sharon accepts the very stereotypes which have been the source of her pain. As the only purely imagined event in as termed Essay the book, the inclusion of Joan's unexpected and Love Old Essay unprepared for suicide immediately following this episode, is, as Paula Bennett has written, necessitated not by the novel's plot, themes, or characters but by Plath's own emotional understanding of her text. Joan, the as termed by Edward Said Essay woman who loves other women and who, therefore, can pursue a career and independent life without benefit of man or marriage, must be disposed of if the demons that haunt Plath's/Esther's mind are to be exorcised as well. . . . The nature of those demons may partly be implied by the descriptions of the lesbians in the novel: not only the stumpy old Classical scholar, already mentioned, but the by Sharon matronly-breasted senior, homely as a grandmother and a pious Religion major, and a tall, gawky freshman with a history of being deserted at an early hour in much nothing all sorts of ingenious ways by her blind dates.

Such images indicate the weirdness, the unattractiveness, to Plath of any female behavior deviating from heterosexual, patriarchal norms: Esther says of Joan, It was like observing a Martian, or a particularly warty toad. It seems a kind of narrative reaction to Love by Sharon these images that in freud the episode following those in which they occur, Esther has herself fitted with a diaphragm. So compelling is the logic of her desire to avoid pregnancy that we do not feel spurred to ask why she would at this point want to have anything to do with a man in the first place. But it should be noted that her encounters with men have been nearly devastating: her father deserts her by Love dying when she is very young; much more recently in the novel, she is knocked down in the mud, mauled, practically raped by a man who marks her face with blood; in another, a flashback to an occasion where she ends up inspecting Buddy Willard's genitals, all she can think of is turkey neck and turkey gizzards. The man she sets out to seduce (Constantin) falls asleep unaroused by her, and the male psychiatrist to whom she turns for help practically electrocutes her. This pattern of pain and disappointment is merely confirmed by her experience with Irwin, who creates for her, in deflowering her, a possibly life-threatening medical emergency. It is a sad irony that precisely at the point in The Bell Jar where the action seems to call for at least a temporary turning away from men or from seeing herself in relation to male sexuality, if only to provide for some period of reflection and Technology It healing on Esther's part, the Love Old Essay novel turns more decisively than ever away from women and toward men. Critics have not, however, generally recognized this irony; the maccormick typical reaction has been to accept at face value that the purchase of a diaphragm is an important step in Love the direction of independence. While contraception surely frees Esther from fears which no women should have to suffer, my argument is that we need to question the validity of the notion of v lord advocate independence offered through this episode. In killing off Joan, Plath cancels for Esther the possibility of tenderness--outside the relatively impersonal therapeutic relationship--clearly symbolized by Joan's lesbianism. That possibility is named by Dr.

Nolan, the only character in the novel treated with unambiguous respect. When Esther asks this psychiatrist What does a women see in a woman that she can't see in a man, Dr. Nolan replies with one definitive, authoritative word: Tenderness. Plath dramatizes both the Sex Without by Sharon Old Essay yearning for Technology And Change: On Music tenderness in Esther and the way in which Esther is Sex Without Love Old Essay, cut off from ado about, that yearning, but there seems to be little authorial awareness of the Sex Without Love disjunction. The novel presents the possibility of tenderness between women in a story Esther recounts about two suspected lesbians at her college: 'Milly was sitting on the chair and Theodora was lying on the bed, and Milly was stroking Theodora's hair.' An image of definitions of deviant behavior tend this sort of by Sharon caress occurs at another point in the novel, significantly in connection with a male who is probably a homosexual. When Constantin, the simultaneous interpreter whom Esther fails to seduce in New York, reaches out at the end of the maccormick evening to touch her hair she feels a little electric shock and Love by Sharon Old Essay tells us: Ever since I was small I loved feeling somebody comb my hair. It made me go all sleepy and peaceful. This touch is arguably the Essay only tenderness Esther experiences in the novel, yet her response to Love by Sharon Old Essay the similar contact between Milly and Theodora is this: I was disappointed. Technology And Change: On Music And The Who Create It. . . . I wondered if all women did with women was lie and hug.

In her aversion to Joan, Esther denies what the by Sharon Old Essay text nonetheless reveals: the possibility of a healing tenderness and weirdness that the relation of Joan and Dee Dee represents. As we have seen, this denial is authorially endorsed by Plath's invention of Joan's suicide. Suggesting that Joan represents Esther's suicidal self or--more exotically but no more helpfully--the inverted Victorian side of Esther, critics with a Freudian orientation have linked Esther's recovery to a splitting off of an unacceptable portion of the self dramatized by And Change: The Effects On Music And The Artists Who Create Joan's suicide. While a splitting off undoubtedly occurs, the Sex Without Old Essay nature of what is split off is ultimately ambiguous. Maccormick V Lord. Furthermore, splitting off appears to Love by Sharon Old Essay be a major symptom of the by Edward Said Essay disorder from which Esther suffers. The novel dramatizes a tragic self-dismemberment in which the heroine, because of Old Essay her very strengths and aspirations, appears to v lord split off those components of herself that represent patriarchally-defined expectations of women, projecting these aspects of Love Old Essay herself on her mother, her grandmother, Dodo Conway, Mrs. Willard, and the young women who are guest editors with her at Ladies' Day, especially Doreen and Betsy.

Although she consciously rejects the influence of these others, she must still unconsciously be dominated by the patriarchal images of womanhood that she rejects; otherwise she would not need also to split off those qualities and maccormick v lord advocate impulses in herself that do not meet patriarchal expectations--all that goes counter to conventional femininity and is therefore weird. These she projects upon Jay Cee. Sex Without. Philomena Guinea, the unnamed famous poet at by Edward her college, and finally Joan. Her systematic rejection of these leaves her quite possibly with nothing in the same sense that, as Perloff argues, Plath was left with nothing after rejecting the beliefs she inherited from her mother. Dr.

Nolan appears to play a special role in Esther's cure, but several reservations about that role ought to be made. Combining the attributes of patriarchally-defined femininity and professional accomplishment, Dr. Nolan is set forth by Sex Without Love by Sharon some readers as an ideal role model for Esther, but the last thirty years have taught us to question this sort of image which can merely compound the oppression of women by leading them to assume expectations traditionally held of men as well as those held of women: Plath herself provides a highly visible example of the tragic consequences of uncritically embracing this model which encourages the belief that women can have it all. Sigmund Stages. Furthermore, the novel leaves ambiguous the extent of Nolan's contribution to Sex Without Old Essay the recovery. Although the trust she engenders in definitions of deviant behavior to Esther undoubtedly counts for a great deal, the electroshock therapy and the psychic dismemberment involved in the process appear to get equal if not more credit for Esther's improvement. Finally, whatever the depth of Esther's indebtedness to Dr. Love By Sharon. Nolan, the relationship appears to be largely terminated by tend Esther's release from the hospital. Thus, at the end of the novel, far from having moved in the direction of an Love, authentic self, Esther has been systematically separated from the very means by maccormick v lord which such a self might be constituted: relationships with others. Her high heels and red wool suit flamboyant as [her] plans clearly signal a renewed and energized willingness to enter the sexual hunt that so dispirited her during her summer in New York. Esther's seeming preparation to reenter the hunt for the right man is accompanied by the strong suggestion that the right man is one with whom she may avoid emotional attachment. (Esther says gleefully, after realizing that Irwin's voice on the phone means nothing to her and that he has no way of getting in touch with her again, I was perfectly free.) In other words, Esther's identity, the boundary of her self, has been secured by her isolation. The Bell Jar makes apparent the Love by Sharon Old Essay oppressive force (at least for women) of the And Change: The Effects Artists model of separative selfhood which dominates patriarchal culture.

The novel dramatizes a double bind for women in which, on the one hand, an authentic self is one that is presumed to be autonomous and whole, entire to itself and Sex Without Old Essay clearly bounded, and yet in which, on the other hand, women have their identity primarily through relationship to a man. It is the increasing tension of this double bind for Esther which results in her breakdown; her release from the asylum, I have argued, is marked by a restoration of the double bind at a different and tolerable level of tension. The experiences of both Esther and Joan suggest that escape is not possible through conscious rejection of the expectation that a woman find herself in maccormick v lord a man; in my reading, Plath's novel hints that the expectation is, in that instance, likely to be heeded at a more deeply unconscious level. (This would be a possible explanation of Joan's unexpected suicide, and the idea is supported by the imagery of the closing episode as I have analyzed it.) Yet the other alternative, to reject the model of Sex Without Love by Sharon separative selfhood and embrace a relational model, involves--in the cultural context portrayed by Plath--the restoration of the traditional plight of women: subservience to or submersion in Orientalism by Edward Essay others. The way out of the dilemma is a relational conception of selfhood in a world of non-oppressive, non-hierarchical relations. But we do not live in such a world (yet), and our culture offers few means of imaging non-oppressive, non-hierarchical relationality.

It is in Sex Without Love by Sharon Old Essay signaling the paucity of Essay such means, the unavailability of such images at least to someone like Plath but by extension to Sex Without Love many women in our culture, that The Bell Jar has special importance. Images of sigmund freud psychosexual stages lateral relationships among women, i.e. images of female friendship, provide one means, but as I have argued, Plath seems compelled in this novel eventually to reject all such images. In this context, the introduction of Joan specifically as a lesbian becomes very important. Joan's lesbianism and suicide appear to belong to a small number of invented features of the Sex Without Love by Sharon novel. That Plath rejects Joan by killing her off is Apocalypse Essay, a sign of the novelist's domination by Sex Without the cultural norms that, I believe, destroyed her; that she created Joan as a lesbian in the first place, however, especially in a novel so dominated by autobiographical fact, might plausibly be viewed as a last desperate imaginative reaching toward some viable image of non-hierarchical relationality.

Having rejected all the v lord other woman-woman relationships available to her from Sex Without by Sharon, her experience, Plath turns finally to invention, which--controlled by The Effects On Music And The Who Create It stereotype as it is--proves no more successful than autobiographical fact. It is important for feminist critics to discern such emancipatory impulses or gestures wherever they occur in women's writing. We need to bring them into focus and to assess where they succeed and the conditions of Sex Without their success or failure. But I would suggest that critics are less than well-equipped to undertake such work if they remain uncritical of their own discourse, for Technology And Change: And The Who Create It example, the Old Essay way in The Effects And The Who Create which it is permeated with terminology implying that the Sex Without Old Essay self is an autonomous, bounded entity. Technology And Change: The Effects Artists. Paula Bennett, who rightly calls the ending of The Bell Jar unbearably factitious, provides an example of such terminology when she writes that . . . Plath herself seems to Sex Without Love by Sharon Old Essay have gained little from her experience at the psychiatric hospital. She returned to Smith . . And Change: And The Artists Who Create It. . hollow and unintegrated at her core. Bennett's language here (hollow, core), founded as it is upon the dichotomy of Sex Without by Sharon inner and outer, implies subject-object dualism and all the patriarchally-freighted oppositions that it brings in its wake. It is difficult to write about the self in our culture without making use of terms implying the very dualisms on which patriarchy is founded.

Yet if we cannot entirely dispense with such terminology--and I do not believe that we very well can--we can be aware of Technology And The Who Create It its metaphoric nature and of the assumptions that it covers. When we become aware of the limits of our metaphors for selfhood, we become more attuned to those employed by the writers we study. Only when such awareness is brought to Love bear upon The Bell Jar, for instance, do we become fully appreciative of the way in psychosexual which the novel dramatizes the destructive effects of a commitment to the separative model of the Old Essay self. When such awareness is brought to bear upon the writing of women less tragically constricted than Plath by stereotypes of women, it may enable us to discern alternative metaphors and images for the self, the very means by which the dominant model of the self in our culture may be transformed into one conducive to the validation of women. Source: Diane S. Bonds, The Separative Self in Sylvia Plath's The Bell Jar, in Women's Studies, Vol. 18, No. 1, May, 1990, pp.

49-64. Reproduced by permission.

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