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T I L A N I G I R O S ’ K R O W F O T N E M E T A T
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T N E M E G D E L W O N K C
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T N E T N O C F O E L B A
T ... x T
C A R T S B
A ... ix i K
A R T S B
A ... x i ii N
O I T C U D O R T N I : I R E T P A H
C ... ... 1 .
A Backgroundoft heStudy ... 1 .
B ProblemFormulaiton ... 3 .
C Objecitve soft heStudy... 3 .
D Deifniitono fTerms. ... 3 W
E I V E R L A C I T E R O E H T : I I R E T P A H
C ... 7 .
A Reviewo fRelatedStudies. ... 7 .
B Reviewo fRelatedTheo ire s... .
1 Deifniitono fPoerty ... .
2 Theoryo fFiguraitveLanguage ... .
3 Theoryo fPatirarchyandWomen’ sOppression ... .
4 Theoryo fFeminism. ... 1 1
1 1
2 1
7 1
9 1 .
C Theoreitca lFramework ... 2 3 Y
G O L O D O H T E M : I I I R E T P A H
C ... 42 .
A Objec toft heStudy. ... 42 .
B Approachoft heStudy ... 52 .
C Methodoft heStudy. ... 2 6 S
I S Y L A N A : V I R E T P A H
C ... 82 .
A Expilcaitonoft hePoem s... .
1 “AWorko fArit ifce” ... .
2 “BarbieDoll” ... .
3 “Wha tAreBigGi lr sMadeOf?” ... 8 2
8 2
1 3
4 3 .
B FiguraitveLanguageFoundi nt hePoem s... .
1 “AWorko fArit ifce” ... .
a Metapho r... .
b Aposrtophe. ... .
c Ironyo fStiuaiton. ... .... .
2 “BarbieDoll” ... .
a Simlie. ... 9 3
9 3
9 3
2 4
3 4
4 4
i x .
b Symbo l... .
c Ironyo fStiuaiton. ... .
3 “Wha tAreBigGi lr sMadeOf?” ... .
a Simlie... .
b Metaphor... .
c Personiifcaiton ... . .. .
d Overstatement... 5 4
7 4
9 4
9 4
2 5
3 5
3 5 .
C Women’ sOppressionSeenThrought heUseo fFiguraitveLanguage .
1 “AWorko fArit ifce”... .
2 “BarbieDoll”. ... .
3 “Wha tAre BigGi lr sMadeOf?” ... ... 6 5
6 5
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6 6 N
O I S U L C N O C : V R E T P A H
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H P A R G O I L B I
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I R E T P A H C
N O I T C U D O R T N I
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A Backgroundoft heStudy
o t s n a e m e h t s e m o c e b t I . y t e i c o s n i s e l o r t n a tr o p m i e m o s s y a l p e r u t a r e ti L
o t d n a , e fi l n a m u h n i g n i n e p p a h s t n e v e d r o c e r o t , s g n il e e f s ’ e l p o e p s s e r p x e
, n o s d u H ( e fi l s ’ e l p o e p n i g n i n e p p a h y ti l a e r e h t e z i c it ir
c 1958:5 .) In othe rwords ,
y ti l a e r e h t e e s n a c e l p o e
p throught hework sofl tierature .Byr eadingt hework so f
y e h t r e v o e r o m d n a d lr o w e h t f o g n i d n a t s r e d n u r i e h t h c ir n e n a c e l p o e p , e r u t a r e ti l
. y ti l a e r e h t e g n a h c o s l a n a c
Ltierary work scan porrtay many issue s in realtiy .One o fthem i sthe
n e e w t e b y ti l a u q e n
i m enandwomen .Thisi ssueha sbeencontestedf o rmanyyear s
s a h t i e c n i
s beenhappeningfo ral ong itme.
t u o b a g n i k l a t n e h
W m en and women , sex and gende r become two
.s n o it o n t n a tr o p m
i Sex and gender are two term s o tfen con lfated by people
. g n i n a e m t n e r e f fi d e v a h y e h t s a e r e h
w Eisenstein deifne ssex ast hebiologica lsex
f o r e t s u l c d e p a h s y ll a i c o s d n a y ll a r u tl u c e h t s a w r e d n e g e li h w n a e m d li h c a f o
h a o t d e n g i s s a s r o i v a h e b d n a , s e t u b ir tt a , s n o it a t c e p x
e uman being by t he society
. ) 7 : 3 8 9 1 ( n r o b s a w d li h c e h t h c i h w o t n
i In othe rword ,si tcanbesaid t ha tsexi s
. tl i u b y ll a r u tl u c s i r e d n e g e li h w n e v i g y ll a c i g o l o i b
d n a e l a m f o s e p y t o e r e t s s e t a e r c r e d n e g d n a x e s n e e w t e b n o it a lf n o c e h T
s e p y t o e r e t s e h T . e l a m e
f have been t hedaliy conducts i n society .Based on some
s e h c r a e s e
t e ll i M , r o i v a h e
b t a squoted by Eisenstein says t ha tfo rwomen ,“normal” mean s
r o f e li h w , e v i s s a
p men,i tmean sacitve( 1983 :8) .Fu trhermore ,s heconcludest ha t
n e
m and women areconsidered t o have dfiferen t rtatis .Women aresaid t o have
e r a n e m e li h w y l d n e ir f d n a , d n i k , t n e i d e b o , e t a n o it c e f f a s a h c u s , s ti a rt e v i s s e r p x e
s ti a rt l a t n e m u rt s n i e v a h o t d i a
s such a saggressive ,tenacious ,ambiitous ,and
. e l b i s n o p s e
r Thesedfiferen trtatist henbecomet hef oundaitont ocreatet hegende r
. y t e i c o s n i s e l o
r The role screated pu twomen in subordinate posiiton and thi s
n o it a u ti
s leadst ot heemergenceo fwomen’ soppression.
f o t e l g g u rt s e h t d n a n o i s s e r p p o s ’ n e m o w f o y d u t s e h
T igh tagains tthe
s a h n o i s s e r p p
o been done in vairou s ifelds ,especially atfe rthe emergence o f
s i t n e m e v o m t s i n i m e F . t n e m e v o m t s i n i m e
f a both poilitca l and intellectua l
t s e ir t ti e c n i s t n e m e v o
m o both analyzeand changet heunfarir ealtiy fo rwomen .
. e r u t a r e ti l g n i d u l c n i , s d l e if y n a m h g u o r h t d n a n i s k r o w t n e m e v o m s i h
T Gliber t
e c n i s t a h t s y a
s feministsbeileve t hat t hehistory o ffemalewrtier sand history o f
n e m o
w are diminished from mos to fwo lrd’ shistory ,ltieratureand ti sciritcism
e m o c e
b signi ifcant( 1986:30 .)
. y c r e i P e g r a M s i g n i y d u t s h tr o w e r a s k r o w e s o h w r e ti r w e l a m e f e n O
e g r a
M Piercy i sboth af eminis tand awrtier .Shewa sborn inDertoti ,31March
. 6 3 9
1 Shei scatego irzeda saproilifcwrtiers inces heha swirttenmanynovel sand
s a h c u s , s k o o b y rt e o
p Cricle sont heWater :Selected Poems ,Smal lChanges ,and
t s a F n w o D g n i o
G .Piercy i sconsidered oneo fsigniifcan twrtiersi n second wave e
h s e c n i s m s i n i m e
f tire s to explore some issues , especially sexualtiy , from
n e m o
. s m e o p r e h g n it ir w n i s d r o w e l p m i s f o e s u r e h r o f n w o n k s i y c r e i P e g r a M
s m e o p r e h e k a m s m e o p r e h n i d e y o l p m e e g a u g n a l e v it a r u g if d n a s e ir e g a m i g n o rt S
o t y s a
e grasp by the readers .Therefore ,the wrtie rchose three piece so fpoerty
d e t e c e l e s e e r h t e b l li w e r e h T . y d u t s e h t f o t c e j b o e h t e b o t y c r e i P y b n e tt ir w
e z y l a n a o t s m e o
p ,whichare“AWorko fAritifce” ,“BarbieDoll” ,and“Wha tAre
s lr i G g i
B Madeof?” . hT oset hreepoem swerew irtten i ndfiferen tyears ,howeve r
o T . n o i s s e r p p o s ’ n e m o w y l e m a n , s r e d a e r e h t o t d e r e v il e d t n i o p r a li m i s e v a h y e h t
i , d e if i c e p s e r o m e
b n analyzing t hepoem, t hewrtie rwli lfocu son t he ifguraitve
s m e o p e h t n i d e y o l p m e e g a u g n a
l tor evealt heporrtaya lo fwomen’ soppression .
.
B ProblemFormula iton
n o d e s a
B the background o fthe study ,thi sthesi swli lbe focused on the
r
p oblem sbelow:
.
1 W hatist heexpilcaitonoft hepoems?
.
2 Wha t ifguraitvel anguagei semployedi nt hepoems?
.
3 How i s women’ s oppression revealed through the use o f the ifguraitve
e g a u g n a
l ?
.
C Objecitve soft heStudy
e g r a M y b n e tt ir w s m e o p e e r h t e z y l a n a o t s m i a y d u t s s i h
T Piercy in orde r
. n o i s s e r p p o s ’ n e m o w f o l a y a rt r o p e h t l a e v e r o
t The aim i sachieved by frist
e h t t e g o t s m e o p e h t g n it a c il p x
e h
t ifguraitvel anguageemployed i nt hepoems .Fu trhe ranalysi swli lbet o r evea l
f o e s u e h t h g u o r h t n o i s s e r p p o s ’ n e m o
w ifguraitvel anguage.
.
D De ifniitono fTerms
i m d i o v a o
T sunderstanding in reading thi swiritng ,the term sspeciifc to
thiss tudyaredeifnedasf o llows:
.
1 Expilcaiton
a i o i G d n a y d e n n e
K say t ha texpilcaitng o fapoem mean sexplaining the
0 0 2 ( l i a t e d n i m e o p e ri t n
e 2 : 960 ) .In an expilcaiton ,awrtier t irest o unrave lany
. m e o p a n i s e it i x e l p m o c
.
2 Feminism(s )
s i t I . t n e m e v o m l a c it il o p d n a l a u t c e ll e t n i h t o b s a s r a e p p a m s i n i m e F
d n a y h c r a ir t a p f o m e t s y s e h t s e t a r o b a l e d n a s e r o l p x e t i t a h t y a w e h t n i l a u t c e ll e t n i
f o e l u r e h t w o
h patirarchyoppresse swomen . tIi spoilitcals incei tdoe snots topi n
. y ti l a e r e h t e g n a h c o t s e ir t o s l a m s i n i m e f t u b , d l e if c i m e d a c a e h t
t , y ll a u t c
A here i s no single ifxed feminism since there are va irou s
d n u o r g k c a
b s affecitng women and thei rsrtuggle .Tha ti swhy some scholar s
m s i n i m e f f o d a e t s n i s m s i n i m e f e s u o t r e f e r
p to show t hediverstiy o ffeminism .
m s i n i m e f , r e v e w o
H s od havesimlia rshared p irnciple .Humm i n TheDicitonary
y r o e h T t s i n i m e F f
o deifnesf eminismasthei deologyo fwomen’ s ilberaiton since f o e s u a c e b e c it s u j n i r e f f u s n e m o w t a h t f e il e b e h t s i s e h c a o r p p a s ti l l a n i c i s n ir t n i
e h t f o s e s y l a n a t n e r e f fi d r e f f o s m s i n i m e f s u o ir a v , e l p i c n ir p t a h t r e d n U . x e s r i e h t
. n o i s s e r p p o e l a m e f f o , s t n e g a r o , s e s u a
h c i h w n i p i h s n o it a l e r l a i c o s a s
i m en haveauthortiy ove rwomen .Hence, i n daliy
e h t t i m il y l n o t o n h c i h w s e c it c a r p d n a s f e il e b t s i x e s y n a m e r a e r e h t , t c u d n o c
a w e d u r a n i s e x e s n e e w t e b n o it c n it s i d e h t e k a m o s l a t u b n e m o w f o s e it i v it c
a y .
” s e l a m “ f o d a e t s n i d e s u e r a ” n e m o w “ d n a ” n e m “ s d r o w e h t , y d u t s s i h t n I
n e m o w d n a n e m e c n i s ” s e l a m e f “ d n
a drieclty r efert o human being swhliemale s
7 I R E T P A H
C I
W E I V E R L A C I T E R O E H T
n o w e i v e r e h t s i t r a p t s ri f e h T . s tr a p e e r h t o t n i d e d i v i d s i r e t p a h c s i h T
n o d e t c u d n o c s e i d u t s d e t a l e r e m o
s ifguraitve language ,Marge Piercy and he r
.s k r o
w In othe rrespects ,thi spar twli lstate the posiiton o fthi swiritng among
g n i z y l a n a r o f l u f e s u s e ir o e h t e m o s n o w e i v e r e h t s i tr a p d n o c e s e h T . s e i d u t s e s o h t
e h t w o h s n i a l p x e t a h t k r o w e m a r f l a c it e r o e h t e h t e b l li w t r a p t s a l e h T . s k r o w e h t
d e y o l p m e s e ir o e h
t can contirbutei n solving t he problemsf ormulated i n previou s
. r e t p a h c
.
A Reviewo fRelatedStudies
e h t o s l a s i t i t e y y rt e o p f o s t n e m e l e e h t f o e n o s i e g a u g n a l e v it a r u g i F
. n o it a c i n u m m o c f o s n a e m s a l l e w s a e r u t a r e ti l f o s k r o w r e h t o n i d e s u t n e m e l e
e b l li w e r e h
T two studie sconducted ont her oleplayed by ifguraitvel anguagei n
n i e g a u g n a l e v it a r u g if f o e l o r e h t e b l li w h c i h w f o e n O . e g a s s e m e h t g n ir e v il e d
e g a u g n a l e v it a r u g if e h t t u o b a e b l li w t s e r e h t , m e o p a f o e g a s s e m e h t g n ir e v il e d
. n o it a t e r p r e t n i e l b i B n i d e s u
s ri f e h
T t i s t he study carired on by Edmund Chung enitlted Wriitng f o r y
r t e o P s ’t a e Y : d n a l e r I e e r
F (2001) ,Chung analyze sthree poem so fWliilam y l e m a n , y rt e o p f o s t n e m e l e e m o s s y o l p m e r e lt u B t a h t s e d u l c n o c e H . s t a e Y r e lt u B
, e m e h
t mood ,and ifguraitve language in conveying the idea o fnaitonailsm ,
y ti n u d n a , n o i s i v i d l a i c o s , n o i s s e r p p o m o r f m o d e e r
s ’ y c r e i
P expilci tway in deilveirng he ridea .Atlhough the review give ssome
, s i s e h t e t a u d a r g r e d n u s i h t n i d e i p u c c o s m e o p e h t g n i z y l a n a r o f t h g i s n i l u f e s
u the
m e l b o r p n i a m e h t d e r e w s n a t o n s a h w e i v e
r discussed in thi sstudy ,which i s
t n o d e s a B . n o i s s e r p p o s ’ n e m o
w heconsideraiton,t hiss tudywli lbef ocusedont he
f o l a y a rt r o p e h t l a e v e r o t s m e o p e h t n i d e y o l p m e e g a u g n a l e v it a r u g if e h t f o y d u t s
. n o i s s e r p p o s ’ n e m o w
.
B Reviewo fRelatedTheories h
t e m o
S eo ire sareemployed i n conducitng thestudy .Thet heo ire swli lbe
o t n i d e d i v i
d fou rpatrs ,namely the deifniiton o fpoerty ,theory o f ifguraitve
e g a u g n a
l , theoryo fpat irarchyandwomen’ soppression ,andtheoryoff eminism.
.
1 De ifniitono fPoetry
d n a e s o r p n a h t r e h t o e r u t a r e ti l f o s m r o f e h t f o e n o s i y rt e o p , y ll a r e n e G
y n a m n e e b e v a h e r e h T . s i y rt e o p t a h w e n if e d o t y s a e t o n s i ti , r e v e w o H . a m a r d
o r f g n i m o c y rt e o p f o s n o it i n if e
d m both poet sand scholar syet the deifniiton s
. y rt e o p n i d e n i a t n o c s c it s ir e t c a r a h c l l a r e v o c t o n n a c
i h w d r o w k e e r G a m o r f s e m o c ’ y rt e o p ‘ d r o w e h
T ch mean s t‘o make’ ,
r a l u c it r a p y e v n o c o t s r o h t u a e h t y b e d a m y ll a i c e p s s i y rt e o p t a h t y a s o t g n i n a e m
. ) 4 : 5 9 9 1 , ll i G ( s g n i n a e
m In conveying i deas ,poerty maximizest heuseo fwords ,
t a h w s
a Rohrberge rand Wood sutte rin Reading and Wriitng abou tLtierature 3
3 : 1 7 9 1
( -35) :“…in poertyt hel anguagei susedi n tisf ullest ,mos tcompleteway
” .s g n il e e f d n a a e d i h t o
, e r u t a r e ti l f o m r o f d e t a rt n e c n o c d n a d e s n e d n o c t s o m e h t s i y rt e o P ” : n o it i n if e d
e h t n i t s o m g n i y a
s fewes tnumbe ro fword .s”(1969 :9- )1 0
s y o l p m e y rt e o
P apecuilarl anguage ,meaning t osayt ha tpoertyemploy sa
n e h t y rt e o p , a e d i e h t g n it a c i n u m m o c n I . e n o y r a n i d r o e h t m o r f t n e r e f fi d e g a u g n a l
o c , e g a u g n a l e v it a r u g if s a h c u s s t n e m e l e r o s l o o t e m o s s a
h nnotaiton,i magery ,and
m h t y h
r .Theelement sare no texclusively used only fo rpoerty ,but t hey may be
e c n a c if i n g i s f o e e r g e d e h t ,r e v e w o H . s m r o f y r a r e ti l r e h t o n i d e s
u oft he ifguraitve
e g a u g n a
l wli lbedfiferent .Takeast heexample , ifguraitvel anguagewli lbeexrta s
y l n o t o n , t n e t n o c n i a m e h t e b l li w e g a u g n a l e v it a r u g if e h t y rt e o p n i t u b , e s o r p n i
( s a rt x
e KennedyandGioia ,2002 :378 .)
e r u t a r e ti l f o m r o f a s i y rt e o p t a h t n w a r d e b n a c t i , n o it a n a l p x e e h t m o r F
y o l p m
e ing word sin a more compac tway .It suse o flanguage i specuila rand
s k r o w y rt e o p , g n i n a e m s ti g n ir e v il e d r o F . y r a n i d r o n
u through the use o f ti s
.s t n e m e l e
.
2 Theory fo Figura itveLanguage
. s t n e m e l e y n a m s y o l p m e y rt e o p , a e d i d n a g n i n a e m s ti g n ir e v il e d n
I Oneo f
u g i F . e g a u g n a l e v it a r u g if s i m e h
t raitve language si deifned a slanguage using
g n i y a s f o y a w a s i h c e e p s f o e r u g if A . ) 5 6 : 9 6 9 1 , e n ir r e P ( h c e e p s f o s e r u g if
. y a w y r a n i d r o n u n i g n i h t e m o
s In addiiton ,Kennedy and Gioia say tha twhen a
d e h s r o e h , h c e e p s f o s e r u g if s y o l p m e r e ti r w a r o r e k a e p
s epa tr sfrom t he usua l
. ) 9 1 1 : 2 0 0 2 ( s d r o w e h t f o g n i n a e m l a r e ti l r o e v it a t o n e
a t a h t s i s n a e m e p o P t a h w e c n i s e l b i s s o p y r e v e b o t s n r u t t n e m e t a t s e h t ,r e v e w o H
g n i s o p p o s a h c u m s a c il b u p h ti w r o h t u a n a e g a m a d l li w e s i a r p d e v r e s e r o o t
. m s i c it ir c
.
g Overstatement
o t r e d r o n i n o it a r e g g a x e s i t I . e l o b r e p y h a d e ll a c n e tf o s i t n e m e t a t s r e v O
emphasize the rtuth (Perirne ,1969 :110) .Take a san example ,when Tennyson
“ s i t i t a h t e l g a e s i h f o s y a
s close to the sun in lonely lands” ,the statemen ti s s
i t i h g u o h t e u rt y ll a r e ti
l impossible in the study o fasrtonomy .However ,he
r e h e l o b r e p y h s y o l p m
e et oemphasizet he rtutht hatt heeaglef ile sveryhigh.
.
h Understatement
y ll a u t c a e l p o e p t a h w n a h t s s e l g n i y a s f o y a w s a d e n if e d s i t n e m e t a t s r e d n U
p d e d a o l y ll u f a g n i v a h s i n a m a n e h w , e c n a t s n i r o F . ) 1 1 1 : 9 6 9 1 , e n ir r e P ( n a e
m late
“ , s y a s e h d n a l a e m s i h s
a i t seem s to be a very good btie” , he i s using
f o l l u f e t a l p A . s n a e m y ll a u t c a e h t a h w n a h t s s e l g n i y a s s i e h e c n i s t n e m e t a t s r e d n u
. y l n o e ti b a e b o t g n i o g t o n s i d o o f
.i Irony
r e h t o n a g n i n a e m d n a g n i h t e m o s g n i y a s f o y a w a s a d e n if e d e b y a m y n o r I
i n ir a P
( ,1987 :50) .There are alway sdiscrepancy and o rconrtadiciton in riony .
3 1 1 : 9 6 9 1 ( e n ir r e P , e r o m r e h tr u
F -117 )explainst hatt herearet hreekind so f riony ,
y n o ri l a b r e v , t s ri F . n o it a u ti s f o y n o ri d n a , y n o ri c it a m a r d , y n o ri l a b r e v y l e m a n
p o e h t g n i y a s s n a e
m postieo fwhati smeant .Second ,dramaitc rionymeanst here
d n a s y a s r e k a e p s e h t t a h w n e e w t e b y c n a p e r c s i d s
i whatt heautho rmeans .Th rid ,
e n u h c i h w n i y t e i c o s a s e t a e r c y h c r a ir t a
P qua ldist irbuiton o fmateira land
s i y ti l a u q e n i s i h T . s r u c c o n e m o w d n a n e m n e e w t e b s e c r u o s e r c il o b m y s
e h t , e t a t s e h t , y ti l a u x e s , y li m a f e h t s a s n o it u ti t s n i l a i c o s h c u s h g u o r h t d e n i a t n i a m
g d e S d n a r a g d E ( e g a u g n a l d n a e r u tl u c , y m o n o c
e wick ,2005 :270) .
i e h
T nequaltiybetweenmenandwomencanbes eenf romt hegende rrole s
ll i M e t a K . s e x e s h t o b o t d e n g i s s
a et ta squoted by Eisenstein (1983 :8 )propose s
: s w o ll o f s a d e n g i s s a s e l o r e h t
d a h n e
M insrtumenta l rtati s :they were tenacious ,aggressive , o
it i b m a , s u o ir u
c us ,planfu,lr esponsible ,o irginal ,andcompeititve . n
e m o
W had expressive rtatis :they were affecitonate ,obedient , . y l d n e ir f d n a , d n i k , l u f r e e h c , l a v o r p p a d n a y h t a p m y s o t e v i s n o p s e r
d n a n e m o w r o f l a m r o n g n i e b f o d r a d n a t s e h t e b o t d i a s e r a s ti a rt e s o h
T men .
d e n g i s s a e r a n e m e li h w , e c n e i d e b o d n a y ti m r o f n o c f o s e l o r d e n g i s s a e r a n e m o W
( r e w o p d n a y ti l a n o it a r f o s e l o
r Eisenstein ,1983:8 .)
f o a e r a e h t n i p o t s t o n o d s e l o r r e d n e
G psychologica lcharacteirsitc .They
r d A . s e x e s e h t f o t n e m e v o m e h t e c n e u lf n i o s l
a ienneRicha squotedbyEisenstein
(1983:5) as sy “ I ilveundert hepowe roft hef athers ,and ihaveacces sonlyt oso
n I . ” e m o t e d e c c a o t g n il li w s i y h c r a ir t a p e h t s a e c n e u lf n i r o e g e li v ir p f o h c u m
, s d r o w r e h t
o in t her egimeo fpatirarchy ,womencanonlymovei nt heareagiven
e r a n e m o w , s t s e r e t n i e l a m s e v r e s y h c r a ir t a p e c n i S . y h c r a ir t a p y b d e tt i m r e p r o
. n e m y b d e s s e r p p o e r a n e m o w , s d r o w r e h t o n I . n e m o t d e t a n i d r o b u s
e h t n
I patirarcha lsystem ,there are two divisions :pubilc and domesitc
s c il b u P . e r e h p
.
C Theore itca lFramework
s u c s i d r e d n u s m e o p e h t g n i z y l a n a n
I sion ,fourtheo ire sareemployed . The
y rt e o p f o n o it i n if e d e h t s i h c i h w , e n o t s ri
f , i sused ot understand t he natureand
s m e o p e h t g n i d n e h e r p m o c n i s e i g e t a rt
s .Thesecondt heory ,whichist het heoryo f
e g a u g n a l e v it a r u g
if ,i sbeneifciali nanalyzingt hes peci ifcaspec toft hepoems:t he
e g a u g n a l e v it a r u g
if . The ifguraitvel anguagef ound i n t hepoemsi st hen analyzed
t I . m s i n i m e f d n a , n o i s s e r p p o s ’ n e m o w , y h c r a ir t a p f o s e ir o e h t e h t g n i s
u i sexpected
e b n a c e g a u g n a l e v it a r u g if e h t f o g n i n a e m e h t t a h
t connected t o realtiy based on
e h t d l o f n u o t e v it c e p s r e p t s i n i m e
4 2
I R E T P A H
C II
Y G O L O D O H T E M
e h t f o n o it a n a l p x e e h t s i t r a p t s ri f e h T . s tr a p e e r h t f o s t s i s n o c r e t p a h c s i h T
y c r e i P f o s m e o p e e r h t e h t s i h c i h w , y d u t s e h t f o t c e j b
o .The second par twli lbe
f o n o it a n a l p x e e h t s i tr a p t s a l e h T . y d u t s s i h t r o f d e il p p a h c a o r p p a e h t g n i s s u c s i d
. y d u t s e h t f o d o h t e m e h t
.
A Objec toft heStudy
s i y c r e i P e g r a
M a n autho ro fmany novel sand poems .She ha sbeen
i s s t n e m e v o m t s i n i m e f n i d e v l o v n
i nce she wa sin college .Known a sa proil ifc
s , r e ti r
w he ha sw irtten 17 poerty book sand 13 novels .He rwork susually take
t s i n i m e f m o r f n e e s e r u tl u c d n a s s a l c s a h c u s , e m e h t e h t s a s e u s s i l a i c o s
. e v it c e p s r e
p Sheha sgo tsevera lawards .Horowtiz (2005 )menitonst ha tPiercy’ s
y e l d a r B , ) 2 9 9 1 ( n o it c if e c n e i c s r o f d r a w A e k r a l C . C r u h tr A e h t e d u l c n i s d r a w a
a h t ir B , ) 2 9 9 1 ( C P E N , d r a w
A -Doro tAward ,Shalom Cente r(1992) ,May Satron
r P y rt e o P e s o R n e d l o G , ) 1 9 9 1 ( C P E N , d r a w
A ize ,New England Poerty Club
t n e m w o d n E l a n o it a N a d n a , ) 0 9 9 1 d n a 6 8 9 1 ( e z ir P y rt e o P r e z i K n y l o r a C , ) 0 9 9 1 (
.) 8 7 9 1 ( d r a w a s tr A e h t r o
f
d e lt it n e y c r e i P e g r a M f o s m e o p e e r h t h ti w s l a e d y d u t s s i h
T “A Work o f
e c if it r
A ” , “Barbie Doll” ,and “Wha tAre Big Gilr sMade Of?” .Al lpoem sare
e c r u o s t e n r e t n i m o r f n e k a
t (www.poemhunte.rcom)though al loft hem havebeen
s i m e o p t s ri f e h
T “A Work o fAritifce” .Thi spoem i soneof t he poem s
n i d e li p m o
c TheAr to fBlessing TheDay :Poem swtih aJewish Themepubilshed
. 9 9 9 1 n
i The second poem i s“Barbie Doll” .Thi spoem i scollected in Piercy’ s
d e lt it n e n o it c e ll o c y rt e o
p Circle son TheWater :Selected Poem so fMargePiercy
s i m e o p t s a l e h T . 2 8 9 1 n i d e h s il b u
p “Wha tareBigGilr sMadeOf?”. Thi spoemi s
e lt it r a li m i s g n i v a h k o o b y rt e o p e n o n i d e li p m o
c Wha tAreBigGi lr sMadeOf? . tI
9 9 1 n i d e h s il b u p s a
w 7 andwa snominatedf o raPultize rP irze .
.
B Approachoft heStudy
. d e il p p a s i h c a o r p p a t s i n i m e f ,s m e o p e h t g n i z y l a n a n
I Edga rV .Robetrsi n
e r u t a r e ti L t u o b a g n it i r
W sayst hatf eminis tapproachassumest ha tmos tofl tierary
e n il u c s a m a t n e s e r p s k r o
w -pat irarcha lviewi nwhicht her oleo fwomeni snegated
. ) 0 7 2 : 5 9 9 1 ( d e z i m i n i m r o
i h s il b a t s e n i e l o r t a e r g a s y a l p e r u t a r e ti l t a h t e v e il e b s t s i n i m e
F ng the
. ) 9 8 1 : 9 9 9 1 , r e l s s e r B ( e r u tl u c n i n e m o w f o s e g a m
i He states t hat i n t he ilgh to f
e r d n a ( d a e r o t s e ir t h c a o r p p a t s i n i m e f ,f e il e b t a h
t -read)l tieraturewirtten by both
e h t e g n e ll a h c d n a s k r o w e h t n i d e t n e s e r p s e g a m i e h t d n if o t e l a m e f d n a e l a m
a ir t a
p rchal-created i magest o de ifnewomen f rom women’ sperspecitve(Bressler ,
) 9 8 1 : 9 9 9
1 .
f o s a e r a r u o f s r e f f o h c a o r p p a t s i n i m e f , s k r o w y r a r e ti l g n i z y l a n a n I
r e l s s e r B y b d e t s e g g u s s a n o it a g it s e v n
.
1 Image sof t he female body a spresented i n a t ex .t Thi skind ofi nvesitgaiton
e h t n i t n a c if i n g i s e m o c e b n e tf o y d o b e l a m e f f o s tr a p s u o ir a v w o h e z y l a n a l li w
. n e m o w y b d e r o h t u a s k r o w
.
2 Femalel anguage .Thi sareaofi nvesitgaiton analyzest hedfiference sbetween
. e g a u g n a l e l a m e f d n a e l a m
.
3 The female psyche and ti srelaitonship to the wiritng process .Thi sanalysi s
e h t w o h s w o h s d n a t x e t a o t d u e r F d n a n a c a L f o s e ir o e h t l a c i g o l o h c y s p s e il p p a
e h t n i fl e s ti s e c n e d i v e e l a m e f e h t f o t n e m p o l e v e d l a c i g o l o h c y s p d n a l a c i s y h p
.s s e c o r p g n it ir w
.
4 Cutlure . Thi sarea o finvesitgaiton will analyze the effect s o fsociety in
. n e m o w g n i p a h s
d e d u l c n o c e b n a c t i , d e r e f f o s n o it a g it s e v n i f o s a e r a e h t g n i e e s y
B tha t
t s i n i m e
f approach can be done in collaboraiton wtih othe rdiscip ilnes ,such a s
, y g o l o h c y s
p history ,and ilnguisitc .s
.
C Methodoft heStudy
e s o h c r e ti r w e h t ,t s ri F . n e k a t e r e w s p e t s e m o s , h c r a e s e r e h t g n it c u d n o c n I
s ’ y c r e i P e g r a M e r e w s e c i o h c e h t d n a e z y l a n a o t s k r o w e h
t “AWorko fArit ifce” ,
“BarbieDoll” ,and“Wha tareBig Gilr sMadeof?”. Second,t hewrtie rconducted
d n a s k r o w e h t o t g n i d a e r e s o l
c idenit ifedt heproblems .Thereweret h reeproblem s
e h t y l e m a n , e v l o s o
t expilcaiton oft hepoem ,st he ifguraitvel anguageusedi nt he
w e h t l a e v e r o t d e s u s i e g a u g n a l e v it a r u g if e h t w o h d n a s m e o
p omen’ soppression.
, d ri h
s e c r u o s t e n r e t n i d n a s k o o b e m o S . n o i s s e r p p o s ’ n e m o w d n a , m s i n i m e f , e g a u g n a l
. w e i v e r e r u t a r e ti l e h t t c u d n o c o t d e y o l p m e e r e
w Fou trh ,the wrtie rcollected t he
s n o i s s e r p x e e v it a r u g if e h t f o d e t s i s n o c a t a d e h T . s i s y l a n a e h t o d o t d e d e e n a t a d
. s m e o p e h t n i d n u o f
e h T . e n o d s a w s i s y l a n a a t a d e h t ,s n o i s s e r p x e e v it a r u g if l l a g n it c e ll o c r e tf A
. s p e t s e e r h t f o d e t s i s n o c s i s y l a n a a t a
d Frist , al l ifguraitve expression s were
e g a u g n a l e v it a r u g if f o s e p y t e h t n o d e s a b d e p u o r g d n a d e z ir o g e t a
c used .Second ,
e h t f o g n i n a e m e h t , d ri h T . d e n i m r e t e d s a w e g a u g n a l e v it a r u g if e h t f o g n i n a e m e h t
e v it a r u g
if language wa srelated to feminis ttheory especially the theo ire son
r p p o s ’ n e m o
w ession .
e h T . e n o d s i s y l a n a e h t m o r f s n o i s u l c n o c g n i w a r d s a w n e k a t p e t s t s a l e h T
w s n a e h t f o y r a m m u s e h t e r e w s n o i s u l c n o
c erf ort hequesitonsf ormulated ,namely
e h t d n a , s m e o p e h t n i d n u o f e g a u g n a l e v it a r u g if e h t ,s m e o p e h t f o n o it a c il p x e e h t
e r p p o s ’ n e m o
8 2
R E T P A H
C VI
S I S Y L A N A
e e r h t o t n i d e d i v i d s i r e t p a h c s i h
T patrs .Thefris tpar tcontains t heexpilcaiton o f
it a r u g if f o n o it a c if it n e d i e h t s e d u l c n i tr a p d n o c e s e h t e li h w s m e o p e h
t vel anguage
m e o p h c a e n
i .Thet hrid patrdiscussest hewomen’ soppression revealed t hrough
.s m e o p e h t n i d n u o f e g a u g n a l e v it a r u g if e h t
.
A Expilca itonoft hePoems
.
1 “AWorko fArit ifce”
n e e w t e b n o s ir a p m o c a t u o b a s k l a t y ll a r e n e g m e o p s i h
T womenand bonsa i
. e e
rt Thi spoembegin swtihadescirpitono fabonsa irtee .Thi sbonsa i rteegrow s
e r u t a i n i m g n i s u m r o f tr a e s e n a p a J a s i e e rt i a s n o B . t o p e v it c a rt t a n a n
i rteegrown
s i t i t u b f r a w d y ll a c it e n e g t o n s i e e rt i a s n o b e h t t a h t s n a e m t I . s r e n i a t n o c n i
o r g e v a h d l u o c y ll a u t c a e e rt e h t t a h t s e n il t x e n e h t n i d i a s s i tI . d e f r a w
d wn eighty
) s r e t e m 4 2 ( ll a t t e e
f fii twa splacedon t hes ideo famountainuntlii tdie sbecause
s ti n i e v il t o n s e o d e e rt e h t , t o p a n i d e c a l p s i e e rt e h t e c n i S . g n i n t h g il e h t f o
. t a ti b a h l a r u t a n
e e rt i a s n o b e h T
t o p e v it c a rt t a e h t n i
e e f y t h g i e n w o r g e v a h d l u o
c tt all
n i a t n u o m a f o e d i s e h t n o
. g n i n t h g il y b t il p s ll it
e v a h d l u o c “ f o e s u e h t y b d e r e tt u n o it a c il p m i e h t n e h t g n e rt s s e n il t x e n e h T
e h T . ll a t t a h t w o r g t o n s e o d e e rt e h t y ti l a e r n i t a h t t c a f e h t g n i v i g y b ” n w o r
g rtee
s i tI . ti d e n u r p y ll u f e r a c r e n e d r a g a e s u a c e b l l a t ) m c 6 8 , 2 2 ( s e h c n i e n i n s w o r g y l n o
. 8 e n il n i e s n e t t n e s e r p e l p m i s f o e s u e h t y b d e t a c i d n i
r e n e d r a g a t u B
.t i d e n u r p y ll u f e r a c
.l l a t s e h c n i e n i n s i tI
(Piercy ,1999,s tanza1, ilne s6- )8
o p e h t e r e
H e talso inrtoduce sa new characte rin the poem beside sthe
T . r e n e d r a g e h t s i h c i h w e e rt i a s n o
b he word “but” in the iniita lposiiton o fthe
s e n il e s e h t n e e w t e b t s a rt n o c a s i e r e h t t a h t n g i s e h t s e m o c e b e c n e t n e
s wtih the
T . s e n il e v if s u o i v e r
p herei salsoatoneo f“regreftul”f ort hestiuaiton oft he rtee .
When the word “but” i s combined wtih the phrase “could have grown” ,i t
c s e m o c e
b lea rtha tthe narrato rfeel ssorry because the rtee actually ha sthe
it n u w o r g o t l a it n e t o
p ltir eache sti smaximumheight ,bu tbecauseoft hegardener ,
e e rt e h
t i sno tablet ogrowt hatt all .
n a c t I .t n e s e r p t a o s l a t u b t s a p e h t n i y l n o t o n s n e p p a h g n i n u r p f o t c a e h T
9 e n il ( s e n il o w t t x e n e h t n i e s n e t t n e s e r p e l p m i s f o e s u e h t m o r f n e e s e
b -10) .The
” y a d y r e v e “ e m it f o b r e v d
a impilest hatt heacitono fpruningi sdonecon itnuously
. y lr a l u g e r d n a
e h t e c n i s m e o p s i h t n i r e t c a r a h c t n a tr o p m i n a e b o t s m e e s r e n e d r a g e h T
s e s u t e o p e h t , 9 e n il n I . 1 1 d n a 9 s e n il n i n i a g a r e n e d r a g e h t s n o it n e m t e o p
s t I .r e n e d r a g e h t r o f ” e h “ n u o n o r
p howst hatt herei ssomething “male”contained
, r e v e w o H . e c n e c o n n i d n a , s e m a g , s s e n ll a m s h ti w l a c it n e d i s i h c i h w d li h c a g n i e b
y b s s e n i v a e h o t n i s s e n t h g il e h t m o r f s e g n a h c d e t n e s e r p e g a m i e h t 6 e n il n i
o s g n i y o l p m
e mevoiced sound sof/ g /and / z/a sshown i n “Then i n t hemagico f
m s s a l c a , y tr e b u
p atesaid : /you haveagrea tbignoseand f atl eg .s”( Piercy , ilne s
5- )6 Heret hepoe twantst oemphasizet hebigs izeoft henoseandl egs .
) e c n a r a e p p a y d o b ( s g e l d n a e s o n e h t e li h
W w ereconsidered so i mpo tran t
e h t f o d n e ir f e h t t a h t e n il s u o i v e r p e h t n
i gri lnoitced thei rbig size, et h nex t ilnes
e z i s a h p m
e the i nterna lcharacteirsitc sof t hegilr .The poe tmenitons t hat t heg ri l
a
w sphysically heatlhy and srtong .She wa ssmar tand good wtih he rhand sand
e n i h c a
m .Shewa salsos aidt ohaveagreats exua ldesrie.
,t n e g il l e t n i d e t s e t, y h tl a e h s a w e h S
, k c a b d n a s m r a g n o rt s d e s s e s s o p
x e s t n a d n u b
a ua ld irveandmanua ldextertiy. (Piercy ,1982,stanza2,ilne s1-3)
s c it s ir e t c a r a h c e s o h
T menitonedarei ndeedgoodcharacteirsitcs .However ,
i e r e h
t saconrtas twtih t henex t ilne“Shewentt o andf roapologizing. /Everyone
” .s g e l k c i h t n o e s o n t a f a w a
s (ilne s4-5 ,stanza 2 .) Atlhough she had good
o p a o r f d n a o t t n e w l li t s e h s , s c it s ir e t c a r a h
c logizing a si fshe had done a b ig
e k a t s i
m becauseo fhe rcharacteirsitcs .Bu tno matte rhard shet ired t o apologize ,
d o b r e h w a s ll it s y d o b y r e v
e liyappearance( af a tnoseont hickl egs.)
n e h
T peopleaskhe rtobehavei ns uchadfiferen twayfromwhos hereally
e m o c t o n d i d r o i v a h e b f o e g n a h c e h t t a h t s n a e m ” d e s i v d a s a w e h s “ e s a r h p e h T . s i
. e l p o e p r e h t o m o r f e m a c t u b , r e h m o r f y l e n i u n e
. s c it s ir e t c a r a h
c There were some characte irsitc s suggested to he r related to
c a r a h c l a n r e t n
i teirsitc sandphysica lappearance .
, y o c y a l p o t d e s i v d a s a w e h S
, y tr a e h n o e m o c o t d e tr o h x e
. e l d e e h w d n a , e li m s ,t e i d , e s i c r e x e
(Piercy ,1982 ,stanza3 ,ilne s1- )3
t a h t d e m e e s t i t u b , e c i v d a e h t o t t s i s e r o t d e ir t ll it s l ri g e h t g n i n n i g e b e h t n I
a w t
i ssodfi ifcutlf ort hegi lrt ha tshewa sexhausted. I tcan beseenf romt heuse
4 s e n il n i e li m i s e h t f
o -5 . tIi ss aidtha the rgoodnatureworeou tilkeaf anbetl .A s
s c it s ir e t c a r a h c r e h d e g n a h c y ll a n if e h s , d e r a e p p a s i d d n a t u o e r o w e r u t a n d o o g r e h
e h s e s u a c e b e g n a h c e h t d i d e h S . r e h g n i s i v d a e l p o e p e h t o t p u m e h t e v a g d n a
e h t m o r f n e e s e b n a c t I . e l p o e p e s a e l p o t d e t n a
w poet’ sdiciton :“offe rup” .So i t
r e h t o f o e r u s a e l p e h t r o f t u b , fl e s r e h d e g n a h c e h s t a h t ti f e n e b n w o r e h r o f t o n s a w
. e l p o e p
t u o e r o w e r u t a n d o o g r e H
.t l e b n a f a e k il
s g e l r e h d n a e s o n r e h f f o t u c e h s o S
. p u m e h t d e r e f f o d n A
(Piercy ,1982,stanza3 ,ilne s4- )7
e k il n
U the previou sstanza stha temploy simple pas ttense ,the las tone
e h t , s e n il e s e h t n i e s n e t t n e s e r p e l p m i s g n i s u y B . e s n e t t n e s e r p e l p m i s s y o l p m e
e h t n i d e b ir c s e d s p e t s s u o i v e r p e h t f o t l u s e r e h t s i s i h t t a h t s i s a h p m e s e v i g t e o p
s a z n a t s s u o i v e r
p .
. lr i g a f o e r u t c i p a d e t n e s e r p e r a s r e d a e r e h t , a z n a t s t s a l e h t n
I The gilr i s
. n it a s n i d e r e v o c t e k s a c a n i g n i y
l Thewordcaske tcanhavet wo l tiera lmeanings ,
. e
.i jewerlyboxandcof ifn.Thef ris tphrase“int hecaske tdisplayedons aitn”give s f
e h
e h s , e m
it tire sto be a sexually atrtacitve woman .She i sdesc irbed a sa very
i s i m o r p h ti w n a m o w l a u s n e
s ngbodyshapeand ilps .Shealsowearst he ilpsitcko f
a n e tf o s i h c i h w r o l o c d e
r ssociated wtih sensua lwomen .Shet irest o atrtac tothe r
e h t h g u o r h t n e e s e b n a c s i h T . y a w d e h s i u g n it s i d a n i g n i v a h e b y b e l p o e p
li c e C e b ir c s e d o t d e s u s i t a h t l e e f o t n e m e v o
m e’ seffo tr .
m o r f t n e r e f fi d y r e v s i h c i h w e li c e C f o e r u t c i p a s t n e s e r p a z n a t s t x e n e h T
o s d e g n a h c d a h e li c e C t a h t d i a s r o t a r r a n e h T . a z n a t s s u o i v e r p n i d e b ir c s e d e n o e h t
s a w e li c e C , 8 6 9 1 n i r e h d e ti s i v r o t a r r a n e h t n e h W . h c u
m an ou to fdate woman .
w e h
S o e r clothe swhich areou to ffashion i n t ha tera. Min iski trs ,pale ilpsitck s
e e n k e r o w l li t s e li c e C e li h w s ’ 8 6 9 1 n i y d n e rt e r e
w -length skitr sand dark red
n e e s e b n a c t i , 6 e n il m o r F . a r e t a h t n i e t a d f o t u o y l e t u l o s b a e r e w h c i h w k c it s p il
o t p u g n i e b t a h
t datemean sbeing supeiro .r I fpeopleareno tup t o date,t heywli l
7 s e n il ( d e p m u d e
b -9) .Fu trhermore, t heou to fdatepeoplewli lno tbeatrtacitve
. ) 8 e n il ( ” e ri s e d f o b u l c “ e h t m o r f d e r e b m e m s i d e r a y e h t e s u a c e b
s a f h c n e r F e h t s e b ir c s e d a z n a t s t x e n e h
T hion i n t he18thcentury .Watkin s
( 12 10 )say stha tit sfashion wa sthe mos toutstanding among othe rEuropean
s e ir t n u o
c andFrancewast hecente ro fEuropeanf ashion. Thef ashionwa smarked
d n a l u fi t u a e b e h t y
b gorgeousl adies .Thei rclothe sweref amousf ors likandcorse t
. s t n e n o p m o c n i a m s ti s
a The clothe swere madeo fslik and women at t ha t itme
t e s r o c e r o
w tos hapet hei rbody .
e h t . e .i , s t n e m e l e o w t h g u o r h t d e b ir c s e d s i n o i h s a f h c n e r F , a z n a t s s i h t n I
5 s e n il ( e p a h
.
B Figura itveLanguageFoundi nt hePoems
.
1 “AWorko fArit ifce”
f o m e o p e h t g n i z y l a n a r e tf
A “AWorko fArit ifce”,t herearet hreekind so f
g n a l e v it a r u g
if uagef ound ,namelymetaphor ,aposrtophe ,and rionyofs tiuaiton.
.
a Metaphor
e k il n u y ll a it n e s s e s g n i h t o w t g n ir a p m o c f o y a w a s a d e n if e d s i r o h p a t e m A
t e
y hs airng simlia rcharacteirsitc s(Perirne ,1969 :65) .I ti sa driec tcompairson,
, ” e k il “ s a h c u s s r o t c e n n o c y o l p m e t o n s e o d r o h p a t e m a t a h t y a s o t g n i n a e m
f o m r o f e h t n i e b n a c r o h p a t e M . e li m i s n i d n u o f s i t a h w e k il ” s a “ d n a , ” e l b m e s e r “
. d e il p m i e b n a c r o t n e m e t a t
s Int hi spoem ,therearet hreemetaphorsf ound :bonsa i
, e e
rt gardener ,and po.t Al lare impiled since there i sno “be” indicaitng the
. n o s ir a p m o c
h c i h w e e rt i a s n o b s i r o h p a t e m t s ri f e h
T i sused a sthe metapho rfo r
e h t s a d e r e d i s n o c s i e e rt i a s n o b s i h t y h w s a e d i g n it r o p p u s e e r h t e r a e r e h T . n e m o w
F . n e m o w r o f r o h p a t e
m ris,tt herei sashitff romnonhuman t ohuman object .The
f o m e o
p “AWork o fArit ifce” talk saboutt hedesc irpitono fabonsa irteein ilne s
1-16 ,and t hen suddenly tit alk sabou thuman beings .In othe rword ,s t hesubjec t
1 s e n il n i s g n i e b n a m u h o t n i s e g n a h
c 7- .2 T3 heshfiitng o fsubject ssignfii esthe
o w t e r a s g n i e b n a m u h d n a e e rt i a s n o b e c n i s m e o p s i h t n i r o h p a t e m f o e c n e t s i x e
t n e r e f fi
d thing swhicharecomparedt oeachothe.rSecond ,persona lpronoun“he”
. r e n e d r a g e h t e c a l p e r o t d e s u s
i Atfe rknowingt hatt herei sacompairson between
