“Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath

Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mn...
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Autor*in:	Mercè Cuenca [verfasserIn]

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Sprache:	Englisch

Erschienen:	2009

Schlagwörter:	written in the early 1960s but published posthumously in Crossing the Water (1971) dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery the myth of ideal domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as primarily objects of male desire was mirrored in popular magazines such as Ladies’ Home Journal which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will instead of as active thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched sewn and bandaged in their pieces both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. postwar american cofessional literature reconstruction of female bodies protofeminism

Übergeordnetes Werk:	In: Coolabah - Universitat de Barcelona, 2010, 3(2009), Seite 182-189
Übergeordnetes Werk:	volume:3 ; year:2009 ; pages:182-189

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DOI / URN:	10.1344/co20093182-189

Katalog-ID:	DOAJ026078341

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allfields_unstemmed	10.1344/co20093182-189 doi (DE-627)DOAJ026078341 (DE-599)DOAJ2d9a176de79d453f906c5c1ea8a07150 DE-627 ger DE-627 rakwb eng DU1-950 Mercè Cuenca verfasserin aut “Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath 2009 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone, both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery, the myth of ideal, domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as, primarily, objects of male desire was mirrored in popular magazines, such as Ladies’ Home Journal, which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed., 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper, I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will, instead of as active, thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched, sewn and bandaged in their pieces, both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. written in the early 1960s but published posthumously in Crossing the Water (1971) dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery the myth of ideal domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as primarily objects of male desire was mirrored in popular magazines such as Ladies’ Home Journal which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will instead of as active thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched sewn and bandaged in their pieces both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. postwar american cofessional literature reconstruction of female bodies protofeminism Geography. Anthropology. Recreation G History of Oceania (South Seas) In Coolabah Universitat de Barcelona, 2010 3(2009), Seite 182-189 (DE-627)647305720 (DE-600)2595302-3 19885946 nnns volume:3 year:2009 pages:182-189 https://doi.org/10.1344/co20093182-189 kostenfrei https://doaj.org/article/2d9a176de79d453f906c5c1ea8a07150 kostenfrei http://revistes.ub.edu/index.php/coolabah/article/view/15743/18856 kostenfrei https://doaj.org/toc/1988-5946 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 3 2009 182-189
allfieldsGer	10.1344/co20093182-189 doi (DE-627)DOAJ026078341 (DE-599)DOAJ2d9a176de79d453f906c5c1ea8a07150 DE-627 ger DE-627 rakwb eng DU1-950 Mercè Cuenca verfasserin aut “Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath 2009 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone, both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery, the myth of ideal, domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as, primarily, objects of male desire was mirrored in popular magazines, such as Ladies’ Home Journal, which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed., 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper, I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will, instead of as active, thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched, sewn and bandaged in their pieces, both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. written in the early 1960s but published posthumously in Crossing the Water (1971) dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery the myth of ideal domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as primarily objects of male desire was mirrored in popular magazines such as Ladies’ Home Journal which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will instead of as active thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched sewn and bandaged in their pieces both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. postwar american cofessional literature reconstruction of female bodies protofeminism Geography. Anthropology. Recreation G History of Oceania (South Seas) In Coolabah Universitat de Barcelona, 2010 3(2009), Seite 182-189 (DE-627)647305720 (DE-600)2595302-3 19885946 nnns volume:3 year:2009 pages:182-189 https://doi.org/10.1344/co20093182-189 kostenfrei https://doaj.org/article/2d9a176de79d453f906c5c1ea8a07150 kostenfrei http://revistes.ub.edu/index.php/coolabah/article/view/15743/18856 kostenfrei https://doaj.org/toc/1988-5946 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 3 2009 182-189
allfieldsSound	10.1344/co20093182-189 doi (DE-627)DOAJ026078341 (DE-599)DOAJ2d9a176de79d453f906c5c1ea8a07150 DE-627 ger DE-627 rakwb eng DU1-950 Mercè Cuenca verfasserin aut “Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath 2009 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone, both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery, the myth of ideal, domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as, primarily, objects of male desire was mirrored in popular magazines, such as Ladies’ Home Journal, which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed., 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper, I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will, instead of as active, thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched, sewn and bandaged in their pieces, both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. written in the early 1960s but published posthumously in Crossing the Water (1971) dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery the myth of ideal domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as primarily objects of male desire was mirrored in popular magazines such as Ladies’ Home Journal which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will instead of as active thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched sewn and bandaged in their pieces both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. postwar american cofessional literature reconstruction of female bodies protofeminism Geography. Anthropology. Recreation G History of Oceania (South Seas) In Coolabah Universitat de Barcelona, 2010 3(2009), Seite 182-189 (DE-627)647305720 (DE-600)2595302-3 19885946 nnns volume:3 year:2009 pages:182-189 https://doi.org/10.1344/co20093182-189 kostenfrei https://doaj.org/article/2d9a176de79d453f906c5c1ea8a07150 kostenfrei http://revistes.ub.edu/index.php/coolabah/article/view/15743/18856 kostenfrei https://doaj.org/toc/1988-5946 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ GBV_ILN_20 GBV_ILN_22 GBV_ILN_23 GBV_ILN_24 GBV_ILN_39 GBV_ILN_40 GBV_ILN_60 GBV_ILN_62 GBV_ILN_63 GBV_ILN_65 GBV_ILN_69 GBV_ILN_73 GBV_ILN_95 GBV_ILN_105 GBV_ILN_110 GBV_ILN_151 GBV_ILN_161 GBV_ILN_213 GBV_ILN_230 GBV_ILN_285 GBV_ILN_293 GBV_ILN_602 GBV_ILN_2014 GBV_ILN_4012 GBV_ILN_4037 GBV_ILN_4112 GBV_ILN_4125 GBV_ILN_4126 GBV_ILN_4249 GBV_ILN_4305 GBV_ILN_4306 GBV_ILN_4313 GBV_ILN_4322 GBV_ILN_4323 GBV_ILN_4324 GBV_ILN_4325 GBV_ILN_4326 GBV_ILN_4335 GBV_ILN_4338 GBV_ILN_4367 GBV_ILN_4392 GBV_ILN_4700 AR 3 2009 182-189
language	English
source	In Coolabah 3(2009), Seite 182-189 volume:3 year:2009 pages:182-189
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topic_facet	written in the early 1960s but published posthumously in Crossing the Water (1971) dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery the myth of ideal domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as primarily objects of male desire was mirrored in popular magazines such as Ladies’ Home Journal which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will instead of as active thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched sewn and bandaged in their pieces both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. postwar american cofessional literature reconstruction of female bodies protofeminism Geography. Anthropology. Recreation G History of Oceania (South Seas)
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spellingShingle	Mercè Cuenca misc DU1-950 misc written in the early 1960s but published posthumously in Crossing the Water (1971) misc dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone misc both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery misc the myth of ideal misc domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as misc primarily misc objects of male desire was mirrored in popular magazines misc such as Ladies’ Home Journal misc which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. misc 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper misc I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will misc instead of as active misc thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched misc sewn and bandaged in their pieces misc both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. misc postwar american cofessional literature misc reconstruction of female bodies misc protofeminism misc Geography. Anthropology. Recreation misc G misc History of Oceania (South Seas) “Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath
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topic_title	DU1-950 “Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath written in the early 1960s but published posthumously in Crossing the Water (1971) dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery the myth of ideal domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as primarily objects of male desire was mirrored in popular magazines such as Ladies’ Home Journal which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will instead of as active thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched sewn and bandaged in their pieces both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. postwar american cofessional literature reconstruction of female bodies protofeminism
topic	misc DU1-950 misc written in the early 1960s but published posthumously in Crossing the Water (1971) misc dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone misc both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery misc the myth of ideal misc domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as misc primarily misc objects of male desire was mirrored in popular magazines misc such as Ladies’ Home Journal misc which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. misc 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper misc I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will misc instead of as active misc thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched misc sewn and bandaged in their pieces misc both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. misc postwar american cofessional literature misc reconstruction of female bodies misc protofeminism misc Geography. Anthropology. Recreation misc G misc History of Oceania (South Seas)
topic_unstemmed	misc DU1-950 misc written in the early 1960s but published posthumously in Crossing the Water (1971) misc dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone misc both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery misc the myth of ideal misc domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as misc primarily misc objects of male desire was mirrored in popular magazines misc such as Ladies’ Home Journal misc which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. misc 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper misc I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will misc instead of as active misc thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched misc sewn and bandaged in their pieces misc both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. misc postwar american cofessional literature misc reconstruction of female bodies misc protofeminism misc Geography. Anthropology. Recreation misc G misc History of Oceania (South Seas)
topic_browse	misc DU1-950 misc written in the early 1960s but published posthumously in Crossing the Water (1971) misc dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone misc both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery misc the myth of ideal misc domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as misc primarily misc objects of male desire was mirrored in popular magazines misc such as Ladies’ Home Journal misc which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed. misc 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper misc I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will misc instead of as active misc thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched misc sewn and bandaged in their pieces misc both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”. misc postwar american cofessional literature misc reconstruction of female bodies misc protofeminism misc Geography. Anthropology. Recreation misc G misc History of Oceania (South Seas)
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title	“Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath
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title_sort	“inscrutable intelligence”: the case against plastic surgery in the works of jean stafford and sylvia plath
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title_auth	“Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath
abstract	Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone, both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery, the myth of ideal, domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as, primarily, objects of male desire was mirrored in popular magazines, such as Ladies’ Home Journal, which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed., 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper, I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will, instead of as active, thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched, sewn and bandaged in their pieces, both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”.
abstractGer	Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone, both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery, the myth of ideal, domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as, primarily, objects of male desire was mirrored in popular magazines, such as Ladies’ Home Journal, which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed., 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper, I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will, instead of as active, thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched, sewn and bandaged in their pieces, both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”.
abstract_unstemmed	Jean Stafford’s short story “The Interior Castle” (1946) and Sylvia Plath’s “Face Lift” and “The Plaster”, written in the early 1960s but published posthumously in Crossing the Water (1971), dwell on a theme which is rarely tackled in Postwar American literature: plastic surgery. Using a markedly mnemonic tone, both authors trace in detail the passive submission of female bodies to male (re)construction. While the history of women in early Cold War America is usually associated with the patriarchal mystifying of housewifery, the myth of ideal, domestic femininity was also intimately related to bodily beauty. The demand for physical “perfection” which resulted from constructing women as, primarily, objects of male desire was mirrored in popular magazines, such as Ladies’ Home Journal, which endorsed women’s seeking medical aid to model themselves into “ideal” sexual mates (Meyerowitz in Meyerowitz ed., 244). Women’s submission to the notion that they should use any means necessary to become aesthetic objects to be appraised by men was thus represented as desirable. In this paper, I shall trace how both Stafford and Plath adopted a confessional style of writing in the abovementioned pieces in order to denounce the cultural construction of women as passive bodies to be moulded at will, instead of as active, thinking subjects. I shall argue that by reproducing the recollections and thoughts of the women being stitched, sewn and bandaged in their pieces, both authors articulated an alternative protofeminist aesthetics based on the beauty of what Stafford described as “inscrutable intelligence”.
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title_short	“Inscrutable Intelligence”: The Case against Plastic Surgery in the Works of Jean Stafford and Sylvia Plath
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