![]() This paper argues that post-Marxist concepts of the relationship between subjects in ideology as expressed by Louis Althusser work to extrapolate both the impulse behind Sylvia Plath’s desire to overtake the cultural forces behind the production of Western ideology, and the inevitably insurmountable conceptual and material obstacles such a project faced. It alludes to Woolf's vision that women should not collaborate with the patriarchy, but should form 'societies of outsiders' to resist the configuration of male politics. Additionally, I have employed concept of Virginia Woolf, Edith Sitwell, Djuna Barnes and Gertrude Stein for a separate tradition of woman's writing, a history and future of literary forms and preoccupations particular to woman's minds and bodies. ![]() This move keeps the woman writer as an outsider to artistic experience, for the tradition hardly allows space to the relatively new figure of the modern woman writer. Eliot rooted the individual author in the soil of tradition. For methodological purpose, this paper refers to the much celebrated, anthologized and influential essay 'Tradition and Individual Talent' in which T. Primary aim of this paper is to identify the split within a woman between her biological entity and her literary self and explore how the latter is found to disintegrate among the commonly accepted aesthetic ideals that are relegated to modernism and are often used to define Modernism. It shows how in these writings Plath is highly alert to the imprisonment of the woman poet in the 'bell-jar' (Plath) of male formalistic objectivity. The paper examines with especial attention the short stories, novel and prose writings of Plath. The present paper entitled 'Modernist Patriarchal Discourse in Sylvia Plath's Selected Works' looks closely at the way canonical Modernism tried to preserve its gendered aesthetic bias by shutting off the voice of the woman writer.
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