Throughout history, the concept of madness has been linked to women and defined by men. Traditionally, female madness has been viewed as the result of the woman’s fragile constitution. Even when psychiatrists began to examine their patients’ situations, the woman’s place remained that of patient, and the man’s that of doctor. Furthermore, because the creative realm belonged to men, creative or intellectual women were viewed as somehow defective. Therefore, when female writers began to illustrate female madness as a result of external circumstances, they had to do so using the language of men. In her works, Sylvia Plath shows her awareness of patriarchal oppression and, in The Bell Jar, displays an understanding of madness as a social construction. The Bell Jar depicts Esther Greenwood’s madness as the result of an inability to reconcile dominant notions of the feminine with her creativity and, while Plath draws on contemporary metaphors to depict Esther’s psychic deterioration, she also creates new metaphors. In this article, I argue that Plath creates new vocabularies of madness to depict female madness as the result of patriarchal oppression; I suggest that these vocabularies are also an attempt to reject representations of madness that have been constructed and expressed in patriarchal language.

中文翻译：

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疯狂的隐喻：西尔维娅·普拉斯（Sylvia Plath）在《钟罩》中对父权制语言的拒绝

纵观历史，疯狂的概念一直与女性联系在一起，并由男性定义。传统上，女性的疯狂被视为女性脆弱体质的结果。甚至当精神科医生开始检查病人的情况时，女人的位置仍然是病人的位置，而男人的位置是医生的位置。此外，因为创意领域属于男性，所以创意或知识女性被视为有某种缺陷。因此，当女性作家开始描写女性因外在环境而疯狂时，她们不得不使用男性的语言。在她的作品中，西尔维娅·普拉斯 (Sylvia Plath) 展示了她对父权压迫的意识，并在《钟形罩》(The Bell Jar) 中展示了对作为一种社会建构的疯狂的理解。钟形罩将埃丝特·格林伍德的疯狂描述为无法将女性的主导观念与她的创造力调和的结果，而普拉斯利用当代隐喻来描绘埃丝特的精神衰退，她也创造了新的隐喻。在这篇文章中，我认为普拉斯创造了新的疯狂词汇，将女性的疯狂描述为父权压迫的结果；我认为这些词汇也是试图拒绝以父权制语言构建和表达的疯狂表现。我认为普拉斯创造了新的疯狂词汇来描绘女性的疯狂是父权压迫的结果；我认为这些词汇也是试图拒绝以父权制语言构建和表达的疯狂表现。我认为普拉斯创造了新的疯狂词汇来描绘女性的疯狂是父权压迫的结果；我认为这些词汇也是试图拒绝以父权制语言构建和表达的疯狂表现。