1. Questions :
- How does the creative writer consist of creative works such as prose and verse ?
- subsequently, if there is a motive particularly converting internal and spiritual emotions into
physicalised formats like prose and verse, then what is it?
- if the motive is the streaming,
what is the conscious streaming and the unconscious streaming and eventually how do they
harmonise and create a correlation with physical and internal streaming.
- in terms of methodology, how do they distinctly express themselves by physical and spiritual
formats? who could be instances for those cases. i.e) Virginia Woolf, Frank O Hara, Sylvia Plath.
2. Aims/ Objectives : the initial aim is to be clear in discovering the genuine or more appropriately
'primary' motif and the methods in which it becomes transparent. this aim would be able to reach
its own conclusion throughout answering the questions arranged above.
3. Context : my project shall mostly be depending upon psychological approach conducted originally
by Freud, thus it will follow Freudian theology as the cornerstone of the project. Upon this theory,
I will then explore and examine some authors such as Frank O Hara who is being explored
throughout the course 'New York Schools' at the moment, and Virginia Woolf who has become the
creator of her own peculiar writing skill named 'the streaming of the consciousness'. because she
cannot be out-counted from this project as it runs through her and Freudian theories as the
basement. and finally Sylvia Plath should be mentioned as well to claim on Freudian approach
more explicitly and implicitly in terms of looking at her particular sentiment of sadness and
undefinable behaviours arranged in her pieces.
4. Methodology : I will endeavour to explore that peculiar psychological approach towards the pieces
of the three authors by mostly magnifying at music category, more elaborately, singing method.
by exclaiming out the internal emotions that were originally undefined throughout singing method,
creative writers come to encounter the brand-new inhaling creativity that I would refer as. The reason I work with this method is because I sing well, and this could be various in different people's distinct talents. however, the brand-new inhaling creativity that I would refer to is not a thing only could be obtained by well-sung singing. since the explosion of internal emotions and subtle sentiment could be conducted by any sort of singing such as just shouting and screaming. it doesn't always need to be a good singing when it comes to looking at the methodological interpretation.
5. Outcomes : I will eventually challenge to produce how the motive of creative works could work
and clarify the difference existing between internal and physical art and how they become the
visible creative works throughout the method (singing) in relation with Freudian approach
exploring the three related authors mentioned above. I shall especially focus upon the sentiment of
sorrow and grief not only because it is the three authors' major sentiment but also it is the major
factor that produces most creative works.
• Soloist
the long enveloped inside.
the old restrained travel.
never yet inoculated anger.
those blooms blow out windless.
thy profound goes into darkness.
the long enveloped inside.
the blue-originated retrospection.
never yet found settlement.
those shades sneak under the ditch.
thy yearning flies across the blue.
• Pond
The refraction of classic rumples on her
eye rims
Restrains the freedom of distress.
Floundering to drop by drop,
She averts her eyes and turns into
something
Of her child and lover.
Too many cramped traces in flowed tide
No longer able to turn back without death.
She encounters it with the self-portrait
Reflected on a shady and everlasting pond.
Thy renown rolls in the deep.
• Leave
windless flame shines with a million leaves.
blooming florence look around on the sly.
to feel the joy of beholding the rolling songs in a journey
of campus.
the vista of the opposite side rings a bell of her childhood.
a pinky nerve runs through the veins without a warning of wink.
a little and quiet girl stuck in a silent room,
swallowing the deepest grief of loneliness.
alongside of the avenue in the darkest blue.
florence shines brightest for the sole everlasting.
a sudden wisp of breeze wakens her glimpse of silence.
• The Night of Counting Stars
the sky where the season is passing away,
is full of fall.
I am nearly counting every single star
under the starry fall, without a matter.
the reason I can no longer count those stars
engraved deeply in my heart,
is because the morning is coming up,
and the nocturne of tomorrow will stand still,
and my youth has not been done yet.
•
Freud, S., Ragg-Kirkby, H., Bowie, M. and Freud, S.
2003. An outline of psychoanalysis. London: Penguin Books.
•
Freud, S., Reddick, J.
and Edmundson, M. (2003). Beyond the pleasure principle and other writings.
London: Penguin Books.
•
Woolf,
V., Michon, P., Maurois, A. and Nordon, P. 1993. Mrs Dalloway. Paris:
Librairie générale française.
•
Woolf, V. (1957). A
room of one's own. New York: Harcourt, Brace, Jovanovich.
•
Woolf, V.,
Goldman, J. and Woolf, V. (1998). To the lighthouse. New York: Columbia
University Press.
•
Woolf, V. (1973). Orlando.
New York: Harcourt Brace Jovanovich.
•
Person, E. and
Freud, S. (1995). On Freud's “Creative writers and day-dreaming".
New Haven: Yale Univ. Press.
•
Clifton P. Fadiman
(1995). The birth of tragedy. New York: Dover Publications, Inc.
•
Freud, S. 1997. The interpretation of dreams.
Hertfordshire, England: Wordsworth Editions.
