Nowadays it is becoming clearer that mind and body are not separated but linked, and that the body is no longer subordinate to the mind, but an equal participant in constituting the subject as a condition of subjectivity. For example, Freud alleges that the outline of ego is a psychical projection of the erotogenic surface of the body. The aim of this study is to analyze Plath`s poetry in terms of Kristeva`s theory by focussing on the way the body and corporeality signify in the mental dimension; in other words, to analyze how body or corporeality participates in constituting her subject/text, ultimately in constituting her poetry. Like Freud`s view, Plath`s poems such as "Stones" reveal that ego is the projection of erotogenic, exchangeable parts of the body, which are originally separate but temporarily combined. According to her biographical sketch, her family moved close to the sea when she was four, where the rhythm of seascape and the sound of the waves seemed to be inscribed in her body, or to merge with her bodily rhythm, that is, semiotic rhythm. It was also the symbiotic breath and rhythm she felt when she was in her mother`s arms. Kristeva views this semiotic as maternal space where the mother`s corporeality prevails, and calls it `semiotic chora.` "The Bull of Bandylaw" is, in fact, a metaphor for this kind of semiotic energy. The blood, a part of the body, in Plath`s poetry is charged with psychical significance. The purple juice suggested in "Blackberrying," and blood in "Poppies in July," "Two Sisters Persephone," The Bell Jar, "The Surgeon at Two a.m.," all imply that she feels an unnatural disgust about bleed/menstruation. For her, the blood is what Kristeva calls `the abject,` a thing which gives an irrational disgust or attraction. In conclusion. Plath says thar "the blood jet is poetry; / There is no stopping it," which means that poetry is the ideal genre of human expression because it consists both of semiotic/bodily force and mental/intellectual power.