Writing Back: Sylvia Plath and Cold War PoliticsFairleigh Dickinson University Press, 2002 - 289 Seiten Writing Back: Sylvia Plath and Cold War Politics explores the relationship between Plath's writing and Cold War discourses and argues that the time (1960-1963), the place (England), and the global politics are important factors for us to consider when we consider the rhetoric of Plath's later poetry and fiction. Based on fresh readings arising from new research, this study argues that Plath should not be depoliticized, and examines her writing alongside the discourses of the period as expressed in newspaper reporting, magazines, and BBC radio. In contrasting her relationship with institutions in America in the 1950s with her responses in England to church, the American arms industry, the National Health Service, and the Campaign for Nuclear Disarmament it becomes clear that the process of cultural defamiliarization causes Plath to question the model of the individual artist divorced from society, a model of the writer that had previously seemed so attractive. |
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Seite 61
... called " A War to End all Wars " about World War I. The cover is a watercolor by Plath of a girl ( pre- sumably herself ) at a desk imagining the fighting and slaughter as she reads a book.32 In the same year she produced a project called ...
... called " A War to End all Wars " about World War I. The cover is a watercolor by Plath of a girl ( pre- sumably herself ) at a desk imagining the fighting and slaughter as she reads a book.32 In the same year she produced a project called ...
Seite 62
... called “ Lois ” refers to the pictures brought back by her brother showing atrocities involving piles of dead babies and incin- erators . Such anti - Communist propaganda clearly has its roots in the dis- covery of Nazi genocide at the ...
... called “ Lois ” refers to the pictures brought back by her brother showing atrocities involving piles of dead babies and incin- erators . Such anti - Communist propaganda clearly has its roots in the dis- covery of Nazi genocide at the ...
Seite 255
... called Jess , and the hero is called Ian . This page has a Cambridge setting , and its reference to a character called Luke who lives near a fish and chip shop links it to the Smith - held pages describing unnamed characters vis- iting ...
... called Jess , and the hero is called Ian . This page has a Cambridge setting , and its reference to a character called Luke who lives near a fish and chip shop links it to the Smith - held pages describing unnamed characters vis- iting ...
Inhalt
Acknowledgments | 9 |
Sylvia Plath Writing History and Politics | 15 |
Performance Politics and Place | 87 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
American Anne Sexton anxieties appears Ariel poems Aurelia Plath baby Bell Jar body bomb broadcast Cambridge child Cold Cold War contemporary copy critics Cuban Missile Crisis cultural Daddy death describes Devon discourse discussion draft dreams earlier early England Esther evidence experience exploration Faber and Faber Falcon Yard father fear feeling Fever gender global politics Hiroshima Hughes's identity January journal later Laura Riding letter literary Little Fugue London magazine manuscript Missile Crisis Mortimer Rare Book mother MRBR myth North Tawton novel nuclear October period Peter Orr Plath read Plath's poetry Plath's writing poet Press prose published radio Rare Book Room relationship rhetoric says seems sense short story Smith College speaker specific Strangeways student suggest Sylvia Plath Ted Hughes Thalidomide things Three Women tion Top Withens voice Waking in Winter White Goddess Withens woman writing back written wrote Wuthering Heights York
Verweise auf dieses Buch
Out of the Cradle Endlessly Rocking: Motherhood in Sylvia Plath's Work Nephie Christodoulides Keine Leseprobe verfügbar - 2005 |
Apart from Modernism: Edith Wharton, Politics, and Fiction Before World War I Robin Peel Eingeschränkte Leseprobe - 2005 |