Machines and Masculinity in “The Bride Comes to Yellow Sky”
Bibliographic Data
| ID | 16674129 |
|---|---|
| Authors | S Selina Jamil (Illumina (United States), corresponding author) |
| Year | 2020 |
| Volume | 33 |
| Issue | 1 |
| Pages | 69-76 |
| Publication date | 2020-05-04 |
| Open Access | No |
| Type | ARTICLE |
| Venue | ANQ A Quarterly Journal of Short Articles Notes and Reviews (JOURNAL) |
| Journal identifiers | ISSN: 0895-769X • E-ISSN: 1940-3364 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/0895769x.2019.1583548 |
| OpenAlex | W2919890787 |
| Language | EN |
| References cited | 9 |
Stephen Crane begins “The Bride Comes to Yellow Sky” (1898) with a dominant image of “[t]he great Pullman” that shows such “dignity of motion” that the horizon “sweep[s] into the east” as it speeds
Art · Art history · Astronomy · Bride · Dignity · Masculinity · Physics · Political science · Sky · Sociology · American and British Literature Analysis · Contemporary Literature and Criticism · Gender Studies · Law · Utopian, Dystopian, and Speculative Fiction · Geology
| Highly cited | No |
|---|