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The Munich Mannequins

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society's transformation of women into puppets, and unnatural figures, representing their "disgust with" and "fear of women". She goes on to say that the winter setting in Plath's nature-themed poems represent a period of hibernation before spring and rebirth, while in the context of this city poem, a harsher, social, male-dominated setting, the winter setting represents death instead.
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appearance of the culturally ubiquitous live German models and that of inanimate mannequins. Just as mannequins cannot procreate, nor can their live counterparts risk their "perfection" by becoming pregnant. Plath suggests that perfection itself "tamps the womb," and goes on to describe the emotions she associates with
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Literary critic Pamela J. Annas argues "The Munich Mannequins" describes "particularly well the social landscape within which the "I" of Sylvia Plath's poems is trapped". She supports this ultimately through highlighting the domination of the artificial (mannequins) over the real (women) and the male
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In "The Munich Mannequins" Plath refers to the lives of women and how they are seen by others, specifically with regard to how biological functions related to childbearing are perceived to define them. The first line of the poem, "Perfection is terrible, it cannot have children," refers both to the
59:," and those from Germany enjoyed special popularity. "The Munich Mannequins" was written in little over a month before her suicide, making it one of her Ariel poems. 31:
which recounts Plath's experience of insomnia on a trip to the title German city. The poem is famous for its opening line and for referring to conservative
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The poem is written in 13 couplets, ending with a single one-line stanza, and follows no rhyme scheme.
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Schneider, Sara K. (1997). "Body Design, Variable Realisms: The Case of Female Fashion Mannequins".
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Johnny Panic and the Bible of Dreams: Short Stories, Prose, and Diary Excerpts
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Essay: The Self in the World: The Social Context of Sylvia Plath's Late Poems
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In the early 1960s, the fashion models were often referred to as "
153: 36: 32: 24: 72:, the cycles of menstruation symbolized by the moon. 401: 129: 127: 125: 123: 169: 228:Two Lovers and a Beachcomber by the Real Sea 120: 176: 162: 91: 334:Superman and Paula Brown's New Snowsuit 402: 320:Letters Home: Correspondence 1950–1963 42: 157: 136:, Vol. 7, Nos. 1–2, 1980, pp. 171–83 13: 14: 431: 142: 62: 183: 85: 1: 79: 274:The Colossus and Other Poems 7: 10: 436: 50: 343: 304: 265: 191: 39:between Paris and Rome." 415:Poetry by Sylvia Plath 214:The Munich Mannequins 21:The Munich Mannequins 249:Mad Girl's Love Song 389:Sylvia Plath effect 43:Style and structure 288:Crossing the Water 266:Poetry collections 397: 396: 16:Sylvia Plath poem 427: 305:Prose and novels 178: 171: 164: 155: 154: 137: 131: 118: 117: 89: 435: 434: 430: 429: 428: 426: 425: 424: 400: 399: 398: 393: 363:Nicholas Hughes 339: 300: 261: 187: 182: 145: 140: 134:Women's Studies 132: 121: 106:10.2307/1511936 90: 86: 82: 65: 53: 45: 17: 12: 11: 5: 433: 423: 422: 417: 412: 410:American poems 395: 394: 392: 391: 386: 378: 372: 366: 360: 354: 347: 345: 341: 340: 338: 337: 330: 323: 316: 308: 306: 302: 301: 299: 298: 291: 284: 277: 269: 267: 263: 262: 260: 259: 252: 245: 238: 231: 224: 217: 210: 203: 195: 193: 189: 188: 181: 180: 173: 166: 158: 152: 151: 144: 143:External links 141: 139: 138: 119: 83: 81: 78: 64: 63:Interpretation 61: 52: 49: 44: 41: 15: 9: 6: 4: 3: 2: 432: 421: 418: 416: 413: 411: 408: 407: 405: 390: 387: 384: 383: 379: 376: 375:Aurelia Plath 373: 370: 367: 364: 361: 358: 357:Frieda Hughes 355: 352: 349: 348: 346: 342: 335: 331: 329: 328: 324: 322: 321: 317: 315: 314: 310: 309: 307: 303: 297: 296: 292: 290: 289: 285: 283: 282: 278: 276: 275: 271: 270: 268: 264: 257: 256:The Applicant 253: 250: 246: 243: 239: 236: 232: 229: 225: 222: 218: 215: 211: 208: 204: 201: 197: 196: 194: 190: 186: 179: 174: 172: 167: 165: 160: 159: 156: 150: 147: 146: 135: 130: 128: 126: 124: 115: 111: 107: 103: 99: 95: 94:Design Issues 88: 84: 77: 73: 71: 60: 58: 48: 40: 38: 34: 30: 26: 22: 380: 325: 318: 313:The Bell Jar 311: 295:Winter Trees 293: 286: 279: 272: 235:Lady Lazarus 213: 185:Sylvia Plath 133: 97: 93: 87: 74: 70:menstruation 66: 54: 46: 29:Sylvia Plath 20: 18: 385:(2003 film) 100:(3): 5–18. 420:1965 poems 404:Categories 369:Otto Plath 359:(daughter) 351:Ted Hughes 80:References 57:mannequins 353:(husband) 377:(mother) 371:(father) 35:as the " 344:Related 114:1511936 51:Context 23:" is a 382:Sylvia 221:Tulips 112:  37:morgue 33:Munich 365:(son) 281:Ariel 242:Ennui 207:Daddy 200:Ariel 192:Poems 110:JSTOR 25:poem 102:doi 27:by 406:: 122:^ 108:. 98:13 96:. 336:" 332:" 258:" 254:" 251:" 247:" 244:" 240:" 237:" 233:" 230:" 226:" 223:" 219:" 216:" 212:" 209:" 205:" 202:" 198:" 177:e 170:t 163:v 116:. 104:: 19:"

Index

poem
Sylvia Plath
Munich
morgue
mannequins
menstruation
doi
10.2307/1511936
JSTOR
1511936




Essay: The Self in the World: The Social Context of Sylvia Plath's Late Poems
v
t
e
Sylvia Plath
Ariel
Daddy
The Munich Mannequins
Tulips
Two Lovers and a Beachcomber by the Real Sea
Lady Lazarus
Ennui
Mad Girl's Love Song
The Applicant
The Colossus and Other Poems
Ariel

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