Cold War Romans
Cold War Romans
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冷战罗马人
DOI：
10.1002/9781444305074.ch8
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发表时间：
2009
期刊：
影响因子：
--
通讯作者：
M. Malamud
中科院分区：
文献类型：
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作者：
M. Malamud
JljLoward 在他的自传《Being Red》中快速回忆道，51 年 19 月，当他向《纽约时报》的“审查员”展示一则广告草图时，他想为他自己出版的关于斯巴达克斯领导的奴隶起义的马克思主义寓言竞选广告，审查员研究了它，然后评论说它似乎没有任何“恶魔”的成分。 “那书呢？”他问道。 “有关于以武力或暴力推翻政府的事吗？” “不是这个政府，”法斯特回答道。 “古罗马。” “我们会抓住机会。”这则整版广告刊登在《纽约时报书评》上。1 法斯特关于冷战初期共产主义政治迫害期间审查制度的轶事揭示了如何通过穿着罗马服装来表达禁忌。两篇相互关联的文本使用斯巴达克斯的奴隶起义来评论冷战期间的美国政治和文化：霍华德·法斯特的历史小说《斯巴达？ tacus，以及好莱坞演员兼制片人柯克·道格拉斯 (Kirk Douglas) 于 960 年改编的同名电影。罗？人的隐喻在法斯特的小说和道格拉斯的电影中具有富有成效的政治用途？两者都是为了政治干预？系统蒸发散。罗马隐喻在 20 世纪 50 年代的好莱坞主流电影中被用作全球地缘政治的寓言？冷战的抽搐以及国内政治和紧张局势的类似情况。 《法斯特》的斯巴达克斯颠倒了更常见的含义？在罗马流行文化中，他被视为代表现代极权主义的外部压迫者。罗马代表帽子？意大利主义阶级分化的美国和奴隶代表着现代工资奴隶，即被剥削的无产阶级。柯克·道格拉斯的电影
JljLoward fast recalled in his autobiography Being Red that when he showed a sketch to the "censor" at The New York Times in 19 51 for an ad he wanted to run for his self-published Marxist parable about the slave revolt against Rome led by Spartacus, the man studied it and then commented that it did not appear to have anything "de? monic" in it. "What about the book?" he asked. "Anything about the overthrow of the government by force or violence?" "Not this government," replied Fast. "Ancient Rome." "We'll take a chance on that." The full-page ad ran in The New York Times Book Review.1 Fast's anecdote about censorship during the Communist witch hunt in the early years of the Cold War reveals how the forbidden could be expressed by cloaking it in Roman dress. Two interrelated texts use the slave revolt of Spartacus as a way of commenting on American politics and culture during the Cold War: Howard Fast's historical novel, Spar? tacus, and its i960 cinematic adaptation of the same name by Hollywood actor and producer Kirk Douglas. The Ro? man metaphor has productive political uses in Fast's novel and Douglas' film?both were intended as political interven? tions. Roman metaphors were deployed in mainstream 1950s Hollywood films as allegories of the global geopoli? tics of the Cold War and analogues of domestic politics and tensions. Fast's Spartacus inverted the more common signifi? cation in popular culture of Rome as an external oppressor who stood for modern totalitarianism. Rome stands for cap? italist class-divided America and the slaves stand for modern wage slaves, the exploited proletariat. Kirk Douglas' film