派博傳思國際中心

標(biāo)題: Titlebook: Angela Carter; Linden Peach Textbook 1998Latest edition Macmillan Publishers Limited 1998 America.bibliography.critique.dance.death.Englis [打印本頁]

作者: deliberate    時(shí)間: 2025-3-21 18:43
書目名稱Angela Carter影響因子(影響力)




書目名稱Angela Carter影響因子(影響力)學(xué)科排名




書目名稱Angela Carter網(wǎng)絡(luò)公開度




書目名稱Angela Carter網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Angela Carter被引頻次




書目名稱Angela Carter被引頻次學(xué)科排名




書目名稱Angela Carter年度引用




書目名稱Angela Carter年度引用學(xué)科排名




書目名稱Angela Carter讀者反饋




書目名稱Angela Carter讀者反饋學(xué)科排名





作者: 大方一點(diǎn)    時(shí)間: 2025-3-21 23:44

作者: addition    時(shí)間: 2025-3-22 03:48
Textbook 1998Latest editionglish realist novel and frequently drew on prenovelistic forms, Linden Peach maintains that she still addressed the ‘a(chǎn)ctuality‘ of people‘s lives. In novels crammed with themes, ideas and images, Carter is seen as blurring the boundaries between literature, philosophy and cultural critique.
作者: cogent    時(shí)間: 2025-3-22 05:28

作者: 粘    時(shí)間: 2025-3-22 11:56

作者: hedonic    時(shí)間: 2025-3-22 13:19
Giulia Wally Scurati,Marco Bertonicalled them Carter’s Bristol trilogy, a view supported by Lorna Sage (1994b, p. 22). Sage, however, is troubled by O’Day’s description of them as realist texts. Whilst, as O’Day argues, they do not possess the ‘magic realist’ qualities of Carter’s later fiction, she believes that they have ‘the extra density of fiction squared’ (p. 22).
作者: covert    時(shí)間: 2025-3-22 17:52
https://doi.org/10.1007/978-3-031-60082-1uch as Timothy Leary who is parodied in Donally (p. 18). However, they are different from the other novels written in the 1960s in ways which anticipate the later fiction. Indeed, both novels may be seen as transitional works, bridging the gap between the Bristol trilogy and the less realistic mode of the post-1970 novels.
作者: 爭議的蘋果    時(shí)間: 2025-3-22 22:35
th study devoted to her novels, Linden Peach demonstrates how Carter‘s fiction has retained the power to shock us, move us and make us laugh. This lively book provides both close readings of individual texts and an overview of her work. Although Carter preferred a mode of writing closer to fantasy t
作者: rods366    時(shí)間: 2025-3-23 04:15
Maria Spadafora,Mario Rapaccini,Shaun Westial adventure stories, anthropological idylls according to Rousseau or Levi-Strauss, and the fantasies of philosophy, the world as Will and Idea’ (p. 34). It also has some of the characteristics of the quest narrative.
作者: obligation    時(shí)間: 2025-3-23 09:06

作者: 打包    時(shí)間: 2025-3-23 13:30
Palgrave Modern Novelists Serieshttp://image.papertrans.cn/a/image/157217.jpg
作者: GIBE    時(shí)間: 2025-3-23 15:50

作者: IVORY    時(shí)間: 2025-3-23 20:55
Macmillan Publishers Limited 1998
作者: 盡忠    時(shí)間: 2025-3-23 23:18

作者: separate    時(shí)間: 2025-3-24 05:03

作者: rheumatology    時(shí)間: 2025-3-24 10:12

作者: 捏造    時(shí)間: 2025-3-24 13:00
Maria Spadafora,Mario Rapaccini,Shaun WestWhen Angela Carter died of cancer in 1992, aged only 51, she became, as Nicci Gerrard (1996) observed four years later, ‘one of our most missed, lost contemporaries’ (p. 20). Her early death has coloured the way in which her writing is now received. Paul Barker (1995) has wryly recalled:
作者: minaret    時(shí)間: 2025-3-24 16:10

作者: 繁重    時(shí)間: 2025-3-24 20:02

作者: 有權(quán)    時(shí)間: 2025-3-25 00:06

作者: 記憶    時(shí)間: 2025-3-25 05:41
Illegitimate Power, Carnival and Theatre,Merja Makinen (1992) has drawn a distinction between ‘the disquietingly savage analyses of patriarchy’ in the novels of the 1960s and 1970s — . and . — and the ‘exuberant’ last two novels, . and .:
作者: Ballad    時(shí)間: 2025-3-25 10:09
Postscript,I have deliberately avoided writing a ‘conclusion’ to this critical study. A ‘Postscript’ seemed more appropriate because the book is not intended as a final word on Carter’s work, as if there ever could be, and because I do not believe that Carter herself approved of conclusions.
作者: Introvert    時(shí)間: 2025-3-25 12:05

作者: 經(jīng)典    時(shí)間: 2025-3-25 16:49
Pain and Exclusion,, they recall the Bristol trilogy. For example, Lorna Sage (1994b) has pointed out that . mocks the cultural landscape of the 1960s such as the glamour of underground, countercultural movements; the siege of university campuses; the rebirth of dandyism; and the power acquired by intellectual gurus s
作者: 壯麗的去    時(shí)間: 2025-3-25 21:36
The Last Days,re important differences between them. As Elaine Jordan (1990) points out: . draws on ‘pornography, the Gothic, fairy tales, horror films, boy’s imperial adventure stories, anthropological idylls according to Rousseau or Levi-Strauss, and the fantasies of philosophy, the world as Will and Idea’ (p.
作者: Insulin    時(shí)間: 2025-3-26 01:58
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