標(biāo)題: Titlebook: Auden, MacNeice, Spender: The Thirties Poetry; Michael O’Neill,Gareth Reeves Textbook 1992Latest edition Michael O?Neill and Gareth Reeves [打印本頁] 作者: Monsoon 時(shí)間: 2025-3-21 20:06
書目名稱Auden, MacNeice, Spender: The Thirties Poetry影響因子(影響力)
書目名稱Auden, MacNeice, Spender: The Thirties Poetry影響因子(影響力)學(xué)科排名
書目名稱Auden, MacNeice, Spender: The Thirties Poetry網(wǎng)絡(luò)公開度
書目名稱Auden, MacNeice, Spender: The Thirties Poetry網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Auden, MacNeice, Spender: The Thirties Poetry被引頻次
書目名稱Auden, MacNeice, Spender: The Thirties Poetry被引頻次學(xué)科排名
書目名稱Auden, MacNeice, Spender: The Thirties Poetry年度引用
書目名稱Auden, MacNeice, Spender: The Thirties Poetry年度引用學(xué)科排名
書目名稱Auden, MacNeice, Spender: The Thirties Poetry讀者反饋
書目名稱Auden, MacNeice, Spender: The Thirties Poetry讀者反饋學(xué)科排名
作者: pellagra 時(shí)間: 2025-3-21 23:43 作者: 骨 時(shí)間: 2025-3-22 04:13
,Spender (1) ‘The sense of falling light’,actising poet. Unfortunately, the clarity and candour of Spender’s prose have distracted attention from his more demanding poetry: poetry such as that contained in . (1933; second edition 1934) on which this chapter will concentrate.作者: 討人喜歡 時(shí)間: 2025-3-22 07:19 作者: 老巫婆 時(shí)間: 2025-3-22 10:18
,Spender (2) ‘To will this Time’s change’,ising in February 1934, the year the poem was published) and . (a poetic drama published in 1938); finally, it looks at . (Spender’s last collection of the decade, published in 1939). Among other things, this last collection contains Spender’s most important poems about the Spanish Civil War, poems considered in Chapter 8.作者: 消極詞匯 時(shí)間: 2025-3-22 14:09
https://doi.org/10.1007/978-3-322-94565-5a? Was not Picasso on the side of the Government?)’.. Yet if the Civil War prompted writers to wear their ideological hearts on their sleeves, the best poetry in English to come out of it — much of which was composed by Auden, MacNeice and Spender — is often marked by inner divisions.作者: fertilizer 時(shí)間: 2025-3-22 17:40 作者: CROW 時(shí)間: 2025-3-22 21:25
he often creative quarrel in their work between a sense of poetry as autonomous art and an anti-modernist desire to communicate. The book does not allow the poetry to be subsumed within some impersonal historical Zeitgeist; instead it concentrates on the issue of poetic achievement, giving individua作者: 美學(xué) 時(shí)間: 2025-3-23 04:26 作者: Synovial-Fluid 時(shí)間: 2025-3-23 07:22 作者: byline 時(shí)間: 2025-3-23 11:13 作者: Nucleate 時(shí)間: 2025-3-23 16:29
,Auden (1) ‘An altering speech’,rhetorical effects, posings, disruptions, syntactical swervings, dislocations, obscurities? Is it better or worse for the fact that, in Justin Replogle’s words, its author seems to have ‘often cared more about the liveliness of the total verbal performance than about philosophy, ideas, social themes作者: Omniscient 時(shí)間: 2025-3-23 18:12 作者: FLACK 時(shí)間: 2025-3-24 02:08
MacNeice (1) Turning the Music On, ‘language cannot be divorced from some sort of social world’. Out of this belief came his emphasis on everyday utterance, which is always potentially poetic: ‘Ordinary conversation is nearer to lyrical poetry than to cold prose’ (a statement which largely accounts for his admiration for the plays o作者: 剛開始 時(shí)間: 2025-3-24 02:20
,Auden (2) ,: ‘They stole to force a hearing’,s truer to its nature than Mendelson’s demonstration that there is a ‘hidden key’ (a paper by Auden’s friend, the anthropologist John Layard), and that it is ‘possible to reconstruct the original conception that was blurred in the finished work’; for such an approach is in danger of letting the conc作者: Decline 時(shí)間: 2025-3-24 09:34
,Spender (2) ‘To will this Time’s change’,s Spender’s judgement about the poets of the thirties relevant to his own work? This chapter attempts an answer; it begins by considering some of the more overtly political or programmatic pieces in ., 1933; it then briefly discusses . (a long poem about the suppression of the Austrian socialist upr作者: 輕浮思想 時(shí)間: 2025-3-24 13:51
,Auden (3) ‘A change of heart’,tom and Cure’.. Certainly Auden’s major poems of the thirties often seek both to diagnose and suggest ways of healing psychological and political ills. The ‘dualistic idea’ noted by Spender is evident from the start of Auden’s career. So ‘Sir, no man’s enemy, forgiving all’ (written in 1929) seeks r作者: 遣返回國 時(shí)間: 2025-3-24 16:07 作者: white-matter 時(shí)間: 2025-3-24 19:53 作者: Diuretic 時(shí)間: 2025-3-25 02:10
http://image.papertrans.cn/b/image/164962.jpg作者: Militia 時(shí)間: 2025-3-25 05:21 作者: 小步舞 時(shí)間: 2025-3-25 08:21 作者: 方舟 時(shí)間: 2025-3-25 13:04
Textbook 1992Latest editionreative quarrel in their work between a sense of poetry as autonomous art and an anti-modernist desire to communicate. The book does not allow the poetry to be subsumed within some impersonal historical Zeitgeist; instead it concentrates on the issue of poetic achievement, giving individual poems thoughtful and illuminating attention.作者: 壓艙物 時(shí)間: 2025-3-25 17:39
he often creative quarrel in their work between a sense of poetry as autonomous art and an anti-modernist desire to communicate. The book does not allow the poetry to be subsumed within some impersonal historical Zeitgeist; instead it concentrates on the issue of poetic achievement, giving individual poems thoughtful and illuminating attention.作者: Picks-Disease 時(shí)間: 2025-3-25 21:13 作者: hemophilia 時(shí)間: 2025-3-26 03:31
Dynamics of Charge Carriers and Photons,rhetorical effects, posings, disruptions, syntactical swervings, dislocations, obscurities? Is it better or worse for the fact that, in Justin Replogle’s words, its author seems to have ‘often cared more about the liveliness of the total verbal performance than about philosophy, ideas, social themes作者: FANG 時(shí)間: 2025-3-26 06:15 作者: characteristic 時(shí)間: 2025-3-26 11:07 作者: Adenocarcinoma 時(shí)間: 2025-3-26 14:05
,Vertrauen? Einrede gegen eine ?quivokation,s truer to its nature than Mendelson’s demonstration that there is a ‘hidden key’ (a paper by Auden’s friend, the anthropologist John Layard), and that it is ‘possible to reconstruct the original conception that was blurred in the finished work’; for such an approach is in danger of letting the conc作者: anesthesia 時(shí)間: 2025-3-26 18:44
https://doi.org/10.1007/978-3-658-40916-6s Spender’s judgement about the poets of the thirties relevant to his own work? This chapter attempts an answer; it begins by considering some of the more overtly political or programmatic pieces in ., 1933; it then briefly discusses . (a long poem about the suppression of the Austrian socialist upr作者: BUDGE 時(shí)間: 2025-3-26 23:23 作者: 雜色 時(shí)間: 2025-3-27 03:18 作者: 姑姑在炫耀 時(shí)間: 2025-3-27 05:19
https://doi.org/10.1007/978-3-322-94565-5Spender and John Lehmann, the poem concludes the section entitled ‘The Map’ (begun by Auden’s ‘Spain’ to which Warner’s panoramic quatrains appear to be indebted). Warner’s poem inclines to didactic solemnity. But it makes clear the way many writers viewed the Civil War that broke out in Spain after作者: Sinus-Rhythm 時(shí)間: 2025-3-27 12:02 作者: 鴿子 時(shí)間: 2025-3-27 15:12
,Auden (1) ‘An altering speech’,city of Auden’s early poetry to penetrate deeply with a phrase or an image. Stan Smith’s deconstructionist approach makes the very disruptions and dislocations of this poetry its ., arguing that it represents ‘the crisis of the subject …, which constantly dissolves the problematic self back into the作者: 佛刊 時(shí)間: 2025-3-27 20:34
MacNeice (1) Turning the Music On,‘the . of an ordinary phrase, the apparently flat statement with a double meaning’. Such effects demonstrate what he called the ‘two-or-more-in-oneness’ he valued in poetry (., pp. 100, 142, 165, 163). Nor is this a mere relishing of verbal ambiguity, for his poetry is pervaded by doubleness, which 作者: LAVE 時(shí)間: 2025-3-28 01:40
,Auden (2) ,: ‘They stole to force a hearing’,eterminacy, although to expect answers is to sell such insight short. For all her evident frustration at finding . indecipherable, her comment that it ‘a(chǎn)ppears to be an account of an attempt to come to terms with — and finally break free from — the voices and attitudes, within and without a man, whi作者: anthropologist 時(shí)間: 2025-3-28 03:49 作者: INERT 時(shí)間: 2025-3-28 06:26
GaN and ZnO-based Materials and Devicesterature’ as ‘a(chǎn) sign-system, or set of sign-systems, of signifying practices, composing a structural and structured whole’ (Cunningham, p. 1). Yet, more strongly still, we believe that literary texts arouse what Helen Vendler calls ‘the phenomenon of aesthetic response’ and that, in the same critic’作者: MOAT 時(shí)間: 2025-3-28 11:55
Dynamics of Charge Carriers and Photons,city of Auden’s early poetry to penetrate deeply with a phrase or an image. Stan Smith’s deconstructionist approach makes the very disruptions and dislocations of this poetry its ., arguing that it represents ‘the crisis of the subject …, which constantly dissolves the problematic self back into the作者: 吞噬 時(shí)間: 2025-3-28 18:24 作者: ASSAY 時(shí)間: 2025-3-28 19:21
,Vertrauen? Einrede gegen eine ?quivokation,eterminacy, although to expect answers is to sell such insight short. For all her evident frustration at finding . indecipherable, her comment that it ‘a(chǎn)ppears to be an account of an attempt to come to terms with — and finally break free from — the voices and attitudes, within and without a man, whi作者: 含糊其辭 時(shí)間: 2025-3-28 23:21
https://doi.org/10.1007/978-3-663-14423-6 of the Munich Agreement (September 1938; Neville Chamberlain found ‘peace in our time’ by offering the Sudetenlands of Czechoslavakia to Hitler), a regrouping of forces behind the lines to reassert the value of individual utterance in a world of, inevitably, mass emotion.作者: 現(xiàn)任者 時(shí)間: 2025-3-29 06:03
