作者: 向下 時(shí)間: 2025-3-25 10:56
‘These heavy sands are language tide and wind have silted here’,: Tidal Voicing and the Poetics of H belated return home: ‘wait theres Georges church bells wait 3 quarters the hour l wait 2 oclock well thats a nice hour of the night for him to be coming home […]’ (1993: 722). At this point, the chronotopic line of . closes, or rather, folds upon itself. The reader is enclosed in a temporality that
作者: Salivary-Gland 時(shí)間: 2025-3-25 13:37
作者: 冷漠 時(shí)間: 2025-3-25 15:52
‘Her speech a purely buccal phenomenon’: Voice as a Lost Object in Samuel Beckett’s Worksds including literature, film, philosophy and psychoanalysis, most notably by Steven Connor, Mladen Dolar and Adriana Cavarero, whose works were inspired by Kaja Silverman, Guy Rosolato and Michel Chion. As Norie Neumark points out, critics began to recognize the importance of ‘the in-between, uncan
作者: 觀察 時(shí)間: 2025-3-25 20:03
作者: Cloudburst 時(shí)間: 2025-3-26 01:17
‘His almost vanished voice’: Gendering and Transgendering Bodily Signification and the Voice in Angesexual violence and gendered performance. As Joseph Bristow and Trev Broughton suggest, her work anticipated many of the feminist concerns of the 1990s as well as the formation and fashionability of gender and queer studies (1997: 14). It also substantially preceded transgender studies and interest
作者: Engaged 時(shí)間: 2025-3-26 06:05
作者: CURT 時(shí)間: 2025-3-26 09:03
作者: 大約冬季 時(shí)間: 2025-3-26 15:25
作者: 描述 時(shí)間: 2025-3-26 20:05
作者: tattle 時(shí)間: 2025-3-27 00:53
Conclusion: Crossings and Re-crossingsmunication, but it is also suggestive of an always already spent force because at the very moment of sound or articulation the thought, the effort, the actions required to create the sound of the voice are almost past, they are approaching their own end. That is, the voice is suggestive of a forward
作者: 原告 時(shí)間: 2025-3-27 03:24
,Die (Er-)findung der eigenen Identit?t,rsive and spatial organization unlike anything that preceded it in the novel: Molly’s womb. It is in this turbulent, bloody space, both private and infused with history, that the homeward journey finishes; and it is with the lengthy appropriation of a female voice that Joyce closes his novel.
作者: STENT 時(shí)間: 2025-3-27 05:18
‘These heavy sands are language tide and wind have silted here’,: Tidal Voicing and the Poetics of Hrsive and spatial organization unlike anything that preceded it in the novel: Molly’s womb. It is in this turbulent, bloody space, both private and infused with history, that the homeward journey finishes; and it is with the lengthy appropriation of a female voice that Joyce closes his novel.
作者: licence 時(shí)間: 2025-3-27 12:12
Female Narrative Energy in the Writings of Dead White Males: Dickens, Collins and Freudpreviously been located in the male-authored Victorian novel. By conceiving of narrative as a powerful possession, as Freud did in his discourse with hysterical women, we can identify new forms of feminine empowerment emerging in male-authored nineteenth-century texts.
作者: Figate 時(shí)間: 2025-3-27 17:01
Untersuchungsaufbau und Methodewho loves her best; and Jenny Petherbridge, who appropriates this love of Robin. For them, the doctor is both confessor and interpreter; repeatedly called upon to mould words around Robin’s uncompromising silence. Matthew is compelled to enunciate, for his less self-aware companions, the narrative of their thwarted love.
作者: Pulmonary-Veins 時(shí)間: 2025-3-27 19:57
作者: debunk 時(shí)間: 2025-3-28 00:54
Untersuchungsaufbau und Methodeguage’ (Dolar 2006: 102). Following Roland Barthes’s term ‘grain of the voice’, Neumark and Cavarero emphasize the voice as ‘a(chǎn)esthetically bearing the marks of the body’ (Newmark 2010: xvii, xvi), which comes from ‘the vibration of a throat of flesh’ and bone (Cavarero 2005: 6).
作者: 取消 時(shí)間: 2025-3-28 05:27
‘Everything depend
作者: Flagging 時(shí)間: 2025-3-28 06:40
‘Her speech a purely buccal phenomenon’: Voice as a Lost Object in Samuel Beckett’s Worksguage’ (Dolar 2006: 102). Following Roland Barthes’s term ‘grain of the voice’, Neumark and Cavarero emphasize the voice as ‘a(chǎn)esthetically bearing the marks of the body’ (Newmark 2010: xvii, xvi), which comes from ‘the vibration of a throat of flesh’ and bone (Cavarero 2005: 6).
作者: 移植 時(shí)間: 2025-3-28 12:46
作者: 駕駛 時(shí)間: 2025-3-28 18:25
作者: 縮影 時(shí)間: 2025-3-28 20:15
作者: GRAZE 時(shí)間: 2025-3-28 23:37
作者: 一個(gè)攪動(dòng)不安 時(shí)間: 2025-3-29 03:41
作者: Indent 時(shí)間: 2025-3-29 09:44
Untersuchungsaufbau und Methode binaries, not to mention discussions of embodiment, myth, spectacle, theatricality, the carnivalesque and much more. Importantly, the influence of Butler has led to Carter’s representations of the female body, the inscriptive power of normative discourses, and the freedom-orientated potential of ch
作者: adduction 時(shí)間: 2025-3-29 11:49
作者: 失眠癥 時(shí)間: 2025-3-29 16:26
https://doi.org/10.1007/978-3-86226-962-4lent theatricality of his/her identity. Narrated in the first-person, with shifts to omniscient narration via self-consciously fictional scenes embedded in the text, as well as sections of dreamy prose inserted at the request of Terence, Pussy’s psychiatrist, the elaborate and exuberantly verbose st
作者: 陳腐的人 時(shí)間: 2025-3-29 21:06
,Umwelteinflüsse und Allergene,n novels that provides this kind of knowing assumption of ventriloquism is A.S. Byatt’s Booker Prize winning . (1990). In that novel, Byatt generates pastiche texts for her fictional Victorian poets, Randolph Henry Ash and Christabel LaMotte.
作者: Processes 時(shí)間: 2025-3-30 03:55
https://doi.org/10.1007/978-3-86226-962-4r more is given over to writings that deal with men, the legalities and consequences of homosexuality at this time and so forth. With obvious reasons to put forward for an apparent lack of collatable material such as levels of education and literacy, it seems possible to suggest that one of the reas
作者: 歌曲 時(shí)間: 2025-3-30 04:31
作者: gratify 時(shí)間: 2025-3-30 10:53
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