Titlebook: Gothic Hauntings; Melancholy Crypts an Christine Berthin Book 2010 Palgrave Macmillan, a division of Macmillan Publishers Limited 2010 disc

stripper

書(shū)目名稱Gothic Hauntings影響因子(影響力)




書(shū)目名稱Gothic Hauntings影響因子(影響力)學(xué)科排名




書(shū)目名稱Gothic Hauntings網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱Gothic Hauntings網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱Gothic Hauntings被引頻次




書(shū)目名稱Gothic Hauntings被引頻次學(xué)科排名




書(shū)目名稱Gothic Hauntings年度引用




書(shū)目名稱Gothic Hauntings年度引用學(xué)科排名




書(shū)目名稱Gothic Hauntings讀者反饋




書(shū)目名稱Gothic Hauntings讀者反饋學(xué)科排名

有斑點(diǎn)

https://doi.org/10.1057/9781137295088bject constantly negotiates between repression and a return of the repressed. But Freud himself had the intuition that the psyche was more than a monadic entity. In . in particular, the hypothesis of psychic transmission is envisaged in the form of cultural inheritance. A culture survives on the tra

glacial

Mamluks in the Modern Egyptian Mindnding an ear to the eyes, for as Hartman reminds us, “reading, especially in print culture is often used to blind the ear” (142). In the silence of the words lies their haunting power. Reading for haunting requires a different type of approach to reading. The flat surface of the written page must be

Exposition

R. Schulz-Wendtland,U. Aichingeriterary productions: if Gothic were at the center, then everything else would have to be decentered, and we would have to see the world athwart from the distorting perspective of the ghost, and then things that were buried behind the surface of texts would start appearing, forcing us to read differe

Bumptious

Mammographische Erscheinungsbilderhe text. It is not a swiveling painting in the tradition of Gothic paraphernelia, which would simply hide the entrance to secret passages. It is a painting exhibited over the mantelpiece, and it harbors within its frame the entrance to a forbidden and unfathomable phantasmatic crypt. The painting re

gusher

,Mammographische Ger?tetechnik,ity, far from constituting a natural channel for the expression and constitution of the self, seem to generate interference. Interference precipitates the sense of an erasure of the subject and of the demise of the symbolic. The spirits of the dead are everywhere: the subject, a mere heir, a transmi

gusher

condemn

Transgenerational Haunting: The Subject as Other,bject constantly negotiates between repression and a return of the repressed. But Freud himself had the intuition that the psyche was more than a monadic entity. In . in particular, the hypothesis of psychic transmission is envisaged in the form of cultural inheritance. A culture survives on the tra

六邊形

Discourse and Its Other: The Figural and the Real,nding an ear to the eyes, for as Hartman reminds us, “reading, especially in print culture is often used to blind the ear” (142). In the silence of the words lies their haunting power. Reading for haunting requires a different type of approach to reading. The flat surface of the written page must be

進(jìn)步

Gothic as Poetics,iterary productions: if Gothic were at the center, then everything else would have to be decentered, and we would have to see the world athwart from the distorting perspective of the ghost, and then things that were buried behind the surface of texts would start appearing, forcing us to read differe