標(biāo)題: Titlebook: Afro-Caribbean Poetry and Ritual; Paul A. Griffith Book 2010 Palgrave Macmillan, a division of Nature America Inc. 2010 poetry.space.time [打印本頁] 作者: Lampoon 時(shí)間: 2025-3-21 19:47
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作者: arthroscopy 時(shí)間: 2025-3-22 00:07 作者: Simulate 時(shí)間: 2025-3-22 00:45
Finance and Capital Markets Seriesand the inexhaustible recesses of the psyche of Caribbean peoples” (“Spiritual” 187). Both the oral and residually oral expressive forms initiate clear streams of thought requisite to this visionary tradition that can be traced back to slave orature, music, and dance. These were channels of heighten作者: BUDGE 時(shí)間: 2025-3-22 04:47 作者: 大漩渦 時(shí)間: 2025-3-22 12:07 作者: Flagging 時(shí)間: 2025-3-22 16:46
https://doi.org/10.1007/978-3-319-94688-7minished creature.” The comprehensive scope of the imagination gives Harris confidence in this revisionary competency: its capacity to transcend and to anchor, or as he puts it, to “juxtapose ‘heaven’ with ‘roots’ or ‘jungles’” (. 15). Myth mediates positive and negative life-forces, Harris suggests作者: 不理會(huì) 時(shí)間: 2025-3-22 19:33 作者: formula 時(shí)間: 2025-3-23 00:45 作者: Ergots 時(shí)間: 2025-3-23 02:42
https://doi.org/10.1007/978-3-319-94688-7nnegan notes, by forests that house dangerous animals and terrifying spirits. Since many Caribbean island topographies are virtually deforested, monkeys their largest inhabitants, the danger associated with these spaces is entirely symbolic. Synchronizing mythic time with historical time and mythic 作者: 面包屑 時(shí)間: 2025-3-23 06:41
https://doi.org/10.1007/978-3-319-94688-7nd as an element of political revolutionary power. The idea is that oppressed groups found a capacity for perceptual transformation in the imagination itself. In other words, in offering a vision of an alternative world, art becomes a mode of reality itself: the idea of logos giving form and meaning作者: 甜食 時(shí)間: 2025-3-23 13:03
Introductionand the inexhaustible recesses of the psyche of Caribbean peoples” (“Spiritual” 187). Both the oral and residually oral expressive forms initiate clear streams of thought requisite to this visionary tradition that can be traced back to slave orature, music, and dance. These were channels of heighten作者: 可能性 時(shí)間: 2025-3-23 17:33
The Limboss the spirit. He sees in the dance the power associated with the trickster god Ananse in that it imitates the spider’s crawl, memorially configuring the history of the Middle Passage as metamorphosis of the slave’s body (“Music”). This mutation is consonant with the iconic activity Benjamin Ray see作者: dyspareunia 時(shí)間: 2025-3-23 18:56
Shipwrecked in the Middle Passagen man, Crusoe, epitomizes, ambivalently, the spiritual impoverishment and potential produced by the overt and underlying contradictions in the regions history. As “castaway,” cut off from a sustaining human community, he “faces … the sea” as a vast emptiness that signifies his existential limbo. Yet作者: 粗魯性質(zhì) 時(shí)間: 2025-3-24 00:37 作者: cajole 時(shí)間: 2025-3-24 03:54
Mythic Voiceslaims fervendy: “All human accomplishment has the same origin, identically. Imagination is a force of nature … Imagination, imagination, imagination! It converts to actual. It sustains, it alters, it redeems!” (271). Society and art, life and the imagination are represented thus as interdependent un作者: NIP 時(shí)間: 2025-3-24 09:30 作者: nutrients 時(shí)間: 2025-3-24 11:04
Tales and Fablesnnegan notes, by forests that house dangerous animals and terrifying spirits. Since many Caribbean island topographies are virtually deforested, monkeys their largest inhabitants, the danger associated with these spaces is entirely symbolic. Synchronizing mythic time with historical time and mythic 作者: orthodox 時(shí)間: 2025-3-24 18:40 作者: engrossed 時(shí)間: 2025-3-24 20:58 作者: Traumatic-Grief 時(shí)間: 2025-3-24 23:52
Book 2010o cleverly resist aggressions authored through colonialist presumptions. In an analysis of the archetypal patterns in the oral tradition - both literary and nonliterary, this impressive book gives insight into the way in which people think about the world and represent themselves in it.作者: 知道 時(shí)間: 2025-3-25 06:21
culture to cleverly resist aggressions authored through colonialist presumptions. In an analysis of the archetypal patterns in the oral tradition - both literary and nonliterary, this impressive book gives insight into the way in which people think about the world and represent themselves in it.978-1-349-38495-2978-0-230-10652-9作者: PURG 時(shí)間: 2025-3-25 08:48
as a mode of imaginative conceptualization. Paul A. Griffith cross-references Kamau Brathwaite and Derek Walcott s postcolonial debates with issues at seminal sites where Caribbean imaginary insurgencies took root. This book demonstrates the ways residually oral forms distilled history, society, and作者: FLIC 時(shí)間: 2025-3-25 12:23 作者: 賄賂 時(shí)間: 2025-3-25 19:35 作者: CLAY 時(shí)間: 2025-3-25 20:18
The Genesis of Credit-Risk Modellingname . (Finnegan 25), these ritualized genres group seemingly discrete hermeneutics into instructive schemas. The reflective consciousness functions as a guide to the ethical obligation of . and assigns the imaginative endeavor a critical epistemological task: to align psychic and cosmic enterprises.作者: Reservation 時(shí)間: 2025-3-26 00:20 作者: Charlatan 時(shí)間: 2025-3-26 07:53 作者: Overdose 時(shí)間: 2025-3-26 09:08 作者: Gratulate 時(shí)間: 2025-3-26 14:36 作者: slipped-disk 時(shí)間: 2025-3-26 19:36
https://doi.org/10.1057/978-1-137-48987-6 renewed by bringing it into conformity with reality as imagined in symbolic paradigms” (100). Correspondingly, the dance is entertained as a mythic subgenre that reverses the agon of slavery, symbolic condition of death, and orients consciousness toward the realm of superconscious spirituality Jonathan Smith names sacred space.作者: eulogize 時(shí)間: 2025-3-26 23:09
https://doi.org/10.1057/978-1-137-48987-6thologizes Crusoe as pragmatic artisan who rebuilds the self from the crises of shipwreck. Crusoe, he says, undertakes the ritual sacrifice of lighting the “twigs, dead thoughts, fragments of memory” then “returns into himself” (“Crusoe” 34).作者: GNAW 時(shí)間: 2025-3-27 01:25
Introductionentially, as marker of mappable spirit passages. The folk thereby invested the imagination with the burden of healing psychic wounds even as their lives tossed in the hurricane swirl of the devastating colonialist history.作者: Reverie 時(shí)間: 2025-3-27 07:37 作者: Munificent 時(shí)間: 2025-3-27 11:42 作者: NIL 時(shí)間: 2025-3-27 15:28 作者: 符合規(guī)定 時(shí)間: 2025-3-27 20:15 作者: 不可磨滅 時(shí)間: 2025-3-27 22:52
Conclusionorms. This antihegemonic (.) rhythm reiterates the idea that descent to the underworld is a “soul-making journey,” a journey that, as the work of Brathwaite, Walcott, and Harris (contrary to Naipaul’s emphasis) also demonstrate, has evolved into a pervasive literary tradition of interest in an imagi作者: RAFF 時(shí)間: 2025-3-28 06:03 作者: 共同給與 時(shí)間: 2025-3-28 08:44
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