Titlebook: Was Liebe vermag; Philosophische Liebe Sarah Al-Taher,Vanessa Jansche,Laura Martena Book 2022 Der/die Herausgeber bzw. der/die Autor(en), e

沙發(fā)

Bettina Fr?hlichh his representations of consciousness and grasp of psychological complexity to dissatisfaction with what she regarded as his indifference to form. Analogous to Orlando’s infatuation when he first encounters the Russian princess Sasha on the frozen Thames, Woolf’s infatuation with Dostoevsky must be

固定某物

他一致

Nora Kreftventual onset of the Second World War brought the tension between the two realms to the fore. As public events literally and metaphorically intruded on Woolf’s life and writing, she became increasingly conscious of the terms ‘public’ and ‘private’, what they implied and how the definitions were alte

參考書目

jovial

Hilmar Schmiedl-Neuburgalsh walks up Whitehall in ., Virginia Woolf writes ‘a(chǎn) patter like the patter of leaves in a wood came from behind’. This describes the footsteps of the marching boys by comparing them to ‘the patter of leaves in a wood’. The footsteps of the marching boys are there in the story, they really happen:

AWRY

Bettina Fr?hlichmiliar with the practices of specimen collection and classification. They netted butterflies and sugared for moths, setting their captures for display in the family ‘Museum’ (.1, p. 2). Appointed to ‘the post of name finder’ in the family Entomological Society, Virginia was additionally responsible

單純

Kathi Beierce of exchange practices to the social organisation and meaning of a culture with a focus on several non-Western cultures and also ancient European ones. As European societies struggled to recover, socially, politically, emotionally and economically from the First World War, debate about ways of man

GNAT

Nora Kreft mainly in the writings of Lukács, Musil and Adorno, the notion of essayism has always carried with it a critique of modernity as the triumph of rationalisation and the culmination of a linear, progressive vision of history. When understood in this sense, essayism becomes effectively indistinguishab

羊欄

Parallel

Falk Hamann presence, ‘there she is; beautiful, emphatic, with her familiar phrase and her laugh; closer than any of the living are’ (.: 40). She draws attention to her through the deictic ‘There she is’, or ‘there she was’ (.: 81).. Yet she also denies her, ‘I no longer hear her voice; I do not see her’ (81).