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Titlebook: An Edgar Allan Poe Companion; A Guide to the Short J. R. Hammond Book 1981 Palgrave Macmillan, a division of Macmillan Publishers Limited 1

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發(fā)表于 2025-3-21 17:02:00 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
期刊全稱An Edgar Allan Poe Companion
期刊簡(jiǎn)稱A Guide to the Short
影響因子2023J. R. Hammond
視頻videohttp://file.papertrans.cn/155/154944/154944.mp4
學(xué)科分類Literary Companions
圖書(shū)封面Titlebook: An Edgar Allan Poe Companion; A Guide to the Short J. R. Hammond Book 1981 Palgrave Macmillan, a division of Macmillan Publishers Limited 1
Pindex Book 1981
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沙發(fā)
發(fā)表于 2025-3-21 23:53:43 | 只看該作者
板凳
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Das Syndrom der Hirndrucksteigerung,e genre has been very considerable. Even more pronounced has been the influence of his stories and literary techniques upon later writers, including figures as diverse as Jules Verne, Bulwer Lytton and Conan Doyle: in this context is meant the Conan Doyle of . and ‘The Horror of the Heights’ rather than of the Sherlock Holmes stories.
地板
發(fā)表于 2025-3-22 05:59:57 | 只看該作者
The Life of Edgar Allan Poeter, Calvin F. S. Thomas, has since faded into obscurity — his sole title to fame being his name upon the title-page of this modest publication. Its author, on the other hand, has since become world famous as one of the greatest American writers and as one of the most potent influences on English and European literature.
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The Short Storieshe publication of his tales in England met with no success, despite the help of Charles Dickens, whom he had met in Philadelphia in March 1842. On 27 November 1842 Dickens wrote to him in these terms:
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發(fā)表于 2025-3-22 20:57:24 | 只看該作者
https://doi.org/10.1007/978-1-349-05025-3fiction; history of literature; literature; nineteenth century; North America
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發(fā)表于 2025-3-22 23:59:22 | 只看該作者
Palgrave Macmillan, a division of Macmillan Publishers Limited 1981
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發(fā)表于 2025-3-23 01:42:50 | 只看該作者
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發(fā)表于 2025-3-23 07:36:32 | 只看該作者
The Poetrywriting of fiction when he realised that his earnings from poetry would be insufficient for his modest needs, but in the last analysis he felt this was a distraction from his central artistic concerns. For him the writing of poetry was ‘not a purpose, but a passion’..
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