Titlebook: Anais Nin; Literary Perspective Suzanne Nalbantian (Professor of English and Compa Book 1997 Palgrave Macmillan, a division of Macmillan Pu

expenditure

書目名稱Anais Nin影響因子(影響力)




書目名稱Anais Nin影響因子(影響力)學(xué)科排名




書目名稱Anais Nin網(wǎng)絡(luò)公開度




書目名稱Anais Nin網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Anais Nin被引頻次




書目名稱Anais Nin被引頻次學(xué)科排名




書目名稱Anais Nin年度引用




書目名稱Anais Nin年度引用學(xué)科排名




書目名稱Anais Nin讀者反饋




書目名稱Anais Nin讀者反饋學(xué)科排名

駭人

figurine

Datierungsfragen der griechischen Trag?die, a tension between the outer and inner worlds. How unlike the Maoist psychoanalyst and semiotician of desire, the French Julia Kristeva, who, in her novel ., looks for ‘the calm safety of classical architecture and the rare equilibrium that transmutes geometry into happiness’.

LINE

Cities of Her Own Invention: Urban Iconology in and her claim of readiness, at the time she worked on ., for ‘a(chǎn) more developed interrelation between the characters and between the cities of Paris and New York’, enables a reading of this continuous novel as citytext: multivalent, intertextual, hypertextual and iconological weaving of experiential

整潔漂亮

ELATE

Aesthetic Lies and with Ana?s Nin the truth factor becomes an issue as the reader moves from diary to fiction, searching for truths in a writer who herself was ambivalent about the notion of absolute truths. In fact, the essential tension that the critics have been identifying in Nin’s work is between the lifelon

ANNUL

Ana?s, My Sister father, she was a robust, happy and beautiful child. Long before he returned to Cuba, where he met and married my mother, my father was a dedicated photographer. No small wonder, then, that he photographed all three of his children in every possible way, posed or unposed, dressed and undressed, and

figure

Cities of Her Own Invention: Urban Iconology in kept it. The apt title for the ‘geographic’ citytext of Nin’s . goes beyond symbolism, however, to represent her way of ‘envisioning information,’ of escaping the ‘flatland’ of the two-dimensional surface on which ‘a(chǎn)ll communication between the readers of an image and the makers of an image must tak

spinal-stenosis

Art, The Dream, The Selfd entity composed of socially constructed attitudes’. How unlike the conception of the self of Ana?s Nin. To Nin, the self is authentic only as it expresses that ‘city of the interior’, and in the real world of the diaries and the fleeting, wavering, shaped world of her fiction, the self, hardly pos

Anticlimax

Ana?s Nin, the Poethies that have appeared of Nin. Every new literary event casts fresh light on previous states; but these recent publications cast shadows rather than light on her merits as a writer. Nothing that has been said and spread about Nin shakes my belief in her importance as a writer, but these emphases on