Titlebook: Carson McCullers in the Twenty-First Century; Alison Graham-Bertolini,Casey Kayser Book 2016 The Editor(s) (if applicable) and The Author(

諷刺文章

書目名稱Carson McCullers in the Twenty-First Century影響因子(影響力)




書目名稱Carson McCullers in the Twenty-First Century影響因子(影響力)學(xué)科排名




書目名稱Carson McCullers in the Twenty-First Century網(wǎng)絡(luò)公開度




書目名稱Carson McCullers in the Twenty-First Century網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Carson McCullers in the Twenty-First Century被引頻次




書目名稱Carson McCullers in the Twenty-First Century被引頻次學(xué)科排名




書目名稱Carson McCullers in the Twenty-First Century年度引用




書目名稱Carson McCullers in the Twenty-First Century年度引用學(xué)科排名




書目名稱Carson McCullers in the Twenty-First Century讀者反饋




書目名稱Carson McCullers in the Twenty-First Century讀者反饋學(xué)科排名

febrile

原告

DEFER

交響樂

Musings between the Marvelous and Strange: New Contexts and Correspondence about Carson McCullers ahival materials in the Margaret S. Sullivan Papers and the Dr. Mary E. Mercer/Carson McCullers Collection at Columbus State University, including the transcripts of McCullers’ therapy sessions with Mary Mercer. By examining letters exchanged between and about McCullers and Tucker, Skaggs invites us

蘑菇

The Image of the String Quartet Lurking in ,, novel. Focusing on the relationship between the novel and her early short story “Court in the West Eighties” as musico-literary variations, the chapter also explores why McCullers almost unconsciously but repeatedly used the image of a string quartet at that time. Magome finally compares McCullers’

蘑菇

Interim

,“To be a Good Animal”: Toward a Queer-Posthumanist Reading of ,,alyzes McCullers’ engagement with the discourse of speciesism and its intersections with other topics—gender, race, and sexuality—that have been prominent areas of focus in critiques of McCullers’ work. Additionally, it draws from Foucault’s analytics of power to illuminate ways that McCullers both

重力

amenity

Queer Eyes: Cross-Gendering, Cross-Dressing, and Cross-Racing Miss Amelia,a. Matsui reconsiders the story’s ending, which many critics have interpreted as showing male force reinforcing a woman’s oppression, and argues that Miss Amelia’s queer way of being actually has a subversive function. Where racial, gender, and sexual categories are strictly policed by the dominant