Titlebook: Class Representation in Modern Fiction and Film; Keith Gandal Book 2007 Keith Gandal 2007 America.Amerikanische Literatur.culture.drama.fi

Malicious

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書目名稱Class Representation in Modern Fiction and Film被引頻次學(xué)科排名




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書目名稱Class Representation in Modern Fiction and Film讀者反饋學(xué)科排名

難解

atrophy

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Award-Winning Hollywood Blockbustersat is already fully articulated in Hurston’s ., and ., for example, all depend on the charms of downward mobility into lower-class existence—at least in the short run. As strange as it sounds at first, it seems hardly an overstatement to claim that the middle-class conceptions of itself today at the

ineluctable

不要不誠(chéng)實(shí)

不要不誠(chéng)實(shí)

The Cult Film ,ass-crossing cinema. Between the slumming fantasy film and the class trauma movie stands a sort of hybrid genre, what might be called the slumming trauma. Between the sentimental slumming hero Jack in the Hollywood blockbuster . and the humiliated and humiliating degenerate Telly in the indie art fi

Grandstand

Henry Miller and the Embrace of Defilementthree genres at issue here. Crane, who kept no journal or diary and wrote no autobiography or memoir and few revealing letters (his most recent biographer thus calls his life “enigmatic”.), seems to have projected his shame directly onto the characters in his class trauma stories and to have said ve

Morbid

and the unusual lives of Zora Neale Hurston, Stephen Crane, Henry Miller and Michel Foucault. The book argues for Hurston‘s centrality, not merely to the African-American canon, but to the American tradition.978-1-349-53792-1978-0-230-60419-3

DALLY

Wasser-Elektrolyt- und S?ure-Basen-Haushaltin the short run. As strange as it sounds at first, it seems hardly an overstatement to claim that the middle-class conceptions of itself today at the turn of the century—both its romantic fantasy and its acerbic realism—are heavily mediated by its imagination of the poor.