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Titlebook: Digressions in European Literature; From Cervantes to Se Alexis Grohmann (Senior Lecturer in Hispanic Studi Book 2011 Palgrave Macmillan, a

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發(fā)表于 2025-3-21 16:44:39 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Digressions in European Literature
副標(biāo)題From Cervantes to Se
編輯Alexis Grohmann (Senior Lecturer in Hispanic Studi
視頻videohttp://file.papertrans.cn/281/280435/280435.mp4
圖書封面Titlebook: Digressions in European Literature; From Cervantes to Se Alexis Grohmann (Senior Lecturer in Hispanic Studi Book 2011 Palgrave Macmillan, a
描述With studies of, amongst others, Miguel de Cervantes, Anton Chekhov, Charles Baudelaire and Henry James, this landmark collection of essays is a unique and wide-ranging exploration and celebration of the many forms of digression in major works by fifteen of the finest European writers from the early modern period to the present day.
出版日期Book 2011
版次1
doihttps://doi.org/10.1057/9780230292529
isbn_softcover978-1-349-32029-5
isbn_ebook978-0-230-29252-9
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 2011
The information of publication is updating

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https://doi.org/10.1007/978-3-642-47460-6rrancy. Its eponymous heroes travel as brother and sister under the names of Periandro and Auristela from the frozen islands of northern Europe to the Mediterranean in fulfilment of a vow to go to Rome, their true identities and actual relationship not being fully revealed until the novel’s fourth a
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Helmut Bremer,Andrea Lange-Vesterme Lost’ and ‘Time Regained’, one might provocatively argue that the 3000-page, seven-volume novel into which these initial two volumes organically evolved in the period until Proust’s death in 1922 is largely composed of digressions from this teleological frame.. As the sampling of critical evaluat
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Ungleichheit – Bildung – Herrschaft.des of the first two novels, . (1915) and .y (1919), to the experiments with the novel form, the search for ‘new names’, as she wrote in her 1927 essay ‘Poetry, Fiction and the Future’ (Woolf 1994: 435), and new shapes for the novel, inaugurated in her third novel . (1922). Her early short stories p
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https://doi.org/10.1007/978-3-531-19947-4 his choice, the short prose piece, ultimately amounted to nothing more than ‘one long, plotless, realistic story’ (1986b: 322). This statement is in its seeming contradictoriness extremely revealing. For, on the one hand, most of Walser’s prose work is indeed conspicuously lacking the dynamics and
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