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Titlebook: Elizabeth Gaskell: ‘We Are Not Angels‘; Realism, Gender, Val Terence Wright Book 1995 Palgrave Macmillan, a division of Macmillan Publisher

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發(fā)表于 2025-3-21 19:42:16 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書目名稱Elizabeth Gaskell: ‘We Are Not Angels‘
副標(biāo)題Realism, Gender, Val
編輯Terence Wright
視頻videohttp://file.papertrans.cn/308/307739/307739.mp4
圖書封面Titlebook: Elizabeth Gaskell: ‘We Are Not Angels‘; Realism, Gender, Val Terence Wright Book 1995 Palgrave Macmillan, a division of Macmillan Publisher
描述This new study deals with the whole range of Gaskell‘s fiction, approaching her as a deeply poetic novelist and short-story writer. Among topics covered are women and the creation of the self, death and personal integrity, the status of words as utterance and the shape and meaning of individual lives. While seeing her as a product of her age, Wright transcends narrow categorisations of her work to read her ‘whole‘ as a subtle exponent of the values of a humane realism.
出版日期Book 1995
關(guān)鍵詞Christianity; death; fiction; gender; history; humour; individual; realism; tragedy; women; British and Irish
版次1
doihttps://doi.org/10.1057/9780230378155
isbn_ebook978-0-230-37815-5
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 1995
The information of publication is updating

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,‘It is not long to bide’: The Shorter Fiction and the Meaning of Lives,fore narrating the central action of the tale. ‘A Dark Night’s Work’, for example, describes the rise of Mr Wilkins senior as an attorney, passes on to the career of his son, before finally passing to that son’s daughter Ellinor, whose guilty secret forms the main point of the story.
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,Tragedy, Topography and Choice: ‘Sylvia’s Lovers’,ily and friends, contemplates retirement from life into a convent. She is rescued by love. Miss Matty’s sad life is redeemed by her brother’s return. Ruth’s whole story might be said to be one of self-redemption.
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Book 1995ed are women and the creation of the self, death and personal integrity, the status of words as utterance and the shape and meaning of individual lives. While seeing her as a product of her age, Wright transcends narrow categorisations of her work to read her ‘whole‘ as a subtle exponent of the valu
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