Titlebook: On Replacement; Cultural, Social and Jean Owen,Naomi Segal Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Personal Haunting

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書目名稱On Replacement影響因子(影響力)




書目名稱On Replacement影響因子(影響力)學(xué)科排名




書目名稱On Replacement網(wǎng)絡(luò)公開度




書目名稱On Replacement網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱On Replacement被引頻次




書目名稱On Replacement被引頻次學(xué)科排名




書目名稱On Replacement年度引用




書目名稱On Replacement年度引用學(xué)科排名




書目名稱On Replacement讀者反饋




書目名稱On Replacement讀者反饋學(xué)科排名

instulate

‘An eye for an eye’ or ‘a(chǎn) mile to a mile’: versions of replacementrroll’s . of how a map represents the world. Can an imitation or a translation ever be faithful? For replacement children, there is no escape from the second skin of another life that was unlived. Whether the same or the other sex, having the same or a different name, they may experience survivors’

NADIR

思考才皺眉

Replacement, renewal and redundancyily. Modern individuals are more likely to see replacement as threatening redundancy. Notwithstanding the way division of labour differentiates us, as Simmel, Marx and others have argued, modernity promotes an internalised vulnerability to substitution because of its tendency to atomised individuali

推延

Lost boys in or children up from the shore to live in his rooms. . thus contains the vertical idealism and seaside-to-heights landscape common to several Ibsen plays. I argue, however, that Eyolf’s mother proposes a secondary, figurative drowning in the bourgeois home and in the ambiguous currents of replacement

Brain-Imaging

: replacement and its ripples of sibling rivalrys trade spouses. Via the tropes of father-hunger, twinning and the Double, it traces a complicated account of mirroring through the troubling relationship between the ‘metamorphic families’, with a particular focus on Jane and Jenny?– stepsisters who correspond in age and colouring?– following the ‘

deface

古文字學(xué)

fulcrum

Of ghosts and girls in , 13o real presence. Replaced by a plurality of Doppelg?nger from literature, theatre, photography, songs, cinema and so on, she cannot be fully present because she has no being in herself, but marks a relation to what is no longer or not yet. As barely revealed traces of the unsaid and unseen crisscros

戲法