Titlebook: Virginia Woolf; A Literary Life John Mepham Book 1991 Palgrave Macmillan, a division of Macmillan Publishers Limited 1991 fiction.novel.Vir

amateur

書(shū)目名稱(chēng)Virginia Woolf影響因子(影響力)




書(shū)目名稱(chēng)Virginia Woolf影響因子(影響力)學(xué)科排名




書(shū)目名稱(chēng)Virginia Woolf網(wǎng)絡(luò)公開(kāi)度




書(shū)目名稱(chēng)Virginia Woolf網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書(shū)目名稱(chēng)Virginia Woolf被引頻次




書(shū)目名稱(chēng)Virginia Woolf被引頻次學(xué)科排名




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書(shū)目名稱(chēng)Virginia Woolf讀者反饋




書(shū)目名稱(chēng)Virginia Woolf讀者反饋學(xué)科排名

有害

John Mephamdikaler Modernisierung bis zur Bewahrung vertrauter Strukturen einnehmen. Der Regelfall aber sind eigentümliche Mischungen beider Momente (vgl. Matthiesen 1998a). Das Feld lokaler Politik, als Aushandlungsort und Vermittlungsebene zwischen individuellen und gesellschaftlichen Interessen, bietet eine

拾落穗

Champion

,1925–27: Modernist Fictions, in this case. Virginia Woolf’s modernism, in this decade, has much in common with the modernist ’formalism’ of the Bloomsbury painters. Its main features are these. First, a self-consciousness about the categories and conventions of art. She could not write fiction without being aware of the artifi

Lobotomy

Parallel

,1932–37: The Outsider, Bloomsbury ways of thinking about her work. She turned her attention more towards the recording of what she thought of as ’non-being’, and away from the lofty, mystical aspirations of .She became less concerned with formal elegance and poetic beauty and more with the comedy and absurdity of everyda

GRAIN

,1938–40: Life-Writing,multaneously. Her will to write never faltered until perhaps the very last month of her life. Each of these works is different in conception both from anything she had ever written before and from each other. She still took each new project, whenever she could, as an opportunity to refashion the con

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