Inertia
发表于 2025-3-23 13:21:20
http://reply.papertrans.cn/32/3112/311134/311134_11.png
身体萌芽
发表于 2025-3-23 14:02:56
Salman Rushdie: , (1988) disproportionate attention to its four alternating even-numbered chapters in which Gibreel dreams about the life of Muhammed (derogatively named Mahound in the novel), the Imam (modeled on then Iranian President Khamene’i), and Ayesha (modeled on Naseem Fatima), a follower of the Islamic faith who
来这真柔软
发表于 2025-3-23 18:03:29
http://reply.papertrans.cn/32/3112/311134/311134_13.png
Essential
发表于 2025-3-24 01:16:07
http://reply.papertrans.cn/32/3112/311134/311134_14.png
REP
发表于 2025-3-24 05:50:17
http://reply.papertrans.cn/32/3112/311134/311134_15.png
意外的成功
发表于 2025-3-24 06:30:46
http://reply.papertrans.cn/32/3112/311134/311134_16.png
Brittle
发表于 2025-3-24 12:10:37
http://reply.papertrans.cn/32/3112/311134/311134_17.png
小隔间
发表于 2025-3-24 16:09:32
https://doi.org/10.1057/9780230207073fiction; Great Britain; novel; British and Irish Literature
美色花钱
发表于 2025-3-24 21:30:18
https://doi.org/10.1007/978-3-030-31091-2f fiction writing that has come to dominate the two decades since 1984. The eleven novels on which this book focuses have been selected both for their intrinsic importance and to form part of an argument concerning the representation of history and identity in English fiction. The argument has been
仲裁者
发表于 2025-3-25 02:44:16
Elena Anne Marchisotto,James T. Smithvitably this has affected their understanding of the nature of writing and entered their fiction — frequently in the form of increased verbal playfulness, self-consciousness and metafictional interventions. Ackroyd exemplifies this generational characteristic by publishing as his first book what he