中子
发表于 2025-3-28 15:26:47
https://doi.org/10.1057/9780230512207t presented a woman character as enigma within a predominantly masculine world: Margaret Ford, the psychoanalyst who alters her appearance and behavior at the end of . (1987); and Karen, the Hollywood secretary whose motives remain uncertain in . (1988).
palpitate
发表于 2025-3-28 21:17:52
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喊叫
发表于 2025-3-29 02:31:00
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闲聊
发表于 2025-3-29 04:30:54
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FILTH
发表于 2025-3-29 07:51:43
,Mamet’s Three Children’s Plays: Where the Wilder Things Are, and die. We as audience and we as artists must work to bring about a theater, an American Theater, which will be a celebration of these things” (. 30). To rescue the commonplace from apparent banality and “ratify universality” has, indeed, long been recognized as a defining characteristic of Wilder’s drama.
追逐
发表于 2025-3-29 12:53:45
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愚笨
发表于 2025-3-29 18:16:36
Disguise in Love: Gender and Desire in , and Speed-,t presented a woman character as enigma within a predominantly masculine world: Margaret Ford, the psychoanalyst who alters her appearance and behavior at the end of . (1987); and Karen, the Hollywood secretary whose motives remain uncertain in . (1988).
Accede
发表于 2025-3-29 22:36:35
Demotic Male Desire and Female Subjectivity in David Mamet: The Split Space of the Women of ,own spare remarks—that he prefers to write about men (Fraser 7)—may be seen only to confirm the feeling that often surfaces in popular responses to Mamet’s plays that this is a playwright with an anachronistic hostility to, or apathy for, women.
Lice692
发表于 2025-3-30 02:43:37
,Mamet’s Novelistic Voice, novel brings home the unexpected, “always the unforeseen” in human existence: “Everything changes except War” (. 231; 230). The voice here is Lynn’s, the oldest and arguably wisest of the male characters, the consummate hunter, but Mamet emphatically endorses the idea through his choice of Lynn as the focus in this crucial scene.