讨论小组
发表于 2025-3-21 19:04:17
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贪婪的人
发表于 2025-3-21 22:24:22
Sharon Hayes,Samantha Jeffries ‘Wessexuality’ is a recent neologism, coined in a review of a television adaptation of one of his more outrageous short stories (Black, 1973: 796), but Hardy’s contemporaries made similar puns. A reviewer of ., for example, complained that ‘of all forms of sex-mania in fiction … the Wessexmania of
共栖
发表于 2025-3-22 01:23:33
Sharon Hayes,Samantha Jeffrieslore it, however, as for instance Lloyd Fernando does in his article ‘Thomas Hardy’s Rhetoric of Painting’,. is at bottom to wish Hardy other than he is. It is to deny him the right, for instance, to make of the novel ‘an impression, not an argument’ (Fernando complains of the difficulty his pictori
APRON
发表于 2025-3-22 04:50:01
Sharon Hayes,Samantha Jeffrieslore it, however, as for instance Lloyd Fernando does in his article ‘Thomas Hardy’s Rhetoric of Painting’,. is at bottom to wish Hardy other than he is. It is to deny him the right, for instance, to make of the novel ‘an impression, not an argument’ (Fernando complains of the difficulty his pictori
acrimony
发表于 2025-3-22 12:05:20
the junctions required to combine the scenes into an artistic unity’, it has an artistic wholeness quite independent of such imaginary links. Any attempt to read it purely on the historical plane would soon lead to recurrent disjunction; it would become a technical impossibility, for innumerable lin
Patrimony
发表于 2025-3-22 16:26:17
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refraction
发表于 2025-3-22 19:22:09
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口音在加重
发表于 2025-3-22 21:48:58
Sharon Hayes,Samantha Jeffriestures but, as Fernando says, pictures of pictures, this is because life shapes itself in that way to him. Writing to A. C. Benson of ‘Poems of 1912–13’, which he described as ‘very intimate, of course’, Hardy confided, ‘but the verses came; it was quite natural; one looked back through the years and
斥责
发表于 2025-3-23 05:13:39
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filial
发表于 2025-3-23 06:54:11
osopher, who not only subjects terrestrial events to the thoughts and feelings of spirits in an Overworld but makes these observers the agents whereby, in cinematic style, our point of view is continually moved, from air to earth, from long range to close-up, from country to country, sometimes with