Titlebook: Anais Nin; Literary Perspective Suzanne Nalbantian (Professor of English and Compa Book 1997 Palgrave Macmillan, a division of Macmillan Pu

expenditure

书目名称Anais Nin影响因子(影响力)




书目名称Anais Nin影响因子(影响力)学科排名




书目名称Anais Nin网络公开度




书目名称Anais Nin网络公开度学科排名




书目名称Anais Nin被引频次




书目名称Anais Nin被引频次学科排名




书目名称Anais Nin年度引用




书目名称Anais Nin年度引用学科排名




书目名称Anais Nin读者反馈




书目名称Anais Nin读者反馈学科排名

骇人

figurine

Datierungsfragen der griechischen Tragödie, a tension between the outer and inner worlds. How unlike the Maoist psychoanalyst and semiotician of desire, the French Julia Kristeva, who, in her novel ., looks for ‘the calm safety of classical architecture and the rare equilibrium that transmutes geometry into happiness’.

LINE

Cities of Her Own Invention: Urban Iconology in and her claim of readiness, at the time she worked on ., for ‘a more developed interrelation between the characters and between the cities of Paris and New York’, enables a reading of this continuous novel as citytext: multivalent, intertextual, hypertextual and iconological weaving of experiential

整洁漂亮

ELATE

Aesthetic Lies and with Anaïs Nin the truth factor becomes an issue as the reader moves from diary to fiction, searching for truths in a writer who herself was ambivalent about the notion of absolute truths. In fact, the essential tension that the critics have been identifying in Nin’s work is between the lifelon

ANNUL

Anaïs, My Sister father, she was a robust, happy and beautiful child. Long before he returned to Cuba, where he met and married my mother, my father was a dedicated photographer. No small wonder, then, that he photographed all three of his children in every possible way, posed or unposed, dressed and undressed, and

figure

Cities of Her Own Invention: Urban Iconology in kept it. The apt title for the ‘geographic’ citytext of Nin’s . goes beyond symbolism, however, to represent her way of ‘envisioning information,’ of escaping the ‘flatland’ of the two-dimensional surface on which ‘all communication between the readers of an image and the makers of an image must tak

spinal-stenosis

Art, The Dream, The Selfd entity composed of socially constructed attitudes’. How unlike the conception of the self of Anaïs Nin. To Nin, the self is authentic only as it expresses that ‘city of the interior’, and in the real world of the diaries and the fleeting, wavering, shaped world of her fiction, the self, hardly pos

Anticlimax

Anaïs Nin, the Poethies that have appeared of Nin. Every new literary event casts fresh light on previous states; but these recent publications cast shadows rather than light on her merits as a writer. Nothing that has been said and spread about Nin shakes my belief in her importance as a writer, but these emphases on