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Titlebook: Arthur Miller; Neil Carson Textbook 1982Latest edition Neil Carson 1982 Arthur Miller.contemporary literature.history of literature.litera

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发表于 2025-3-21 17:20:05 | 显示全部楼层 |阅读模式
期刊全称Arthur Miller
影响因子2023Neil Carson
视频videohttp://file.papertrans.cn/162/161968/161968.mp4
学科分类Modern Dramatists
图书封面Titlebook: Arthur Miller;  Neil Carson Textbook 1982Latest edition Neil Carson 1982 Arthur Miller.contemporary literature.history of literature.litera
影响因子a sound, reliable introduction to Miller, which can be recommended to students.‘ Times Higher Educational Supplement
Pindex Textbook 1982Latest edition
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发表于 2025-3-21 20:41:17 | 显示全部楼层
A Return to the Origin of the Welfare Stateentral character to suffering as great as any tragedy, does so to different effect. Proctor’s story is not one of defeat and acceptance, but of triumph and vindication. Whereas the conventional tragic hero is a deluded or obsessed individual in an ordered universe, Proctor is a just man in a univers
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https://doi.org/10.1007/978-1-349-16735-7Arthur Miller; contemporary literature; history of literature; literature; North America; twentieth centu
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The Beginnings of a Diversified Democracy) drama is assured, it may be many years before there is general agreement about the nature of his contribution and the order in which his plays should be ranked. For not only is the playwright still active, but there is at the heart of his work something which seems to perplex and divide his critic
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A Return to the Origin of the Welfare Stateessity they had existed quietly, and the demands of their two young children, Jane Ellen (born 1944) and Robert tborn 1946), occupied much of their energy and attention. The religious and temperamental differences between Mary and her mother-in-law, and the fact that the children were being raised w
发表于 2025-3-23 05:06:58 | 显示全部楼层
A Return to the Origin of the Welfare Statethe alternative commercial theatre that later developed ‘Off-Broadway’. Professional theatre was confined almost entirely to New York City, and there it was in the hands of commercial managers. The key figure in the business of presenting plays on Broadway was not the writer nor the director (and ce
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