Titlebook: Romantic Terrorism; An Auto-Ethnography Sharon Hayes,Samantha Jeffries Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Li

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书目名称Romantic Terrorism被引频次学科排名




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书目名称Romantic Terrorism年度引用学科排名




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书目名称Romantic Terrorism读者反馈学科排名

贪婪的人

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

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

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

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

refraction

口音在加重

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

filial

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