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 Women Writers and the Crisis of Representing National Socialism and World War II Genre Departures.
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Women Writers and the Crisis of Representing National Socialism and World War II Genre Departures.

автор Georgette F. издательство Книга по Требованию Классное руководство. Классный час
Cтраниц 328        мягкая обложка       
Аннотация:Genre Departures is a comparatist study of women writers’ responses to National Socialism and World War II. Part One addresses historical and philosophical responses by Rebecca West and Hannah Arendt. Genre Departures suggests that the ruptures created by the ensuing war produced a seismic shift in the world of these women writers that expressed itself in their intellectual and aesthetic production and that ultimately their efforts constituted a historically-induced experimental movement. Part Two addresses experimental literary responses by Virginia Woolf, Gertrude Stein, and the postwar Austrian writer Ingeborg Bachmann. Genre Departures examines literary works in a number of genres: poetry and poetic meditation; journalism, travel, and memoir; neo-realist and postmodernist novel; it also crosses disciplines in order to examine writers who themselves crossed disciplines and in some cases national boundaries. Since the texts were first published between 1936 and 1971, they begin with premonitory anticipations of the war and conclude with responses that are distinctly postwar and retrospective.
Автор: Georgette F.
Издательство: Книга по Требованию
Год:2008
Цена:
3233 руб
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Whether ‘tis nobler in the mind... Пастернак и нравственная дилемма послереволюционной...

Эта коллизия прослеживается во всем творчестве Пастернака: от цикла стихов «Сестра моя — жизнь» и поэм двадцатых годов «Девятьсот пятый год», «Лейтенант Шмидт» и «Спекторский» до романа «Доктор Живаго» и автобиографической прозы («Охранная грамота» и «Люди и положения»). Здесь показана борьба, которую Саид интерпретировал бы как борьбу интеллектуала per defi i io em. То же самое видно и в обширной корреспонденции Пастернака, в его статьях и выступлениях, например 1930-х годов, когда его то возвышали как первого советского поэта, то подвергали жестокой критике. Это была борьба, связанная с этическими границами и этическими позициями; это была борьба, актуальная для одних и совершенно не внятная другим ( here bu for he grace of God go I — спасибо, что эта судьба не коснулась меня»). Мы, кто имел счастье родиться в более или менее демократических государствах, не знаем, как бы мы справились с этическими границами в условиях жестокой диктатуры — советской или гитлеровской. Ключевым словом для Сайда является represe a io : I say or wri e hese hi gs because af er much reflec io hey are wha I believe; a d I also wa o persuade o hers of his view. here is herefore his qui e complica ed mix be wee he priva e a d he public worlds, my ow his ory, values, wri i gs a d posi io s as hey derive from my experie ces, o he o e ha d, a d o he o her ha d, how hese e er i o he social world where people deba e a d make decisio s abou war a d freedom a d jus ice. here is o such hi g as a priva e i ellec ual, si ce he mome you se dow words a d he publish hem you have e ered he public world. or is here o ly a public i ellec ual, someo e who exis s jus as a figurehead or spokesperso or symbol of a cause, moveme or posi io . here is always he perso al i flec io a d he priva e se sibili y, a d hose give mea i g o wha is bei g said or wri e (Said 1994: 9).
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