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1000 tulosta hakusanalla Lawrence Woods

Das Schwierige Ganze - Postmoderne Zuege in Lawrence Durrells «The Alexandria Quartet»
Entsteht die Postmoderne dort aus der Moderne, wo das verbindliche Ganze aufhort? Zwar verhindert jedes Einheitsdekret die Entfaltung postmoderner Vielfalt, aber wo das Ganze aufhort, muss die Postmoderne noch lange nicht anfangen. Sie teilt sich gezwungenermassen die neuen Freiraume des Vielen mit ihrer ungeliebten Zwillingsschwester, der Beliebigkeit. Lawrence Durrell fuhrt in seiner Romanfolge "The Alexandria Quartet" eine prekare Ganzheit vor, deren Zusammenhalt durch ein Netz von poetologischen Diskussionen erzielt wird. Er verlangt von seinen Lesern eine immer provisorische Verbindung der disparaten Elemente -Pluralitat-, -Unabgeschlossenheit- und -Selbstreflexivitat-. Er verpflichtet sie auf das schwierige Ganze des postmodernen Romans."
Genealogy of the Descendants of Lawrence and Cassandra Southwick

Genealogy of the Descendants of Lawrence and Cassandra Southwick

James Moore Caller; Maria A Ober

Hansebooks
2017
pokkari
Genealogy of the Descendants of Lawrence and Cassandra Southwick - Of Salem, Mass. is an unchanged, high-quality reprint of the original edition of 1881. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
Free Indirect Discourse in D H Lawrence's Lady Chatterley's Lover

Free Indirect Discourse in D H Lawrence's Lady Chatterley's Lover

Khalil Al-Sayyid

LAP Lambert Academic Publishing
2019
pokkari
The study examines the narrative style free indirect discourse in Lawrence's Lady Chatterley's lover. It scrutinises particularly the FID passages that represent Constance Chatterley (Connie)'s consciousness. Hence, the linguistic markers of the style are outlined to serve as a checklist for FID. This research paper demonstrates a thorough examination of the style FID and its applicability to the novel. The notion of Lawrence's manipulation of the neuter pronoun 'it' is highlighted and I argue that the appearance of 'it' in Connie's FID sentences signals her resentment of Mrs Flint's baby as well as her jealousy of the mother. I further challenge Millett's (2000) notion of Lawrence being sexist in the novel. I argue that Connie's FID sentences present her as the thinking subject and the attitude illustrated in the passages is of a female experience. In conclusion, I apply Sotirova's (2011) model of dialogism in order to account for the connectives in FID sentences which help dismantle some problematic passages in the novel
Le donne innamorate di D.H.Lawrence

Le donne innamorate di D.H.Lawrence

Kamel Hezam Ali

Edizioni Sapienza
2023
pokkari
Donne in amore ha attirato ampiamente l'attenzione della critica. Sebbene i critici abbiano parlato di vari aspetti del romanzo Donne in amore nei loro libri su D.H. Lawrence, non stato fatto alcuno studio indipendente per evidenziare i temi principali di questo romanzo e la struttura poetica interna che rappresenta la logica poetica del romanziere per rafforzare tali temi. Questo ricercatore si propone di intraprendere quest'area di ricerca in modo pi integrato e olistico in vista degli obiettivi dichiarati in precedenza in questa tesi.
I Have Longed to Move Away – Lawrence Carroll, Works 1985–2017

I Have Longed to Move Away – Lawrence Carroll, Works 1985–2017

Gianna A. Mina; Roberto Borghi; Lara Conte

Five Continents Editions
2017
sidottu
This catalogue accompanies the monographic exhibition that Museo Vincenzo Vela, in Mendrisio-Ligornetto, has dedicated to the works of Lawrence Carroll (b. 1954). Born in Melbourne, Carroll moved to California with his family in 1958. Some twenty-five years later, in 1984 he moved once again, to New York, where he pursued his artistic development, having little concern for the fashions of the moment but a profound sense of personal commitment and dedication to the language and practice of painting. As he understands it, painting abuts on many other art forms: in his hands it becomes the slow stratification of colour, materials, and objects, in which the surface of the painting interacts with the surrounding environment, blurring the borders between painting, sculpture, and installation. Moving from place to place, Carroll has always been most at home in the quiet of his studio, which provides him with the intimacy he requires to express himself. Here he explores duration as the fragility of time and space, placing memory at the heart of his poetics. Old remembrances emerge on the surface, overlaying each other layer upon layer, like an accumulation of light, dust and matter in pale colour tones as close to the colour of the canvas as possible. Inherently porous as the surface is, one can make out graphemes and underlying traces, while objects are applied directly onto it. The result is a poetics of rarefied references, narratives that gradually form and are at the same time swathed in a metaphysical atmosphere of suspension, a sort of 'metaphysics of the quotidian'. Designed like an autobiography installed in the rooms of the museum-house, the exhibition provides an overview of Carroll's artistic development, from his earliest works to the present day, highlighting the subtle recurring themes as well as the fresh departures that have taken him on wholly new artistic journeys. The catalogue offers the first ever overall assessment of the artist's work as it has evolved during his life. The book is lavishly illustrated, and includes a full biography and comprehensive bibliography, as well as providing an engaging interview with the artist. Text in English and Italian.