Pub Date : 2023-11-12DOI: 10.1080/0895769x.2023.2281298
Jinan Cui, Junwu Tian
{"title":"Ian McEwan’s <i>Nutshell</i> : A Creative Misreading of <i>Hamlet</i>","authors":"Jinan Cui, Junwu Tian","doi":"10.1080/0895769x.2023.2281298","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2281298","url":null,"abstract":"","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135038510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-12DOI: 10.1080/0895769x.2023.2281300
Aihua Hu
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. This is a note from https://www.owleyes.org/text/the-story-of-an-hour/read/chopins-short-story. Subsequent citations are noted with only “1”.
{"title":"A Spatial Narrative Interpretation of <i>The Story of an Hour</i>","authors":"Aihua Hu","doi":"10.1080/0895769x.2023.2281300","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2281300","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. This is a note from https://www.owleyes.org/text/the-story-of-an-hour/read/chopins-short-story. Subsequent citations are noted with only “1”.","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135038834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-09DOI: 10.1080/0895769x.2023.2272250
Jian Choe
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. In a letter to John Middleton Murry of 28 February 1918, Mansfield noted the real-life origin of “Bliss”: “I have enjoyed writing it. […] You will ‘recognise’ some of the people. Eddie of course is a fish out of the Garsington pond (which gives me a joy) and Harry is touched upon W. L. G[eorge]. Miss Fulton is ‘my own invention’” (Letters II 98).2. Mansfield, with her colonial nouveau riche background, developed an ambiguous friendship with the elite circles. For a detailed account, see Tomalin, 149–59 passim.3. Katherine Mansfield, Bliss and Other Stories (Harmondsworth: Penguin, 1975), 95–96; hereafter cited parenthetically in the text.4. Alpers deems Harry “a sort of stock stockbroker” (274).5. My argument in this section is indebted to Veblen.6. Original emphasis. Dilworth points out that the italics in the conversation denote an “extreme upper-class accent” (145).
{"title":"Katherine Mansfield’s “Bliss”: A Portrait of the Bourgeoisie","authors":"Jian Choe","doi":"10.1080/0895769x.2023.2272250","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2272250","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. In a letter to John Middleton Murry of 28 February 1918, Mansfield noted the real-life origin of “Bliss”: “I have enjoyed writing it. […] You will ‘recognise’ some of the people. Eddie of course is a fish out of the Garsington pond (which gives me a joy) and Harry is touched upon W. L. G[eorge]. Miss Fulton is ‘my own invention’” (Letters II 98).2. Mansfield, with her colonial nouveau riche background, developed an ambiguous friendship with the elite circles. For a detailed account, see Tomalin, 149–59 passim.3. Katherine Mansfield, Bliss and Other Stories (Harmondsworth: Penguin, 1975), 95–96; hereafter cited parenthetically in the text.4. Alpers deems Harry “a sort of stock stockbroker” (274).5. My argument in this section is indebted to Veblen.6. Original emphasis. Dilworth points out that the italics in the conversation denote an “extreme upper-class accent” (145).","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135242481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-26DOI: 10.1080/0895769x.2023.2272256
Daniel Kempton
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。
{"title":"Richard Aldington’s Allegory of Reading: <i>The Eaten Heart</i>","authors":"Daniel Kempton","doi":"10.1080/0895769x.2023.2272256","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2272256","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136376963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-24DOI: 10.1080/0895769x.2023.2272253
Shahriyar Mansouri
ABSTRACTThis short article examines the significance of memory in Beckett’s works, in particular That Time. Memory appears as a reality-making technique that immortalizes fleeting vignettes of human vicissitude. On the one hand, such intimations of memory and mobilization of personal history in Beckett’s works have been read as coping mechanisms that helped Beckett to survive a series of traumatic events, and on the other, they have been examined as the author’s self-evaluative efforts. Beckett’s appropriation of memory can be understood as a critical techné, a ventriloquial kaleidoscopic apparatus that enables the author to revisit and critique the lines of flight and their existential residues that remained in his memory. This short article examines Beckett’s use of personal memory as an animate, visceral device, a diachronic means of reading the past, or an apparatus that dwells in a space beyond intended generic contestations, and categorical definitions of memory as an agent of registering temporalities. Memory, in this respect, becomes a marker of personal cartography expressed through stories as techné. Disclosure statementNo potential conflict of interest was reported by the author.Notes1. David Ross translates technê as art (Oxford 2009), while in Roger Crisp’s translation the term appears as skills.2. Henceforth, QT.
{"title":"Memory as Techné: Remapping the Beckettian Dynamics of Remembrance in <i>That Time</i>","authors":"Shahriyar Mansouri","doi":"10.1080/0895769x.2023.2272253","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2272253","url":null,"abstract":"ABSTRACTThis short article examines the significance of memory in Beckett’s works, in particular That Time. Memory appears as a reality-making technique that immortalizes fleeting vignettes of human vicissitude. On the one hand, such intimations of memory and mobilization of personal history in Beckett’s works have been read as coping mechanisms that helped Beckett to survive a series of traumatic events, and on the other, they have been examined as the author’s self-evaluative efforts. Beckett’s appropriation of memory can be understood as a critical techné, a ventriloquial kaleidoscopic apparatus that enables the author to revisit and critique the lines of flight and their existential residues that remained in his memory. This short article examines Beckett’s use of personal memory as an animate, visceral device, a diachronic means of reading the past, or an apparatus that dwells in a space beyond intended generic contestations, and categorical definitions of memory as an agent of registering temporalities. Memory, in this respect, becomes a marker of personal cartography expressed through stories as techné. Disclosure statementNo potential conflict of interest was reported by the author.Notes1. David Ross translates technê as art (Oxford 2009), while in Roger Crisp’s translation the term appears as skills.2. Henceforth, QT.","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135315760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-23DOI: 10.1080/0895769x.2023.2272260
Russell M. Hillier
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.
点击放大图片点击缩小图片披露声明作者未报告潜在的利益冲突。
{"title":"“In the Grip of Grue”: The Fascination with Horror in Cormac McCarthy’s <i>Suttree</i>","authors":"Russell M. Hillier","doi":"10.1080/0895769x.2023.2272260","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2272260","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135367108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-23DOI: 10.1080/0895769x.2023.2272259
Xuanyuan Li
ABSTRACTSpace and anxiety are intimately intertwined, as is reflected in Carson McCullers’s The Heart Is a Lonely Hunter. This article focuses on one of the main characters Mick Kelly, who, throughout the novel, is beset by spatial anxiety which in essence stems from the unhomely feeling. It firstly defines the German terms, namely heimlich and unheimlich, examining the way in which spatial anxiety is represented in and out of the house. Furthermore, the possible causes pertaining to politics in the house and the conflict between private and public spaces are determined. It is worth nothing that spatial anxiety is a universal experience of humans, which resonates with Lukács’s “transcendental homelessness.” By explicating Mick’s various strategies for dispelling spatial anxiety, it is concluded that mapping, in the metaphorical form of projecting and wandering, constitutes an effective way to cope with spatial anxiety, when a sense of disorientation permeates the modern labyrinthine world. Disclosure statementNo potential conflict of interest was reported by the author.Notes1. All the quotations from this source are my translation.2. Here, the German term unheimlich is translated into English as “uncanny.”3. Unheimlichkeit is the noun form of unheimlich, which could be translated as “uncanniness.” The reason why I insist on using those German terms is that the English terms “uncanny” and “uncanniness” are not exact equivalents of the German ones by which I intend to emphasize their relation to the home. Besides, in German, all the nouns e.g. Heimlichkeit and Unheimlichkeit should be capitalized, as is shown in this article.
{"title":"An <i>Unheimlich</i> Wanderer: Mick’s Spatial Anxiety in Carson McCullers’s <i>The Heart Is a Lonely Hunter</i>","authors":"Xuanyuan Li","doi":"10.1080/0895769x.2023.2272259","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2272259","url":null,"abstract":"ABSTRACTSpace and anxiety are intimately intertwined, as is reflected in Carson McCullers’s The Heart Is a Lonely Hunter. This article focuses on one of the main characters Mick Kelly, who, throughout the novel, is beset by spatial anxiety which in essence stems from the unhomely feeling. It firstly defines the German terms, namely heimlich and unheimlich, examining the way in which spatial anxiety is represented in and out of the house. Furthermore, the possible causes pertaining to politics in the house and the conflict between private and public spaces are determined. It is worth nothing that spatial anxiety is a universal experience of humans, which resonates with Lukács’s “transcendental homelessness.” By explicating Mick’s various strategies for dispelling spatial anxiety, it is concluded that mapping, in the metaphorical form of projecting and wandering, constitutes an effective way to cope with spatial anxiety, when a sense of disorientation permeates the modern labyrinthine world. Disclosure statementNo potential conflict of interest was reported by the author.Notes1. All the quotations from this source are my translation.2. Here, the German term unheimlich is translated into English as “uncanny.”3. Unheimlichkeit is the noun form of unheimlich, which could be translated as “uncanniness.” The reason why I insist on using those German terms is that the English terms “uncanny” and “uncanniness” are not exact equivalents of the German ones by which I intend to emphasize their relation to the home. Besides, in German, all the nouns e.g. Heimlichkeit and Unheimlichkeit should be capitalized, as is shown in this article.","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135367118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-19DOI: 10.1080/0895769x.2023.2263515
Takashi Yoshinaka
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.Notes1. See, for example, Daniel: “Classics, ancient and modern, are echoed throughout a novel with ‘aspirations to classically tragic status’.”2. See, for example, the following works: Weber; Gwynn; Taylor, “Hardy’s Copy of Hamlet,” and “Hardy and Hamlet:” Anderson.3. I.e., The Dramatic Works of William Shakespeare, ed. Singer, now in the Dorset County Museum. See Taylor 87.4. Hardy, The Return of the Native 357. Subsequent references to this edition are given parenthetically in the text.5. See Barrineau 439.6. Martin, coming up with three possibilities―suicide, accidental drowning, and Hardy’s deliberate irresolution―argues for the third non-committal view (625).7. Concerning Hardy’s allusive technique, for example, Marsden says that “The sources … are ultimately unimportant because they have been absorbed and often transformed by the creative personality of the poet” (232).8. Sarah Siddons as the Tragic Muse, or Mrs Siddons as the Tragic Muse is a portrait finished in 1784 by Sir Joshua Reynolds. Bullen says that “from an early age he possessed a keen interest in all kinds of painting, ancient and modern,” and suggests that he first had occasion to see the work of Reynolds at the International Exhibition held in London in 1862 (213–214).9. Eggenschwiler sees the greatness of Eustacia as mock heroic. If so, the fact that when an adaptation of Eustacia’s last soliloquy was staged in 1920, “the threatening intensities of Hardy’s major main plots” failed to be conveyed to the audience does not seem to be a simple matter of the actress’s capability. See Wilson 114.10. Hardy’s library in Dorset County Museum (Dorchester, Dorset, UK.) includes The Dramatic Works of John Webster, 4 vols. (1857), and Volume II contains The White Devil and The Duchess of Malfi, which has notes and comments written by Hardy’s hand.11. Anderson noted three instances of the “[p]ossible influence” of The Duchess of Malfi (498), but does not mention the passage I cited and discussed.12. See also Webster, The Duchess of Malfi, 219, footnote.13. Daniel argues that the value of courtly Renaissance romance, to whose world Eustacia belongs, was destroyed by the Miltonic ethical view, and in the Victorian era supported by “the middle-class heroism of work, perseverance, faith, and the low wisdom of surviving in a world of paradise lost” (262).14. According to Florence Hardy, The Later Years of Thomas Hardy, 1892–1928, Hardy refers to Clym as “the nicest of all my heroes, and not a bit like me” (151).15. One of a succession of diary entries (15–21 October 1888), cited in Hardy, The Life 224.16. Taylor, “Hardy and Hamlet” 46, has pointed out that Hardy used this line in Two on a Tower (1882).
点击增大图片尺寸点击减小图片尺寸披露声明作者未发现潜在的利益冲突。例如，丹尼尔说:“经典，古代的和现代的，在整部小说中都回响着‘对古典悲剧地位的渴望’。”例如，请看以下作品:韦伯;格温;泰勒的《哈代抄写的哈姆雷特》和《哈代与哈姆雷特:安德森》。例如，《威廉·莎士比亚戏剧作品》，由辛格编著，现藏于多塞特郡博物馆。见泰勒87.4。哈代，《还乡》357页。随后对这一版本的参考资料在正文中插入说明。参见Barrineau 439.6。马丁提出了三种可能性——自杀、意外溺水和哈代故意的犹豫不决——为第三种不承担责任的观点辩护(625)。例如，关于哈代的暗指技巧，马斯登说:“来源……最终是不重要的，因为它们已经被诗人的创造性人格所吸收并经常被改造”(232)。莎拉·西登斯扮演悲剧缪斯，或者西登斯夫人扮演悲剧缪斯是约书亚·雷诺兹爵士在1784年完成的一幅肖像画。布伦说，“从很小的时候起，他就对各种各样的绘画，古代的和现代的都有浓厚的兴趣，”并暗示他第一次有机会看到雷诺兹的作品是在1862年(213-214)在伦敦举行的国际展览上。Eggenschwiler认为游苔莎的伟大是一种模拟英雄。如果是这样的话，当尤斯塔莎最后的独白改编于1920年上演时，“哈代主要情节的威胁强度”未能传达给观众，这一事实似乎并不仅仅是女演员能力的问题。参见Wilson 114.10。哈代的图书馆在多塞特县博物馆(多切斯特，多塞特，英国)包括约翰韦伯斯特的戏剧作品，4卷。(1857)，第二卷包括《白魔鬼》和《马尔菲公爵夫人》，其中有哈代手写的笔记和评论。Anderson指出了《the Duchess of Malfi》(498)“[p]可能的影响”的三个例子，但没有提到我引用和讨论的段落。参见韦伯斯特，《马尔菲公爵夫人》，219年，脚注13。丹尼尔认为，宫廷文艺复兴时期的浪漫主义的价值，尤斯塔西亚属于这个世界，被弥尔顿的伦理观点摧毁了，在维多利亚时代，“中产阶级的英雄主义的工作，毅力，信仰，和在一个失去的天堂世界中生存的低智慧”(262)。根据弗洛伦斯·哈代的《托马斯·哈代的晚年》(1892-1928)，哈代将克莱姆称为“我所有英雄中最善良的，但一点也不像我”(151)。1888年10月15日至21日的一系列日记之一，引自哈代的《生平》224.16泰勒在《哈代与哈姆雷特》46中指出，哈代在《双塔上》(1882)中使用了这句话。
{"title":"Hardy’s Intertextual Use of English Drama in <i>The Return of the Native</i>","authors":"Takashi Yoshinaka","doi":"10.1080/0895769x.2023.2263515","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2263515","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.Notes1. See, for example, Daniel: “Classics, ancient and modern, are echoed throughout a novel with ‘aspirations to classically tragic status’.”2. See, for example, the following works: Weber; Gwynn; Taylor, “Hardy’s Copy of Hamlet,” and “Hardy and Hamlet:” Anderson.3. I.e., The Dramatic Works of William Shakespeare, ed. Singer, now in the Dorset County Museum. See Taylor 87.4. Hardy, The Return of the Native 357. Subsequent references to this edition are given parenthetically in the text.5. See Barrineau 439.6. Martin, coming up with three possibilities―suicide, accidental drowning, and Hardy’s deliberate irresolution―argues for the third non-committal view (625).7. Concerning Hardy’s allusive technique, for example, Marsden says that “The sources … are ultimately unimportant because they have been absorbed and often transformed by the creative personality of the poet” (232).8. Sarah Siddons as the Tragic Muse, or Mrs Siddons as the Tragic Muse is a portrait finished in 1784 by Sir Joshua Reynolds. Bullen says that “from an early age he possessed a keen interest in all kinds of painting, ancient and modern,” and suggests that he first had occasion to see the work of Reynolds at the International Exhibition held in London in 1862 (213–214).9. Eggenschwiler sees the greatness of Eustacia as mock heroic. If so, the fact that when an adaptation of Eustacia’s last soliloquy was staged in 1920, “the threatening intensities of Hardy’s major main plots” failed to be conveyed to the audience does not seem to be a simple matter of the actress’s capability. See Wilson 114.10. Hardy’s library in Dorset County Museum (Dorchester, Dorset, UK.) includes The Dramatic Works of John Webster, 4 vols. (1857), and Volume II contains The White Devil and The Duchess of Malfi, which has notes and comments written by Hardy’s hand.11. Anderson noted three instances of the “[p]ossible influence” of The Duchess of Malfi (498), but does not mention the passage I cited and discussed.12. See also Webster, The Duchess of Malfi, 219, footnote.13. Daniel argues that the value of courtly Renaissance romance, to whose world Eustacia belongs, was destroyed by the Miltonic ethical view, and in the Victorian era supported by “the middle-class heroism of work, perseverance, faith, and the low wisdom of surviving in a world of paradise lost” (262).14. According to Florence Hardy, The Later Years of Thomas Hardy, 1892–1928, Hardy refers to Clym as “the nicest of all my heroes, and not a bit like me” (151).15. One of a succession of diary entries (15–21 October 1888), cited in Hardy, The Life 224.16. Taylor, “Hardy and Hamlet” 46, has pointed out that Hardy used this line in Two on a Tower (1882).","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135729268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-05DOI: 10.1080/0895769x.2023.2265979
Wook-Dong Kim
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。
{"title":"Two Possible Sources in F. Scott Fitzgerald’s “The Curious Case of Benjamin Button”","authors":"Wook-Dong Kim","doi":"10.1080/0895769x.2023.2265979","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2265979","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135482111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-05DOI: 10.1080/0895769x.2023.2263497
Hossein Pirnajmuddin
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. All references to the story (indicated by page numbers) are to the following edition (available online): Barrie, J. M. A Lady’s Shoe (two short stories: A Lady’s Shoe, The Inconsiderate Waiter), Bretano’s, 1893. fadedpage.com/showbook.php?pid=2012. Accessed 23 July 2023. The title of the story is abbreviated to “IW.”
{"title":"On Consideration: Affect in J. M. Barrie’s “The Inconsiderate Waiter”","authors":"Hossein Pirnajmuddin","doi":"10.1080/0895769x.2023.2263497","DOIUrl":"https://doi.org/10.1080/0895769x.2023.2263497","url":null,"abstract":"Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1. All references to the story (indicated by page numbers) are to the following edition (available online): Barrie, J. M. A Lady’s Shoe (two short stories: A Lady’s Shoe, The Inconsiderate Waiter), Bretano’s, 1893. fadedpage.com/showbook.php?pid=2012. Accessed 23 July 2023. The title of the story is abbreviated to “IW.”","PeriodicalId":53964,"journal":{"name":"ANQ-A QUARTERLY JOURNAL OF SHORT ARTICLES NOTES AND REVIEWS","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135482807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：