Titlebook: Was Liebe vermag; Philosophische Liebe Sarah Al-Taher,Vanessa Jansche,Laura Martena Book 2022 Der/die Herausgeber bzw. der/die Autor(en), e

ironic

Martin F. Meyeriewer and author that grows out of an author’s genuine desire “to be told why [the reviewer] likes or dislikes his work” and a reviewer’s genuine desire “to tell them why I either like or dislike their work” (211–12), Woolf calls for a private meeting between “doctor and writer”: “for an hour they w

Cholagogue

Bettina Fr?hlichticism, partly of a new interest in abnormal psychology and in the revelations of psychoanalysis, partly of an absorbed concern with artistic experimentation. Dostoevsky represented an ally, a mystic, a psychologist of the unconscious, a designer of a new fictional form” (. 5–6). Gilbert Phelps elab

allude

鎮(zhèn)痛劑

Nora Kreftghlighted the question of the contingencies surrounding the production and presentation of a text, in that the advent of the Second World War made Woolf aware of the tenuousness, or contingency, of her own situation, as her lifestyle and reading public changed so suddenly. The . of art became the pr

流眼淚

Condense

酷熱

Bettina Fr?hlichsocial convention, and the destruction of life in the First World War.. More recently, there has been a growing interest in viewing Woolf’s treatment of nature through an ecocritical frame, and Woolf has been presented as a presciently ‘green’ author in her attention to the world beyond the human..

熔巖

acrobat

Nora Kreftddressing the question of Woolf’s relationship to literary history, both in terms of the history she wrote and in terms of the history that has been written about her. In their turn, Woolf’s writings on history, women and the essay were deployed to read critically and help to contextualise the idea

rheumatology