Zobrazeno 1 - 10
of 73
pro vyhledávání: '"Christian Gutleben"'
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 62 (2022)
In both Graham Swift’s Ever After (1992) and A. S. Byatt’s Possession (1990) the contemporary protagonists find new life in the unearthing of Victorian documents and in this combination of contemporary and Victorian renaissances might be detected
Externí odkaz:
https://doaj.org/article/34737601a90a4431b61641e11049dbfc
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 58 (2020)
E.M. Forster’s Howards End is constructed so as to highlight a coda in which the future of the quintessentially English estate seems to rely on Helen Schlegel and Leonard Bast’s son, a bastard by name and condition, whose essential importance can
Externí odkaz:
https://doaj.org/article/c628fa6484474cd0803054ab42761d85
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 55 (2018)
Just as the ground beneath Briony’s feet is distinguished by ‘floorboard cracks’ (11), just as the Tallis’s Meissen porcelain vase displays ‘three fine meandering lines in the glaze’ (43), just as the historical context of the fatal day o
Externí odkaz:
https://doaj.org/article/0bfc9af0bb274e8195f49cf46d575c95
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 52 (2017)
The concept of ‘urban palimpsests’ is used by Andreas Huyssen to convey ‘the conviction that literary techniques of reading historically, intertextually, constructively and deconstructively at the same can be woven into our understanding of urb
Externí odkaz:
https://doaj.org/article/64f99d207a5d4bd8bc8c70ca01c063a8
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 51 (2016)
What appears striking about Jonathan Coe’s humour in The Rotters’ Club (2001) is how different or separate it is from postmodernism’s textual or ontological playfulness such as defined by Linda Hutcheon, Lance Olsen or Patrick O’Neil. The Rot
Externí odkaz:
https://doaj.org/article/b6b5333672954e6fb2bd8788d766d885
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 50 (2016)
Externí odkaz:
https://doaj.org/article/ef1675dc1d984d618a59c1a46b044a25
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 42, Pp 82-94 (2012)
As a metaphor of the disintegration into nothingness, the ashes in Last Orders bespeak the mere nothing of life (« it aint nothing at all ») and appear in numerous descriptions which can then be read as revisited vanitas paintings. Swift’s challe
Externí odkaz:
https://doaj.org/article/9a2d46faac7e494fa26ae361950fad36
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 49 (2015)
Margaret Thatcher appears as a central character in Hollinghurst’s The Line of Beauty (2004), she is also explicitly discussed in Lodge’s Nice Work (1988) and her policy of cutting public expenditure constitutes the main backdrop of Bradbury’s
Externí odkaz:
https://doaj.org/article/055827541b2b45b38f1c7855e765377b
Autor:
Christian Gutleben
Publikováno v:
Études Britanniques Contemporaines, Vol 47 (2014)
The road is metonymic is two ways, first because it represents the people who walk on it and second because this unique path, this scrap of a thoroughfare is only a fragment of the plural and global roads. The road is also metaphoric insofar as it st
Externí odkaz:
https://doaj.org/article/f34e9b309cc24cfb9d164c906cee9ffb
Autor:
Christian Gutleben
Publikováno v:
Miscelánea: A Journal of English and American Studies, Vol 26 (2002)
Externí odkaz:
https://doaj.org/article/2b0b757834ca4d0ba434db35cf3b8fb1