By Brenda Pfaus
Alice Munro, recipient of the 2013 Nobel Prize in Literature, is unquestionably between Canada's maximum residing writers. during this specified, exciting assortment, Brenda Pfaus offers clean insights into a few of Munro's such a lot enduring works: Lives of women and ladies (1971), Who Do you think that you're? (1978), Dance of the satisfied colors (1968), Something I've Been intending to let you know (1974), and The Moons of Jupiter (1982).
This number of essays reaches from the early years of Munro's occupation via her best as a author, while she penned her such a lot influential works.
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Extra info for Alice Munro (Early Canadian Poetry Series - Criticism & Biography)
A Philosophical Reader, ed. Rolf Tiedemann (Stanford: Stanford University Press, 2003), 244. 49. The tension between purity and commitment is the subject of in-depth studies such as Anthony Leo Geist’s La poética de la generación del 27 y las revistas literarias: De la vanguardia al compromiso (1918–1936) [The Poetic Generation of 27 and the Literary Reviews: From the Avant-Garde to Social Commitment (1918–1936)] (Madrid: Guadarrama, 1980), and Juan Cano Ballesta’s La poesía española entre pureza y revolución [Spanish Poetry between Purity and Revolution] (Madrid: Gredos, 1972).
20 Introduction: Foundations for a Dissident Surrealism 17. Derek Harris, Metal Butterflies and Poisonous Lights, 12–13. 18. In using the term “subject” throughout this book I refer to the speaker, personage, or character in Lorca’s poetry and drama. ’” It is both difficult and reductive to equivalate these textual subjects to representations of Lorca himself, although many aspects of the poet’s biography certainly find their way into his poetry and inform his aesthetics of anguish. That said, the present study is most interested in how Lorca frames these subjectivities of desire and anguish in his poetry and drama, not in how they may or may not correlate with particular facets of the poet’s reality, sexuality, relationships, or biography.
The decadent drives that seek to “bring things down” are a prominent focus in the cultural and artistic artifacts treated in Documents, which include an article titled “Eye” wherein Bataille celebrates the violent termination of vision in Buñuel and Dalí’s 1929 film Un chien andalou [An Andalusian Dog]. Drawing attention to the manner in which “horror becomes fascinating, and how it alone is brutal enough to break everything that stifles,” 28 Bataille’s thinking finds a revolutionary kinship with Dalí’s paintings, which at times were far too disturbing for Breton.