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  1. Corey Abel (2006). Stoppard’s Hapgood and the Drama of Politics and Science. Perspectives on Political Science 35 (3):143-148.
    This paper presents a detailed analysis of Stoppard's "Hapgood," in order present two related arguments. First, due to the modal differences between science and human conduct, the play must relegate science to a secondary role, in spite of the apparent primacy of science as the engine of the play's theme and plot. Second, while the drama hinges on its presentation of a fictive world very much patterned after the world of human conduct, drawing on love, friendship, patriotism, and more, it (...)
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  2. Corey Abel (2003). Love and Friendship in Utopia: Brave New World and 1984. In Eduardo Velasquez (ed.), Love and Friendship: Rethinking Politics and Affection in Modern Times.
    Contrary to many "political" interpretations, of "Brave New World" and "1984" this paper stresses that the evil of totalitarian government is not simply in the presence of great and arbitrary power, but in the particular ways that such power erodes love and friendship, the bases of social life. The crisis represented by the destruction of all possibility of love and friendship is placed in the context of Dostoevsky's meditations on "The Grand Inquisitor," and reflections by noted political theorists on the (...)
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  3. Md Hussain Ahmed (2014). A Glimpse on Islamic Teaching. Pratidhwani the Echo (III):13-19.
    Islam' literally means submission but when the term is used in a religious context it means submission to Allah alone. Accordingly, a Muslim is one who submits to the Divine injunctions and does not deviate from them. "Al-Islam implies that you testify that there is no god but Allah and that Muhammad is the Messenger of Allah and you establish prayer, pay zakat, observe the fast of Ramadan, and perform pilgrimage to Holy Ka'ba at Mecca once in a lifetime if (...)
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  4. G. A. Akhmetova (2013). E. Zamyatin's novel "We" in russian classics. Liberal Arts in Russia 2 (1):57--64.
    The article dwells on the origin of the dystopian genre in the Russian classical literature of the 19th century in M. Saltykov-Shchedrin and F. Dostoevsky’s creative work. It is shown that a new genre created in the authors’ polemics of "The History of a Town" and "Legend of the Grand Inquisitor" with the utopian novel "What is to be done" by N. Chernyshevsky was finally completed in E. Zamyatin’s "We".
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  5. Khurshid Alam (ed.) (2014). Investigative Poetry & Other Poems. Createspace.
    The poems in this anthology are categorized in two sections Section I: Investigative Poetry and Section II: Other Poems. Section I includes the poems of investigative poetry genre. This genre is comparatively new and has been started by Charles Olson and Edward Sanders. The genre has high potentiality to wake people to historical truth. History has always been a subject distorted by the government authorities and people in power. Common people tend to know or believe what they are made familiar (...)
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  6. Liliana Albertazzi (1993). Brentano, Meinong and Husserl on Internal Time. Brentano Studien 3:89-110.
    Brentano's Descriptive Psychology marks a breakthrough into clarification of internal time, made possible by using his doctrine of intentionality (and modality) of consciousness. Husserl's version of descriptive psychology, a pure phenomenological psychology, according to its author tries to overcome Brentano's (naturalistic) description of internal experience by explicitly considering the intentional content of mental events, and the different categories of objects as objects of a possible consciousness. Husserl's investigations on internal time are an example of a quite specific sort of genetic (...)
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  7. M. J. Alden & J. Griffin (1989). Homer: The Odyssey. Journal of Hellenic Studies 109:210.
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  8. M. J. Alden & S. Murnaghan (1989). Disguise and Recognition in the Odyssey. Journal of Hellenic Studies 109:211.
    This book is a comprehensive study of the Odyssey's plot, which shows how the motifs of disguise and recognition are used to articulate the central values of Homeric society. The story of Odysseus' homecoming is discussed in relation to family dynamics, heroic competition, the social institutions of marriage and hospitality, gender relations, and the enduring power of song.
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  9. Maureen Alden (2009). Formular Economy in Homer: The Poetics of the Breaches (Review). Classical World: A Quarterly Journal on Antiquity 102 (4):513-514.
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  10. Jason Aleksander (forthcoming). The Divine Comedy’s Construction of its Audience in Paradiso 2.1-18. Essays in Medieval Studies 30.
  11. Alexander Alexander (1942). Notes on Horace's Lyric Poetry. Classical World: A Quarterly Journal on Antiquity 36:162-164.
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  12. Derek Allan, Literature and the Passing of Time: Reflecting on the Temporal Nature of Art.
    The paper explores the much-neglected but crucial topic of the capacity of art to transcend time.
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  13. Derek Allan (2016). The Power of an Idea: Raskolnikov in 'Crime and Punishment'. Literary Imagination (2016).
    Rodion Raskolnikov, the central figure in Dostoyevsky’s Crime and Punishment, is one of the best-known characters in the world of the novel but one who continues to pose major interpretive problems. Why exactly does he murder the old pawnbroker and her sister? Why, throughout the novel, does he continue to believe that he has committed no crime? And why, despite this belief, does he suffer a form of psychological breakdown and eventually give himself up to the police? This article, which (...)
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  14. Derek Allan (2016). Vanquishing Temporal Distance: Malraux, Art and Metamorphosis. Australian Journal of French Studies 53 (1-2):136-148.
    How does art – literature, visual art, or music – endure over time? What special power does it possess that enables it to “transcend” time – to overcome temporal distance and speak to us not just as evidence of times gone by, but as a living presence? The Renaissance, which discovered this transcendent power of art in the classical sculpture and literature it admired so strongly, concluded that great art is impervious to time – “timeless”, “immortal”, “eternal” – a belief (...)
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  15. Emmanuel Alloa (2012). The Inorganic Community. Hypotheses on Literary Communism in Novalis, Benjamin and Blanchot. Boundary2. An International Journal of Literature and Culture 39 (3):75-95.
    If literary avant-garde journals and their communities have been, in the twentieth century, a space for creating, if not sustaining, major political utopias, it should help explain why this “literary communism,” as Jean-Luc Nancy called it, is not a weakened or substitutional form of politics. No myth without narration, no implementation without an instrumentation, no organic unity without a political organ voicing its claim, in short: no organicity without an organon. But can there be a (literary) community that does not (...)
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  16. J. K. Anderson, D. Gera & Xenophon (1995). Xenophon's Cyropaedia: Style, Genre and Literary Technique. Journal of Hellenic Studies 115:198.
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  17. J. K. Anderson, V. Gray & J. Tatum (1990). The Character of Xenophon's HellenicaXenophon's Imperial Fiction: On the Education of Cyrus. Journal of Hellenic Studies 110:223.
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  18. William Anderson (1994). The Satiric Voice: Program, Form and Meaning in Persius and Juvenal by William Thomas Wehrle. [REVIEW] Classical World: A Quarterly Journal on Antiquity 87:332-332.
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  19. Rosa Andújar (2014). Montiglio Love and Providence. Recognition in the Ancient Novel. Pp. X + 256. New York: Oxford University Press, 2013. Cased, £45, US$74. ISBN: 978-0-19-991604-7. [REVIEW] The Classical Review 64 (1):87-89.
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  20. Anton Anton (1959). Rieu, E. V., Tr., Apollonius, The Voyage of Argo. [REVIEW] Classical World: A Quarterly Journal on Antiquity 53:58.
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  21. K. W. Arafat, E. D. Francis, M. Vickers & H. A. Shapiro (1992). Image and Idea in Fifth-Century Greece: Art and Literature After the Persian WarsArt and Cult Under the Tyrants in Athens. Journal of Hellenic Studies 112:217.
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  22. A. M. Archie (2003). The Framing of Socrates: The Literary Interpretation of Xenophon's Memorabilia, by Vivienne J. Gray. Ancient Philosophy 23 (2):424.
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  23. D' Arms (1938). Harvey, P., The Oxford Companion to Classical Literature. [REVIEW] Classical World: A Quarterly Journal on Antiquity 31:193-194.
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  24. Armstrong Armstrong (1943). Homer and Spontaneous Generation. Classical World: A Quarterly Journal on Antiquity 37:53.
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  25. Matthew Arnold (1923). Sohrab and Rustum, Homeric Reminiscences in, F. L. Clark. Classical World: A Quarterly Journal on Antiquity 17:3-7.
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  26. Marylin B. Arthur (1980). The Tortoise and the Mirror: Erinna "PSI" 1090. Classical World: A Quarterly Journal on Antiquity 74 (2):53.
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  27. Leona Ascher (1996). The Heart of Achilles: Characterization and Personal Ethics in the Iliad by Graham Zanker. [REVIEW] Classical World: A Quarterly Journal on Antiquity 89:513-513.
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  28. Leona Ascher (1992). The Iliad: Action as Poetry by Paolo Vivante. [REVIEW] Classical World: A Quarterly Journal on Antiquity 85:721-721.
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  29. Claire Post Bachmuth (1992). Three Roses: Romantic Artists and the Middle Ages. Dissertation, University of California, Santa Barbara
    The aesthetic community marked the disappearance of artistic and natural beauty from modern Britain. Christian values were superseded by the creed of "devil take the hindmost." Appalled by the moral and physical bleakness of their time, sensitive Victorians looked back to an era of love and beauty triumphant. From small evidence and deep longing romantics saw ethical and artistic Elysium in the middle ages. ;Writers on the arts compared contemporary evil with the excellence of the golden age. These contrasts pervade (...)
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  30. Mikhail Bakhtin (2014). Bakhtin on Shakespeare (Excerpt From “Additions and Changes to Rabelais”). PMLA 129 (3):522-537.
    This is the English translation (with a brief introduction and relatively detailed commentary) of a long excerpt from Mikhail Bakhtin's notes titled "Additions and changes to Rabelais", written in the mid-1940s with reworking his then unpublished manuscript on François Rabelais in mind. This excerpt is most notable for being the only extant text in which Bakhtin discusses and analyses Shakespear's tragedies at relative length—a discussion interesting not only as a reading of Shakespeare, but also as an unusual and revealing example (...)
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  31. Irena Bartoszewska (2000). W kręgu prozy i dramatu : przekłady Witolda Hulewicza utworów Maxa Broda, Tomasza Manna i Henryka Kleista. Acta Universitatis Lodziensis 2:147-155.
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  32. Irena Bartoszewska (1997). Im Zeichen einer literarischen Freundschaft. Witold Hulewicz - Rainer Maria Rilke. Acta Universitatis Lodziensis 1:77-87.
    Mit dem Werk des österreichischen Dichters kam Witold Hulewicz ziemlich früh in Berührung. Fasziniert von dessen Dichtkunst, nahm er mit Rilke Briefkontakte auf. Die Korrespondenz belebte sich wesentlich, als Hulewicz an den ersten Üb ertragungen ins Polnische arbeitete. Im vorliegenden Artikel bemüht sich die Autorin nicht nur die freundschaftlichen Kontakte darzustellen, sondern auf die Rolle Hulewiczs als Übersetzer und Verbreiter des Rilkschen Werkes in Polen hinzu weisen.
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  33. Beatrice Bastomsky & Saul Bastomsky (1970). Goethe, The Classics and the Falling Hand. Apeiron 4 (1):12 - 17.
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  34. Héctor Arévalo Benito (2016). "La temprana formación literaria del joven José Gaos en Valencia (1915-1919)". Quaderns de Filosofia i Ciència:11-16.
    This paper studies in detail about the early years of José Gaos (1900- 1969) and his education in philosophy and literature. Therefore, we know that their studies (academic or not) were not purely “philosophical” in 1915. Literature and philosophy played in Gaos an equally important role. The first real encounter with philosophy happens before he comes to Valencia in 1915; but in this year Gaos also receives a strong education, in aesthetic and literary, through press and philosophical journals, and especially (...)
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  35. Héctor Arévalo Benito (2016). "La temprana formación literaria del joven José Gaos en Valencia (1915-1919)". Quaderns de Filosofia i Ciència:11-16.
    This paper studies in detail about the early years of José Gaos (1900- 1969) and his education in philosophy and literature. Therefore, we know that their studies (academic or not) were not purely “philosophical” in 1915. Literature and philosophy played in Gaos an equally important role. The first real encounter with philosophy happens before he comes to Valencia in 1915; but in this year Gaos also receives a strong education, in aesthetic and literary, through press and philosophical journals, and especially (...)
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  36. Claudio Bennati (1998). Essere e finalità: Aspetti bipolari dell'etica in Gadda. Studi di Estetica 17:225-234.
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  37. Daniel Berrigan (1967). Peacemaking Is Hard. Thought: A Journal of Philosophy 42 (4):615-617.
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  38. Anne Berthelot (1997). The Poetics of Authorship in the Later Middle Ages: The Emergence of the Modern Literary Persona. [REVIEW] The Medieval Review 3.
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  39. Benjamin Bertram (2004). The Time is Out of Joint Skepticism in Shakespeare's England.
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  40. David Blamires (1992). “Folktales And Fairytales In The Middle Ages,”. Bulletin of the John Rylands Library 74 (1):97-108.
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  41. Morton Bloomfield (1973). The Friar as Critic: Literary Attitudes in the Later Middle Ages. [REVIEW] Speculum 48 (2):329-330.
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  42. Barbara Bogołębska & Monika Worsowicz (2013). Dialog wiary z nauką i kulturą. Wydawnictwo Uniwersytetu Łódzkiego.
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  43. Wayne Booth (1988). The Company We Keep. University of California Press.
    Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature.
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  44. Guy Bouchard (1982). Marc Eli Blanchard, Description: Sign, Self, Desire. Critical Theory in the Wake of Semiotics Reviewed By. Philosophy in Review 2 (1):1-5.
    L'auteur se demande en quoi la sémiotique se distingue d'une part des approches traditionnelles de la littérature, d'autre part du structuralisme. Trois thèmes circulent à travers les divers chapitres: (1) la relativisation de l'analyse structurale au profit de la "sémio-stylistique"; (2) la promotion de la description aux dépens de la narration; (3) l'importance de la pastorale dans l'histoire de la littérature. Ces thèmes sont développés clairement, et l'auteur tient compte, entre autres, des apports de la philosophie contemporaine à la théorie (...)
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  45. John Bowers (2006). Imagining a Medieval English Nation; New Troy: Fantasies of Empire in the Late Middle Ages. [REVIEW] Clio 35:263-769.
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  46. Robert Boyle (1960). Hopkins' Imagery. Thought: A Journal of Philosophy 35 (1):57-90.
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  47. Brygida Brandys (1997). Die Gestalten die Dramen Ödön von Horvaths in Ihren Lokalkolorit. Folia Germanica 1:55-66.
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  48. Connie T. Braun (2010). Anne Michaels and the Affirmation of Being in the Poetics of Suffering and Trauma. Renascence 62 (2):157-173.
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  49. Gregory Brazeal (2007). The Supreme Fiction: Fiction or Fact? Journal of Modern Literature 31 (1):80-100.
    The article makes a case for giving up the quest to identify Wallace Stevens’ “supreme fiction.” The poet hoped to usher in the creation of an idea that would serve as a fictive replacement for the idea of God, known to be fictive but willfully believed. His hope has remained unfulfilled. By the poet’s own explicit standards, the supreme fiction does not appear in any of his poems, nor in his poetry as a whole, nor in poetry in general. The (...)
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  50. Francesca Brencio (2003). Il peso insopportabile. Arthur Rimbaud. Davar 1.
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1 — 50 / 324