2010, ISBN: 3631567057

[EAN: 9783631567050], Gebraucht, wie neu, [SC: 4.0], [PU: Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang], JAMES, HENRY: THE PORTRAIT OF A LADY ; FRAU LAD… Altro …

[EAN: 9783631567050], Gebraucht, wie neu, [SC: 4.0], [PU: Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang], JAMES, HENRY: THE PORTRAIT OF A LADY ; FRAU LADY, ENGLISCHE LITERATUR AMERIKAS, ÖFFENTLICHE DARBIETUNGEN, FILM, RUNDFUNK, 340 S. : Ill. ; 23 cm Tadelloses Exemplar. - Table of Contents -- Motto -- 1. Framework 11 -- 1.1. Analysis, Theory, and the Eye of the Beholder 11 -- 1.2. From Theory to Analytical Practice: The Title as Signifying Moment 13 -- 1.2.1. Post-Structuralism, Non-Essentialism, Feminism—Getting at the Linguistic and Political Dimensions of Discrimination and Re/presentation 14 -- 1.2.2. The Significance of Framing as Implied by the Title 21 -- 1.2.3. Comparing Counterparts: Questions ofEvidence and Method 26 -- 1.3. Notions of 'Reality' as Matters of Style in Cinematic and Literary Re/presentations 33 -- 1.3.1 Realism, Omniscience and the Renaissance Ideal of Re/presentation on Canvas, Page, and Screen 40 -- 2. Portraying the Act of Portrayal: Self-Reflexive Acts of Framing in James' and Campion's The Portrait ofa Lady 51 -- 2.1. "Mere Holes in a Dead Wall:" Isabel's Portrait in the "House of Fiction" 51 -- 2.1.1. Looking Through One's Frame of Mind: Viewing Attitudes in Both Portraits 67 -- 2.1.2. Framing Oneself: Isabel and Her Ideal of the Eminent Woman 92 -- 2.2. Framing the Audience: Campion's Treface' to her Portrait ofa Lady 102 -- 2.3. Undermining Omniscience: James' Narrator and Campion's Camera 113 -- 2.3.1. From Visual Obstruction to the Limits of (In/)Sight 122 3. Framing Buildings, Framing Minds—On Houses, Prisons, and Convention(s) 127 -- 3.1. Elaborate Designs: Subverting Conventional Notions of Romance 127 – 3.1.1. -- TheKissofRomanceasTheKissofDeath 127 -- 3.1.2. On 'Romantic' Lovers and the Use ofa Rose 133 -- 3.1.3. One's Lover's Eyes: On Narcissism's Empty Mirrors 141 -- 3.1.4. Isabel, Osmond, and Emerson:'What's Love Got to Do With It?' 147 -- 3.2. Convention Incarnate: Osmond as the World's'Evil Eye' 157 -- 3.2.1. 'Old-Way' Conventions: Osmond as Renaissance Man 162 -- 3.2.2. Creating the Perfect Family: Convention as Despotie Designer 176 -- 3.2.3. Visualizing the Effects of Convention: Isabel as Designer Piece 180 -- 3.3. Propriety's Supportive Role: Merle as Osmond's 'Partner' in Crime 194 -- 3.3.1. Merle as Propriety Incarnate 194 -- 3.3.2. Observing the Proprieties—Falling for Merle 198 -- 3.3.3. Merle's Patronage As 'Schirmherrschaft:' Umbrellas, Parasols, and the Lawsof Convention 202 -- 3.3.4. On Relations between Breakable Objects: Merle as Isabel's Counterpart 209 -- 3.3.5. Fellow Inmates: Merle, Isabel, and Pansy in Convention's Prison 222 -- 3.4. Caught in Convention's Cage: Isabel and the House of Darkness 234 -- 3.4.1. Conventional Choices: Preferring Osmond over Warburton 249 -- 3.4.2. Birds of a Feather: Pansy as Isabel's Companion Piece 254 -- 3.4.3. Consummate Pieces Consumed: The Ball of Convention 257 -- 3.4.4. Obedience Enforced: Corrective Measures and Conventional Tastes 268 -- 3.5. Convention Contextualized: Reflections of Contemporary Discourse 288 -- 4. Imperfect Closure for Perfect Endings 292 -- 4.1. Non-Affirmative 'Realism' in James and Campion: Results 305 -- Bibliography 311 -- ListofPlates 335 -- Index 336 ISBN 9783631567050 Sprache: Englisch Gewicht in Gramm: 585, Books<

2010, ISBN: 3631567057

[EAN: 9783631567050], Gebraucht, wie neu, [PU: Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang], JAMES, HENRY: THE PORTRAIT OF A LADY ; FRAU LADY, ENGLISCH… Altro …

[EAN: 9783631567050], Gebraucht, wie neu, [PU: Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang], JAMES, HENRY: THE PORTRAIT OF A LADY ; FRAU LADY, ENGLISCHE LITERATUR AMERIKAS, ÖFFENTLICHE DARBIETUNGEN, FILM, RUNDFUNK, 340 S. : Ill. ; 23 cm Tadelloses Exemplar. - Table of Contents -- Motto -- 1. Framework 11 -- 1.1. Analysis, Theory, and the Eye of the Beholder 11 -- 1.2. From Theory to Analytical Practice: The Title as Signifying Moment 13 -- 1.2.1. Post-Structuralism, Non-Essentialism, Feminism—Getting at the Linguistic and Political Dimensions of Discrimination and Re/presentation 14 -- 1.2.2. The Significance of Framing as Implied by the Title 21 -- 1.2.3. Comparing Counterparts: Questions ofEvidence and Method 26 -- 1.3. Notions of 'Reality' as Matters of Style in Cinematic and Literary Re/presentations 33 -- 1.3.1 Realism, Omniscience and the Renaissance Ideal of Re/presentation on Canvas, Page, and Screen 40 -- 2. Portraying the Act of Portrayal: Self-Reflexive Acts of Framing in James' and Campion's The Portrait ofa Lady 51 -- 2.1. "Mere Holes in a Dead Wall:" Isabel's Portrait in the "House of Fiction" 51 -- 2.1.1. Looking Through One's Frame of Mind: Viewing Attitudes in Both Portraits 67 -- 2.1.2. Framing Oneself: Isabel and Her Ideal of the Eminent Woman 92 -- 2.2. Framing the Audience: Campion's Treface' to her Portrait ofa Lady 102 -- 2.3. Undermining Omniscience: James' Narrator and Campion's Camera 113 -- 2.3.1. From Visual Obstruction to the Limits of (In/)Sight 122 3. Framing Buildings, Framing Minds—On Houses, Prisons, and Convention(s) 127 -- 3.1. Elaborate Designs: Subverting Conventional Notions of Romance 127 – 3.1.1. -- TheKissofRomanceasTheKissofDeath 127 -- 3.1.2. On 'Romantic' Lovers and the Use ofa Rose 133 -- 3.1.3. One's Lover's Eyes: On Narcissism's Empty Mirrors 141 -- 3.1.4. Isabel, Osmond, and Emerson:'What's Love Got to Do With It?' 147 -- 3.2. Convention Incarnate: Osmond as the World's'Evil Eye' 157 -- 3.2.1. 'Old-Way' Conventions: Osmond as Renaissance Man 162 -- 3.2.2. Creating the Perfect Family: Convention as Despotie Designer 176 -- 3.2.3. Visualizing the Effects of Convention: Isabel as Designer Piece 180 -- 3.3. Propriety's Supportive Role: Merle as Osmond's 'Partner' in Crime 194 -- 3.3.1. Merle as Propriety Incarnate 194 -- 3.3.2. Observing the Proprieties—Falling for Merle 198 -- 3.3.3. Merle's Patronage As 'Schirmherrschaft:' Umbrellas, Parasols, and the Lawsof Convention 202 -- 3.3.4. On Relations between Breakable Objects: Merle as Isabel's Counterpart 209 -- 3.3.5. Fellow Inmates: Merle, Isabel, and Pansy in Convention's Prison 222 -- 3.4. Caught in Convention's Cage: Isabel and the House of Darkness 234 -- 3.4.1. Conventional Choices: Preferring Osmond over Warburton 249 -- 3.4.2. Birds of a Feather: Pansy as Isabel's Companion Piece 254 -- 3.4.3. Consummate Pieces Consumed: The Ball of Convention 257 -- 3.4.4. Obedience Enforced: Corrective Measures and Conventional Tastes 268 -- 3.5. Convention Contextualized: Reflections of Contemporary Discourse 288 -- 4. Imperfect Closure for Perfect Endings 292 -- 4.1. Non-Affirmative 'Realism' in James and Campion: Results 305 -- Bibliography 311 -- ListofPlates 335 -- Index 336 ISBN 9783631567050 Sprache: Englisch Gewicht in Gramm: 585, Books<

2010, ISBN: 9783631567050

340 S. : Ill. ; 23 cm kart. Tadelloses Exemplar. - Table of Contents -- Motto -- 1. Framework 11 -- 1.1. Analysis, Theory, and the Eye of the Beholder 11 -- 1.2. From Theory to Analytical… Altro …

340 S. : Ill. ; 23 cm kart. Tadelloses Exemplar. - Table of Contents -- Motto -- 1. Framework 11 -- 1.1. Analysis, Theory, and the Eye of the Beholder 11 -- 1.2. From Theory to Analytical Practice: The Title as Signifying Moment 13 -- 1.2.1. Post-Structuralism, Non-Essentialism, FeminismGetting at the Linguistic and Political Dimensions of Discrimination and Re/presentation 14 -- 1.2.2. The Significance of Framing as Implied by the Title 21 -- 1.2.3. Comparing Counterparts: Questions ofEvidence and Method 26 -- 1.3. Notions of 'Reality' as Matters of Style in Cinematic and Literary Re/presentations 33 -- 1.3.1 Realism, Omniscience and the Renaissance Ideal of Re/presentation on Canvas, Page, and Screen 40 -- 2. Portraying the Act of Portrayal: Self-Reflexive Acts of Framing in James' and Campion's The Portrait ofa Lady 51 -- 2.1. "Mere Holes in a Dead Wall:" Isabel's Portrait in the "House of Fiction" 51 -- 2.1.1. Looking Through One's Frame of Mind: Viewing Attitudes in Both Portraits 67 -- 2.1.2. Framing Oneself: Isabel and Her Ideal of the Eminent Woman 92 -- 2.2. Framing the Audience: Campion's Treface' to her Portrait ofa Lady 102 -- 2.3. Undermining Omniscience: James' Narrator and Campion's Camera 113 -- 2.3.1. From Visual Obstruction to the Limits of (In/)Sight 122 3. Framing Buildings, Framing MindsOn Houses, Prisons, and Convention(s) 127 -- 3.1. Elaborate Designs: Subverting Conventional Notions of Romance 127 3.1.1. -- TheKissofRomanceasTheKissofDeath 127 -- 3.1.2. On 'Romantic' Lovers and the Use ofa Rose 133 -- 3.1.3. One's Lover's Eyes: On Narcissism's Empty Mirrors 141 -- 3.1.4. Isabel, Osmond, and Emerson:'What's Love Got to Do With It?' 147 -- 3.2. Convention Incarnate: Osmond as the World's'Evil Eye' 157 -- 3.2.1. 'Old-Way' Conventions: Osmond as Renaissance Man 162 -- 3.2.2. Creating the Perfect Family: Convention as Despotie Designer 176 -- 3.2.3. Visualizing the Effects of Convention: Isabel as Designer Piece 180 -- 3.3. Propriety's Supportive Role: Merle as Osmond's 'Partner' in Crime 194 -- 3.3.1. Merle as Propriety Incarnate 194 -- 3.3.2. Observing the ProprietiesFalling for Merle 198 -- 3.3.3. Merle's Patronage As 'Schirmherrschaft:' Umbrellas, Parasols, and the Lawsof Convention 202 -- 3.3.4. On Relations between Breakable Objects: Merle as Isabel's Counterpart 209 -- 3.3.5. Fellow Inmates: Merle, Isabel, and Pansy in Convention's Prison 222 -- 3.4. Caught in Convention's Cage: Isabel and the House of Darkness 234 -- 3.4.1. Conventional Choices: Preferring Osmond over Warburton 249 -- 3.4.2. Birds of a Feather: Pansy as Isabel's Companion Piece 254 -- 3.4.3. Consummate Pieces Consumed: The Ball of Convention 257 -- 3.4.4. Obedience Enforced: Corrective Measures and Conventional Tastes 268 -- 3.5. Convention Contextualized: Reflections of Contemporary Discourse 288 -- 4. Imperfect Closure for Perfect Endings 292 -- 4.1. Non-Affirmative 'Realism' in James and Campion: Results 305 -- Bibliography 311 -- ListofPlates 335 -- Index 336 ISBN 9783631567050 Versand D: 4,50 EUR James, Henry: The portrait of a lady ; Frau ; The Portrait of a Lady, Englische Literatur Amerikas, Öffentliche Darbietungen, Film, Rundfunk, [PU:Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang,]<

2010, ISBN: 9783631567050

[PU: Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang], 340 S. : Ill. ; 23 cm kart. Tadelloses Exemplar. - Table of Contents -- Motto -- 1. Framework 11 -- … Altro …

[PU: Frankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang], 340 S. : Ill. ; 23 cm kart. Tadelloses Exemplar. - Table of Contents -- Motto -- 1. Framework 11 -- 1.1. Analysis, Theory, and the Eye of the Beholder 11 -- 1.2. From Theory to Analytical Practice: The Title as Signifying Moment 13 -- 1.2.1. Post-Structuralism, Non-Essentialism, Feminism—Getting at the Linguistic and Political Dimensions of Discrimination and Re/presentation 14 -- 1.2.2. The Significance of Framing as Implied by the Title 21 -- 1.2.3. Comparing Counterparts: Questions ofEvidence and Method 26 -- 1.3. Notions of 'Reality' as Matters of Style in Cinematic and Literary Re/presentations 33 -- 1.3.1 Realism, Omniscience and the Renaissance Ideal of Re/presentation on Canvas, Page, and Screen 40 -- 2. Portraying the Act of Portrayal: Self-Reflexive Acts of Framing in James' and Campion's The Portrait ofa Lady 51 -- 2.1. "Mere Holes in a Dead Wall:" Isabel's Portrait in the "House of Fiction" 51 -- 2.1.1. Looking Through One's Frame of Mind: Viewing Attitudes in Both Portraits 67 -- 2.1.2. Framing Oneself: Isabel and Her Ideal of the Eminent Woman 92 -- 2.2. Framing the Audience: Campion's Treface' to her Portrait ofa Lady 102 -- 2.3. Undermining Omniscience: James' Narrator and Campion's Camera 113 -- 2.3.1. From Visual Obstruction to the Limits of (In/)Sight 122 3. Framing Buildings, Framing Minds—On Houses, Prisons, and Convention(s) 127 -- 3.1. Elaborate Designs: Subverting Conventional Notions of Romance 127 – 3.1.1. -- TheKissofRomanceasTheKissofDeath 127 -- 3.1.2. On 'Romantic' Lovers and the Use ofa Rose 133 -- 3.1.3. One's Lover's Eyes: On Narcissism's Empty Mirrors 141 -- 3.1.4. Isabel, Osmond, and Emerson:'What's Love Got to Do With It?' 147 -- 3.2. Convention Incarnate: Osmond as the World's'Evil Eye' 157 -- 3.2.1. 'Old-Way' Conventions: Osmond as Renaissance Man 162 -- 3.2.2. Creating the Perfect Family: Convention as Despotie Designer 176 -- 3.2.3. Visualizing the Effects of Convention: Isabel as Designer Piece 180 -- 3.3. Propriety's Supportive Role: Merle as Osmond's 'Partner' in Crime 194 -- 3.3.1. Merle as Propriety Incarnate 194 -- 3.3.2. Observing the Proprieties—Falling for Merle 198 -- 3.3.3. Merle's Patronage As 'Schirmherrschaft:' Umbrellas, Parasols, and the Lawsof Convention 202 -- 3.3.4. On Relations between Breakable Objects: Merle as Isabel's Counterpart 209 -- 3.3.5. Fellow Inmates: Merle, Isabel, and Pansy in Convention's Prison 222 -- 3.4. Caught in Convention's Cage: Isabel and the House of Darkness 234 -- 3.4.1. Conventional Choices: Preferring Osmond over Warburton 249 -- 3.4.2. Birds of a Feather: Pansy as Isabel's Companion Piece 254 -- 3.4.3. Consummate Pieces Consumed: The Ball of Convention 257 -- 3.4.4. Obedience Enforced: Corrective Measures and Conventional Tastes 268 -- 3.5. Convention Contextualized: Reflections of Contemporary Discourse 288 -- 4. Imperfect Closure for Perfect Endings 292 -- 4.1. Non-Affirmative 'Realism' in James and Campion: Results 305 -- Bibliography 311 -- ListofPlates 335 -- Index 336 IS, DE, [SC: 4.50], gebraucht; wie neu, gewerbliches Angebot, [GW: 585g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<