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Seite 61
It is a scene we only overhear as though in the next room , and which we almost certainly misunderstand ( at least until much later ) . Instead of conceptualizing creativity as a pragmatic strategy or as a fount of innovation , Freud's ...
It is a scene we only overhear as though in the next room , and which we almost certainly misunderstand ( at least until much later ) . Instead of conceptualizing creativity as a pragmatic strategy or as a fount of innovation , Freud's ...
Seite 89
( 2 : 141f . , emphasis mine ) II It is surely crucial that this ghost scene is figured as a reading scene . In his proleptic mourning for the lost object the narrator here confronts the mirror of his own tomblike countenance— “ like a ...
( 2 : 141f . , emphasis mine ) II It is surely crucial that this ghost scene is figured as a reading scene . In his proleptic mourning for the lost object the narrator here confronts the mirror of his own tomblike countenance— “ like a ...
Seite 160
But a second example is yet more definitive : the scene in Psycho where Norman Bates in the fruit cellar emerges dressed as mother , knife raised , restrained from behind by Sam Loomis while struggling , his wig shaken , grimacing in ...
But a second example is yet more definitive : the scene in Psycho where Norman Bates in the fruit cellar emerges dressed as mother , knife raised , restrained from behind by Sam Loomis while struggling , his wig shaken , grimacing in ...
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Inhalt
On E T A Hoffmanns Jesuit Church in G MAR 29 | 9 |
Evita Out of the Waves | 28 |
inter urinas et faeces nascimur | 51 |
Urheberrecht | |
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according allowed already American android animal appears associated becomes begin Birth body called cinema comes concept connection creativity dead death describe desire dream effect eternal event Evita example experience experimental fact father figure finally fire flesh flux fragment Freud frog function future half-life hand Hitchcock human incorporation invention Italy kind later light living loss machine marks mass mathematics means memory Michigan mourning narrator nature never Nietzsche object once organization original painting passing past Perón perspective philosophy play political possible precisely present problem produces question radio reading relation requires rigor scene seems sense sexual social story sublimation suggests surface theory things thinking thought tion turn University Press writing York