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从《了不起的盖茨比》的叙述形式看菲茨杰拉德的艺术形式观 被引量:5

On Fitzgerald's Concept of Art Form from the Slant Narration of The Great Gatsby
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摘要 本文以非人格化叙述理论为参照 ,探讨了《了不起的盖茨比》的叙述形式 。
作者 任虎军
出处 《西安外国语学院学报》 2001年第4期77-80,共4页 Journal of Xi'an Foreign Languages University
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  • 1[1]Pound, Dennis, and James E. Person (eds.),Twentieth Century Literary Criticism, Vol. 14(Detroit, London: Gale Research Inc., 1984), p.149.
  • 2[2][3]Bruccoli, Matthew J. (ed.), New Essays on The Great Gatsby (New York: Cambridge University Press,1985), p. 5;p. 18.
  • 3[4]Elliot, Emory, et al. (eds.), Columbia Literary History of the United States (New York: Columbia University Press, 1988), p. 873.
  • 4[5]Bruccoli, Matthew J., and Margaret M. Duggan(eds.), Correspondence of F. Scott Fitzgerald (New York: Random House, 1980), p. 112.
  • 5[6]See Frances Kerr,"Feeling 'Half Feminine': Modernism and the Politics of Emotion" in The Great Gatsby, in American Literature, Vol. 68, No. 2 (June 1996),p.407.
  • 6[11]Fitzgerald, F. Scott, The Great Gatsby (Shanghai Translation Press, 1982), p. 1. All the subsequent references to this edition are indicated by page numbers in the brackets.
  • 7[12]See Phyllis Baker, et al., Concise Dictionary of American Literary Biography: The Twenties, 1917-1929 (Detroit, Michigan: Gale Research Inc. Book Tower, 1989), p. 63.
  • 8[13]Cowley, Malcolm, "Breakdown," in Dictionary of Literary Biography: Documentary Series, Vol. One,(ed.) Margaret A. Van Antwerp (Detroit, Michigan:Gale Research Company Book Tower, 1982), p. 274.
  • 9[15]See Dictionary of Literary Biography: Documentary Series,, Vol. One p. 246.
  • 10[16]See Modern British and American Literary Criticism: An Anthology,pp. 138-139.

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