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Bibliografías temáticas / Cheerful Letter Exchange

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Artículos de revistas

Literatura académica sobre el tema "Cheerful Letter Exchange"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Cheerful Letter Exchange"

1

Ustyugova, V. V. "“I SEE KAMA, SNOWS, MOONLIGHT...”: ALEXANDRA LIKHACHEVA'S NOTES AS AN EXPERIENCE OF PERSONAL REFLECTION AND POETICIZED OBSERVATION OF PROVINCIAL LIFE." Вестник Пермского университета. История, no. 2 (2024): 71–83. http://dx.doi.org/10.17072/2219-3111-2024-2-71-83.

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The article studies the gymnasium diary and notes of Alexandra Likhacheva (Zotina), preserved within the collection of personal and family sources of the Perm Region Museum. Alexandra attended the Protogymnasium and later the Mariinsky Gymnasium in Perm, maintaining diary entries from 1903 to 1907 during her time as a gymnasium student. Additionally, the collection contains letters and scattered sheets of notes from later years, predominantly composed in verse. The diary and letters of Alexandra Likhacheva make it possible to reconstruct the chronicle of the private life of the young gymnasium

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2

Dr., Ram Lalit. "TRANSCENDING FAMILY/UNIVERSALITY: A PSYCHOANALYTIC STUDY OF ROHINTON MISTRY'S SUCH A LONG JOURNEY." International Journal of Multidisciplinary Research and Modern Education 3, no. 1 (2017): 507–12. https://doi.org/10.5281/zenodo.823277.

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Tracing the origin of psychoanalytical interpretation of the literary texts M.A.R. Habib writes: Critics, rhetoricians, and philosophers since Aristotle have examined the psychological dimensions of literature, ranging from an author’s motivation and intentions to the effect of texts and performances on an audience. The application of psychoanalytic principles to the study of literature, however, is a relatively recent phenomenon, initiated primarily by Freud and in other directions by Alfred Alder and Carl Jung. The notion of the “unconscious” was not in itself new, and it can be found in man

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3

Ryder, Paul. "Dream Machines: The Motorcar as Sign of Conquest and Destruction in F. Scott Fitzgerald's The Great Gatsby." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1636.

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In my article, "A New Sound; a New Sensation: A Cultural and Literary Reconsideration of the Motorcar in Modernity" (Ryder), I propose that "a range of semiotic engines" may be mobilised "to argue that, in the first quarter of the twentieth century, the motorcar is received as relatum profundis of freedom". In that 2019 article I further argue that, as Roland Barthes has indirectly proposed, the automobile fits into a "highway code" and into a broader "car system" in which its attributes—including its architectural details—are received as signs of liberation (Barthes Elements, 10, 29). While e

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4

Walker, Ruth. "Double Quote Unquote: Scholarly Attribution as (a) Speculative Play in the Remix Academy." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.689.

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Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken Fren

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5

Altiok, Revna. "Unveiling Ken." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3067.

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Introduction "Barbie has a great day every day, but Ken only has a great day if Barbie looks at him", states the narrator in Barbie (2023). Directed by Greta Gerwig, the film not only claimed the title of the highest-grossing film of the year but also prompted its audience to reconsider a character they had previously mostly overlooked; another one of Barbie’s many accessories: Ken. Ken's identity as Barbie's companion is fundamentally dependent upon the presence and recognition of his more prominent female counterpart. This highlights Ken's secondary role, where he serves as a supporting figu

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