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Artículos de revistas sobre el tema "Clarissa"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 24 de enero de 2023

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1

Leborgne, Erik. "Clarissa Harlot or Clarissa Hallowed ? L’échiquier moral de Clarisse." Littératures 48, no. 1 (2003): 35–48. http://dx.doi.org/10.3406/litts.2003.2211.

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2

Gaipa, Mark. "Accessorizing Clarissa: How Virginia Woolf changes the clothes and the character of her lady of fashion." Modernist Cultures 4, no. 1-2 (May 2009): 24–47. http://dx.doi.org/10.3366/e2041102209000446.

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The period following the first world war in England saw dramatic changes in women's clothing: the manufacturing of quality ready-made clothing brought fashion to the masses, and modern fashions helped liberate women with simpler, lighter, and more youthful designs. These changes, I argue, have great consequence for Virginia Woolf's lady of fashion, Clarissa Dalloway. In her story “Mrs Dalloway in Bond Street” (1922), Woolf produces an ultimately satirical portrait of Clarissa, who remains insulated, by class privilege and fashion sensibility, from the working world about her; but when Woolf re
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3

Brooks-Davies, Douglas, Terry Castle, Katharine M. Rogers, and Simon Shepherd. "Clarissa's Ciphers: Meaning and Disruption in Richardson's 'Clarissa'." Yearbook of English Studies 16 (1986): 264. http://dx.doi.org/10.2307/3507804.

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4

BATSAKI, YOTA. "Clarissa; or, Rake Versus Usurer." Representations 93, no. 1 (2006): 22–48. http://dx.doi.org/10.1525/rep.2006.93.1.22.

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ABSTRACT This paper applies ““interest,”” as a dominant eighteenth-century model of human nature, to Richardson's Clarissa; it proceeds to explore the construction of a new ethics of sexual relationship in the novel by focusing on the homology between usury and libertinism as two kinds of speculation judged immoral due to absence of risk. Clarissa's economic language reveals her to be an astute exegete of her culture's politics and enables her to redress the sexual imbalance of risk; Lovelace, by contrast, troubles the assumptions of the ““interest”” paradigm by subscribing to an aristocratic
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5

Bye, Antony. "Holloway's Clarissa." Musical Times 131, no. 1767 (May 1990): 243. http://dx.doi.org/10.2307/966156.

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6

Doody, Margaret Anne, and Florian Stuber. ""Clarissa" Censored." Modern Language Studies 18, no. 1 (1988): 74. http://dx.doi.org/10.2307/3194702.

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7

Rain, D. C. "Richardson's Clarissa." Explicator 47, no. 1 (September 1988): 12–15. http://dx.doi.org/10.1080/00144940.1988.9933866.

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8

Graves, Lila V. "Richardson's Clarissa." Explicator 47, no. 2 (January 1989): 18–19. http://dx.doi.org/10.1080/00144940.1989.9933892.

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9

Rain, D. C. "Richardson's Clarissa." Explicator 52, no. 1 (October 1, 1993): 20–22. http://dx.doi.org/10.1080/00144940.1993.9938725.

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10

London, April. "Enclosing Clarissa." ESC: English Studies in Canada 13, no. 3 (1987): 271–80. http://dx.doi.org/10.1353/esc.1987.0036.

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11

Aikins, Janet E., Florian Stuber, Margaret Anne Doody, and Jim Springer Borck. "The Clarissa Project." Eighteenth-Century Studies 26, no. 3 (1993): 525. http://dx.doi.org/10.2307/2739429.

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12

Greene, Mildred Sarah. "The French Clarissa." Man and Nature 11 (1992): 89. http://dx.doi.org/10.7202/1012674ar.

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13

Keymer, Tom, Carol Houlihan Flynn, Edward Copeland, and Victor J. Lams. "Clarissa and Her Readers: New Essays for the 'Clarissa' Project." Modern Language Review 97, no. 2 (April 2002): 395. http://dx.doi.org/10.2307/3736878.

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14

Ewha Chung. "Re-Reading Clarissa and Clarissa: Interpretations of ＂Virtue＂ at War." Journal of English Language and Literature 54, no. 3 (June 2008): 395–409. http://dx.doi.org/10.15794/jell.2008.54.3.005.

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15

Bray, J. "Review: Clarissa and her Readers: New Essays for The Clarissa Project." Review of English Studies 52, no. 206 (May 1, 2001): 267–69. http://dx.doi.org/10.1093/res/52.206.267.

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16

Morate, David, Julia de León, Mário De Prá, Javier Licandro, Antonio Cabrera-Lavers, Humberto Campins, and Noemí Pinilla-Alonso. "Visible spectroscopy of the Sulamitis and Clarissa primitive families: a possible link to Erigone and Polana." Astronomy & Astrophysics 610 (February 2018): A25. http://dx.doi.org/10.1051/0004-6361/201731407.

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The low-inclination (i< 8∘) primitive asteroid families in the inner main belt, that is, Polana-Eulalia, Erigone, Sulamitis, and Clarissa, are considered to be the most likely sources of near-Earth asteroids (101955) Bennu and (162173) Ryugu. These two primitive NEAs will be visited by NASA OSIRIS-REx and JAXA Hayabusa 2 missions, respectively, with the aim of collecting samples of material from their surfaces and returning them back to Earth. In this context, the PRIMitive Asteroid Spectroscopic Survey (PRIMASS) was born, with the main aim to characterize the possible origins of these NEAs
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17

Marks, Sylvia Kasey. ""Clarissa" as Conduct Book." South Atlantic Review 51, no. 4 (November 1986): 3. http://dx.doi.org/10.2307/3199753.

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18

Hilliard, Raymond F. "Clarissa and Ritual Cannibalism." PMLA 105, no. 5 (October 1990): 1083. http://dx.doi.org/10.2307/462736.

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19

Ghabris, Maryam. "Les passions dans Clarissa." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 39, no. 1 (1994): 143–57. http://dx.doi.org/10.3406/xvii.1994.1936.

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20

Soupel, Serge. "Clarissa : la femme pourchassée." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 20, no. 1 (1985): 113–23. http://dx.doi.org/10.3406/xvii.1985.1700.

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21

Lubey, Kathleen. "Sexual Remembrance in Clarissa." Eighteenth-Century Fiction 29, no. 2 (January 2017): 151–78. http://dx.doi.org/10.3138/ecf.29.2.151.

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22

Klima, Cynthia A. "Clarissa by Stefan Zweig." Journal of Austrian Studies 52, no. 1-2 (2019): 157–58. http://dx.doi.org/10.1353/oas.2019.0020.

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23

Tennenhouse, Leonard. "The Americanization of Clarissa." Yale Journal of Criticism 11, no. 1 (1998): 177–96. http://dx.doi.org/10.1353/yale.1998.0025.

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24

Pritchard, W. "Pope, Richardson, and "Clarissa"." Literary Imagination 14, no. 2 (June 20, 2012): 216–34. http://dx.doi.org/10.1093/litimag/ims043.

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25

Anderson, R. Lanier. "Is Clarissa Dalloway Special?" Philosophy and Literature 41, no. 1A (2017): 233–71. http://dx.doi.org/10.1353/phl.2017.0032.

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26

Nasta, Susheila. "Clarissa Luard 1948 ‐1999." Wasafiri 15, no. 31 (March 2000): 59. http://dx.doi.org/10.1080/02690050008589686.

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27

Chaber, Lois A. "Clarissa (review)." Eighteenth-Century Fiction 5, no. 3 (1993): 285–87. http://dx.doi.org/10.1353/ecf.1993.0009.

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28

Holloway, R. "Reflections on Setting Clarissa." Forum for Modern Language Studies 48, no. 2 (April 1, 2012): 236–43. http://dx.doi.org/10.1093/fmls/cqs002.

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29

Rivard, Yvon. "Le coeur pur de Clarissa." Études françaises 46, no. 1 (May 27, 2010): 77–96. http://dx.doi.org/10.7202/039818ar.

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Toute oeuvre qui ne se mesure pas à la mort, qui se détourne du réel que lui découvre la mort, s’éloigne de sa vérité, de sa tâche qui est de chercher pour l’homme une façon de rester humain après que la conscience de la mort a détruit toutes ses certitudes. Ce qui permet de rester humain, dit Broch, « c’est la connaissance de l’infini », ce désir, ce pressentiment qu’il y a une relation nécessaire, harmonieuse entre moi et le monde, « entre la terrifiante condition finie et mortelle et l’infini du cosmos ». N’a de valeur, n’est éthique, que ce qui procède de cette connaissance, de ce « savoir
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30

Damrongpiwat, Pichaya. "Fictions of Materiality in Clarissa." Eighteenth Century 62, no. 1 (March 2021): 43–62. http://dx.doi.org/10.1353/ecy.2021.0002.

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31

Ghabris, Maryam. "L'enthousiasme chez Lovelace dans Clarissa." Colloque - Société d'études anglo-américaines des 17e et 18e siècles 29, no. 1 (1989): 147–68. http://dx.doi.org/10.3406/xvii.1989.2269.

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32

Martin, Mary Patricia. "Reading Reform in Richardson's Clarissa." Studies in English Literature, 1500-1900 37, no. 3 (1997): 595. http://dx.doi.org/10.2307/451051.

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33

Nace, N. D. "Aaron Hill in Richardson's Clarissa." Notes and Queries 55, no. 3 (July 1, 2008): 331–33. http://dx.doi.org/10.1093/notesj/gjn075.

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34

Nace, N. D. "More Aaron Hill In Clarissa." Notes and Queries 56, no. 2 (June 1, 2009): 247–48. http://dx.doi.org/10.1093/notesj/gjp038.

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35

Tita Chico. "Clarissa’s Readers." Eighteenth Century 49, no. 3 (2009): 273–78. http://dx.doi.org/10.1353/ecy.0.0018.

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36

이동신. "Parenthesized Lives: (Deronda), (Clarissa), (Ballard)." Journal of English Language and Literature 61, no. 1 (March 2015): 109–29. http://dx.doi.org/10.15794/jell.2015.61.1.007.

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37

Reeves, James Bryant. "Posthumous Presence in Richardson’s Clarissa." SEL Studies in English Literature 1500-1900 53, no. 3 (2013): 601–21. http://dx.doi.org/10.1353/sel.2013.0031.

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38

Doody, Margaret Anne. "The Gnostic Clarissa." Eighteenth-Century Fiction 11, no. 1 (1998): 49–78. http://dx.doi.org/10.1353/ecf.1998.0038.

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39

Steele, Kathryn L. "Clarissa’s Silence." Eighteenth-Century Fiction 23, no. 1 (2010): 1–34. http://dx.doi.org/10.1353/ecf.2010.0003.

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40

Rinehart, Hollis. "Clarissa and the Concept of Tragedy: The Death of Lovelace." Man and Nature 2 (August 20, 2012): 37–47. http://dx.doi.org/10.7202/1011810ar.

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Clarissa de Richardson fait apparaître deux théories de la tragédie qui sont partiellement opposées : la théorie didactique qui véhicule un enseignement moral moyennant l’attrait d’une histoire qui plaît, et la théorie affective, d’origine aristotélienne, selon laquelle le public doit être amené à éprouver pitié et crainte. La fin de la vie de Clarissa et sa mort édifiante illustrent la théorie didactique, tandis que la mort de Lovelace excite la crainte du spectateur, si elle ne réussit pas à susciter sa pitié, et correspond donc davantage à l’idée moderne du tragique.
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41

Sulich, Rachel. "Lovelace's “Gloomy Scheme of Death”: Suffering, Dueling, and Suicide in Richardson's Clarissa." Eighteenth-Century Life 46, no. 2 (April 1, 2022): 88–112. http://dx.doi.org/10.1215/00982601-9664423.

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This article uses Samuel Richardson's Clarissa (1747–48) as a case study in order to expose the relationship between dueling and suicide in eighteenth-century literature and culture. By examining the novel alongside contemporary documents concerning dueling, I make the case that Lovelace's fatal duel with Morden is a covert form of self-destruction, one that allows him to disguise and ultimately escape his sufferings while maintaining his masculine honor and reputation. While many critics have focused on Clarissa's suicide in Richardson's novel, few have considered the nature of Lovelace's own
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42

Harris, Jocelyn, Elizabeth Echlin, Dimiter Daphinoff, and Carol Houlihan Flynn. "An Alternative Ending to Richardson's 'Clarissa'." Yearbook of English Studies 16 (1986): 268. http://dx.doi.org/10.2307/3507805.

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43

Stuber, Florian. "On Fathers and Authority in Clarissa." Studies in English Literature, 1500-1900 25, no. 3 (1985): 557. http://dx.doi.org/10.2307/450496.

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44

Lamb, Jonathan. "The Fragmentation of Originals and Clarissa." Studies in English Literature, 1500-1900 28, no. 3 (1988): 443. http://dx.doi.org/10.2307/450595.

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45

Binhammer, Katherine. "Knowing Love: The Epistemology of Clarissa." ELH 74, no. 4 (2007): 859–79. http://dx.doi.org/10.1353/elh.2007.0034.

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46

Hill, J. "The Arctic Genealogy of Clarissa Dalloway." Notes and Queries 52, no. 4 (December 1, 2005): 500–501. http://dx.doi.org/10.1093/notesj/gji435.

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47

Gunn, Daniel P. "Is Clarissa Bourgeois Art?" Eighteenth-Century Fiction 10, no. 1 (1997): 1–14. http://dx.doi.org/10.1353/ecf.1997.0001.

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48

Oliveira, Taís de. "Os percursos de Clarissa Vaughan e Richard Brown no filme As Horas." Estudos Semióticos 11, no. 2 (December 11, 2015): 62. http://dx.doi.org/10.11606/issn.1980-4016.esse.2015.111036.

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O filme As horas (The Hours, Stephen Daldry, 2002), baseado no romance de mesmo nome de Michael Cunningham (The Hours, 1998), foi um sucesso de público e crítica. Recebeu nove indicações ao Oscar de 2003, incluindo melhor filme e melhor roteiro adaptado. As duas obras tratam do entrelace das histórias de três mulheres ligadas pelo romance de Virginia Woolf, Mrs. Dalloway (Woolf, 2003 [1925]). Cada uma é retratada em um momento diferente: a primeira, no início do século XX, a segunda, em sua metade, e a terceira, no final do mesmo século, no livro, e no primeiro ano do presente sécul
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49

Lopes, Denilson. "A Poesia da Luz de Clarissa Campolina." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 3, no. 1 (July 25, 2016): 14. http://dx.doi.org/10.22475/rebeca.v3n1.320.

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Os espaços nos filmes de Clarissa Campolina não são apenas cenários, elementos menores da encenação, são sensações materiais que definem mesmo o filme. Analisaremos, em especial, Adormecidos, no qual não há mais a paisagem definida pelo olhar contemplativo que projeta romanticamente seus dilemas e devaneios, que dá valor ao espaço a partir de suas memórias e experiência ali vivenciadas, nem algo irrepresentável na esfera do sublime. Só aparentemente há uma perspectiva. Mas a tela não é uma janela para o mundo que o espectador contempla. A realizadora, o espectador e qualquer figura humana não
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50

Zomchick, John P., and Tom Keymer. "Richardson's 'Clarissa' and the Eighteenth-Century Reader." Modern Language Review 89, no. 2 (April 1994): 447. http://dx.doi.org/10.2307/3735259.

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