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Chinese-American mothers and daughters the novels of Amy Tan /Wong, Miu-sim, Malindy. January 2007 (has links)
Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.
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Amy Lowell, containing Amy Lowell to-day, a brief sketch of her life, Amy Lowell's personalityStreeter, John Williams January 1932 (has links)
No description available.
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Identities of American Chinese women /Fu, Lai-lee, Charlotte. January 2000 (has links)
Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references.
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Identities of American Chinese womenFu, Lai-lee, Charlotte. January 2000 (has links)
Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references. Also available in print.
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Amy Lowell, symbolic impressionistRuihley, Glenn Richard. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.
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The Free Verse Movement in America, with an Experiment in VerseSeale, Jan Epton 08 1900 (has links)
This thesis discusses the notion of free verse in poetry with emphasis on Walt Whitman and Amy Lowell. The majority of the paper consists of original poetry by the author.
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Burdens of the past a study of Chinese-American writings /Go, King-fan. January 2005 (has links)
Thesis (M. A.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.
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"Airing Dirty Laundry": Chinese and Chinese-American responses to Amy TanZhang, Yanyan Carrie January 2011 (has links)
Amy Tan, the author of The Joy Luck Club (1989), The Kitchen God’s Wife (1991), The Hundred Secret Senses (1995), The Bonesetter’s Daughter (2001), and Saving Fish from Drowning (2005), is accused of being a “fake” Chinese American writer by radical Chinese American critics such as Frank Chin. I consider Tan’s fictional writing of the experience of Chinese immigrant mothers and their American born daughters to be an experiment in cross-cultural communication. Such communication may be highly personal and subjective to Tan, who claims to write so that her mother can understand her feelings and to remember what she has learned from her Chinese side. I also believe her writings create an opportunity for bi- (or cross-) cultural communication and it matches the concept of harmony in Chinese traditional philosophy.
In Chinese scholar Jianjun Zou’s opinion, Tan’s works represent the notion of reconciliation, and that all of these works shall be viewed as a whole is the inspiration of this thesis. Reconciliation in terms of Tan’s works has three parts, which are: (1) the reconciliation between languages; (2) the reconciliation between genders; (3) the reconciliation among generations. The existence of reconciliation proves that Tan’s writing about the Chinese community is multi-dimensional. From my point of view, she should not be simply defined as a stereotype writer whose works can only reinforce the prejudices against the Chinese community and Chinese men. In my opinion, for Chinese American criticism, violation of the women’s right to tell of the oppression from the Chinese traditional family values should not be the solution to the prejudices of the white dominant culture. For Chinese critics in Chinese speaking regions, especially in China, I suggest that we should have a humble attitude towards the Chinese American literature because the “real” and the “fake” are difficult to define, even in the motherland of Chinese culture.
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The scheme of common language : a comparison of John Ashbery and Amy GerstlerWisse, William R. January 1993 (has links)
There are two traditions in English poetry: elevated and down-to-earth. The former is characterized by formal style, use of verbal associations, and philosophical subject matter. The latter is informal, uses worldly images and makes specific points. When elevated style uses common language, i.e. words drawn from specialized contexts, those words bring with them the down-to-earth spirit. They convey an effect of honesty, indicting the abstraction of elevatedness as an evasion. John Ashbery calls up that effect to discredit it, to show that down-to-earth poetry's implied access to the world is delusive and his personalized internal view is honest. Amy Gerstler accepts the indictment, letting it bring her poems to an epiphanic connection with reality. This distinction reflects their generational difference, between Ashbery's postmodernists who see no possibility of understanding reality, and Gerstler's post-postmodernists who instinctively hope for that understanding while accepting postmodernist epistemological pessimism.
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The dramatic elements in the New England characterizations of Frost, Robinson, and Amy Lowell /Beede, Martha Frances. January 1929 (has links)
Thesis (M.A.)--Ohio State University, 1929. / Includes bibliographical references (leaves iii-vi). Available online via OhioLINK's ETD Center
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