Why/Why Not:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
CA
University of California Press
2003
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| Schlagworte: | |
| Online-Zugang: | FAW01 FAW02 Volltext |
| Beschreibung: | Cover; Contents; 1 perplexities; In the perplexities; Each had been reading the night before; In consequence; Causality; A rational explanation; The placement of things; After the dark came; Odi et amo 1; Odi et amo 2; Odi et amo 3; Odi et amo 4; 2 why knowing is; -- why knowing is -; Why knowing is / (& Matisse's Woman with a Hat); How often, meaning what sort of quandariness; The decisions are already past; And so geography; Hopelessly lost / (& a beach painting by Renoir); It seems the energy; If it is someone else's rent / (& van Gogh's The Bedroom); Unable to keep the spill from spilling Trying to move outThe cause for wandering; In the church with angel heads / (& a portrait of Mary and child); Waking from exhaustion; And yet; The very insignificance was what; Considering the waywardness; Avoidance proper is a verb; -- act 3 -; Act 3; The scene of the crime; Anticipation; The missing person; The missing memory; That subject again; The remains; Bounded in a nutshell; A dream itself is but a shadow; Mysterious rooms; Acting; The mother; The logic of alphabets; Words, words, words; The reason for seduction on a maroon couch; The point of no return; A memory of the pond Photographic proofOphelia over the pond; 3 why/why not; -- why -; Explanations beside the point; By what means saying I know this or see that; I'm told you can't be in the quandary; Does it matter why the bell lacks a clapper; If I want it to be what was even though I could hardly wait; If I say I don't believe you is this impatience; The paragraph she gives me to live in is I don't know how; Shoes are why every moment is a fact I wish I could; Where we'll walk to and why and having learned; How forward looking can we be in the midst of the future As a motto go slow ought to work out wondering or notWhy in the middle of a perfectly good season; -- why not -; OK it's over she; Almost immediately a chance at another; When it's an obvious ploy; I don't want to know you anymore; Moss eats recollection; Recall the sea then; I'm always in the way; Thistles in a sock for the birds; It's a covet; If love goes on and always does; The object is now greener; OK so you're creeping along; The decision in absentia; There's many a slip; They all loved nature; She's gotten too too; No endings or beginnings or anything How can a lemon be a subject of anythingAcknowledgments Why/Why Not presents a speaker caught in quandaries created by changing perspectives, fervors, and locales. Why do we act one way here and another there; why can't a mind stay made up; why do we hate and love at the same time; why does memory fade or insist; why does the ordinary seem so uncanny? These questions are captured in lines that collide and merge, in irreverent and offhand jibes, and in plaintive repetitions. Why/Why Not moves across a vivid terrain--the stage of Hamlet, Phillip Marlowe's Los Angeles, Prague, paintings and gardens--to push through a tangle of ways to make sense of the w |
| Beschreibung: | 1 Online-Ressource (101 pages) |
| ISBN: | 0520937112 1282762893 9780520937116 9781282762893 |
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| 500 | |a Cover; Contents; 1 perplexities; In the perplexities; Each had been reading the night before; In consequence; Causality; A rational explanation; The placement of things; After the dark came; Odi et amo 1; Odi et amo 2; Odi et amo 3; Odi et amo 4; 2 why knowing is; -- why knowing is -; Why knowing is / (& Matisse's Woman with a Hat); How often, meaning what sort of quandariness; The decisions are already past; And so geography; Hopelessly lost / (& a beach painting by Renoir); It seems the energy; If it is someone else's rent / (& van Gogh's The Bedroom); Unable to keep the spill from spilling | ||
| 500 | |a Trying to move outThe cause for wandering; In the church with angel heads / (& a portrait of Mary and child); Waking from exhaustion; And yet; The very insignificance was what; Considering the waywardness; Avoidance proper is a verb; -- act 3 -; Act 3; The scene of the crime; Anticipation; The missing person; The missing memory; That subject again; The remains; Bounded in a nutshell; A dream itself is but a shadow; Mysterious rooms; Acting; The mother; The logic of alphabets; Words, words, words; The reason for seduction on a maroon couch; The point of no return; A memory of the pond | ||
| 500 | |a Photographic proofOphelia over the pond; 3 why/why not; -- why -; Explanations beside the point; By what means saying I know this or see that; I'm told you can't be in the quandary; Does it matter why the bell lacks a clapper; If I want it to be what was even though I could hardly wait; If I say I don't believe you is this impatience; The paragraph she gives me to live in is I don't know how; Shoes are why every moment is a fact I wish I could; Where we'll walk to and why and having learned; How forward looking can we be in the midst of the future | ||
| 500 | |a As a motto go slow ought to work out wondering or notWhy in the middle of a perfectly good season; -- why not -; OK it's over she; Almost immediately a chance at another; When it's an obvious ploy; I don't want to know you anymore; Moss eats recollection; Recall the sea then; I'm always in the way; Thistles in a sock for the birds; It's a covet; If love goes on and always does; The object is now greener; OK so you're creeping along; The decision in absentia; There's many a slip; They all loved nature; She's gotten too too; No endings or beginnings or anything | ||
| 500 | |a How can a lemon be a subject of anythingAcknowledgments | ||
| 500 | |a Why/Why Not presents a speaker caught in quandaries created by changing perspectives, fervors, and locales. Why do we act one way here and another there; why can't a mind stay made up; why do we hate and love at the same time; why does memory fade or insist; why does the ordinary seem so uncanny? These questions are captured in lines that collide and merge, in irreverent and offhand jibes, and in plaintive repetitions. Why/Why Not moves across a vivid terrain--the stage of Hamlet, Phillip Marlowe's Los Angeles, Prague, paintings and gardens--to push through a tangle of ways to make sense of the w | ||
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Datensatz im Suchindex
| _version_ | 1804175491288006656 |
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| any_adam_object | |
| author | Ronk, Martha |
| author_facet | Ronk, Martha |
| author_role | aut |
| author_sort | Ronk, Martha |
| author_variant | m r mr |
| building | Verbundindex |
| bvnumber | BV043090654 |
| collection | ZDB-4-EBA |
| ctrlnum | (OCoLC)773564888 (DE-599)BVBBV043090654 |
| dewey-full | 811/.54 811.54 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 811 - American poetry in English |
| dewey-raw | 811/.54 811.54 |
| dewey-search | 811/.54 811.54 |
| dewey-sort | 3811 254 |
| dewey-tens | 810 - American literature in English |
| discipline | Anglistik / Amerikanistik |
| era | 1900 - 1999 fast Geschichte 1900-2000 |
| era_facet | 1900 - 1999 Geschichte 1900-2000 |
| format | Electronic eBook |
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| id | DE-604.BV043090654 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:17:08Z |
| institution | BVB |
| isbn | 0520937112 1282762893 9780520937116 9781282762893 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028514846 |
| oclc_num | 773564888 |
| open_access_boolean | |
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| owner_facet | DE-1046 DE-1047 |
| physical | 1 Online-Ressource (101 pages) |
| psigel | ZDB-4-EBA ZDB-4-EBA FAW_PDA_EBA |
| publishDate | 2003 |
| publishDateSearch | 2003 |
| publishDateSort | 2003 |
| publisher | University of California Press |
| record_format | marc |
| spelling | Ronk, Martha Verfasser aut Why/Why Not CA University of California Press 2003 1 Online-Ressource (101 pages) txt rdacontent c rdamedia cr rdacarrier Cover; Contents; 1 perplexities; In the perplexities; Each had been reading the night before; In consequence; Causality; A rational explanation; The placement of things; After the dark came; Odi et amo 1; Odi et amo 2; Odi et amo 3; Odi et amo 4; 2 why knowing is; -- why knowing is -; Why knowing is / (& Matisse's Woman with a Hat); How often, meaning what sort of quandariness; The decisions are already past; And so geography; Hopelessly lost / (& a beach painting by Renoir); It seems the energy; If it is someone else's rent / (& van Gogh's The Bedroom); Unable to keep the spill from spilling Trying to move outThe cause for wandering; In the church with angel heads / (& a portrait of Mary and child); Waking from exhaustion; And yet; The very insignificance was what; Considering the waywardness; Avoidance proper is a verb; -- act 3 -; Act 3; The scene of the crime; Anticipation; The missing person; The missing memory; That subject again; The remains; Bounded in a nutshell; A dream itself is but a shadow; Mysterious rooms; Acting; The mother; The logic of alphabets; Words, words, words; The reason for seduction on a maroon couch; The point of no return; A memory of the pond Photographic proofOphelia over the pond; 3 why/why not; -- why -; Explanations beside the point; By what means saying I know this or see that; I'm told you can't be in the quandary; Does it matter why the bell lacks a clapper; If I want it to be what was even though I could hardly wait; If I say I don't believe you is this impatience; The paragraph she gives me to live in is I don't know how; Shoes are why every moment is a fact I wish I could; Where we'll walk to and why and having learned; How forward looking can we be in the midst of the future As a motto go slow ought to work out wondering or notWhy in the middle of a perfectly good season; -- why not -; OK it's over she; Almost immediately a chance at another; When it's an obvious ploy; I don't want to know you anymore; Moss eats recollection; Recall the sea then; I'm always in the way; Thistles in a sock for the birds; It's a covet; If love goes on and always does; The object is now greener; OK so you're creeping along; The decision in absentia; There's many a slip; They all loved nature; She's gotten too too; No endings or beginnings or anything How can a lemon be a subject of anythingAcknowledgments Why/Why Not presents a speaker caught in quandaries created by changing perspectives, fervors, and locales. Why do we act one way here and another there; why can't a mind stay made up; why do we hate and love at the same time; why does memory fade or insist; why does the ordinary seem so uncanny? These questions are captured in lines that collide and merge, in irreverent and offhand jibes, and in plaintive repetitions. Why/Why Not moves across a vivid terrain--the stage of Hamlet, Phillip Marlowe's Los Angeles, Prague, paintings and gardens--to push through a tangle of ways to make sense of the w 1900 - 1999 fast Geschichte 1900-2000 Literature POETRY / American / General bisacsh POETRY / General bisacsh American poetry fast Literatur American poetry 20th century http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=306049 Aggregator Volltext |
| spellingShingle | Ronk, Martha Why/Why Not Literature POETRY / American / General bisacsh POETRY / General bisacsh American poetry fast Literatur American poetry 20th century |
| title | Why/Why Not |
| title_auth | Why/Why Not |
| title_exact_search | Why/Why Not |
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| title_fullStr | Why/Why Not |
| title_full_unstemmed | Why/Why Not |
| title_short | Why/Why Not |
| title_sort | why why not |
| topic | Literature POETRY / American / General bisacsh POETRY / General bisacsh American poetry fast Literatur American poetry 20th century |
| topic_facet | Literature POETRY / American / General POETRY / General American poetry Literatur American poetry 20th century |
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