Additionally, Mertens self-reflectively
discussed her positionality as a hearing person who is fluent in ASL.
The former is a self-reflectively
narrated tale about a loner who takes the blame for a friend's car accident and winds up in prison, while the latter concerns a woman's return to the country, to inquire about the death of her father's friend, after a quarter-century abroad.
She observes, "perhaps the day will come when I'm left alone more than I'd like!" She self-reflectively
dreams of a friend who was deported, "dressed in rags, her face thin and worn.
Elderly, long-married couple Agnes (Penelope Wilton) and Tobias (Tim Pigott-Smith), as sedately well-oiled as they are well-heeled, bask self-reflectively
in the luxury of idleness.
(4) The following analysis, however, will show that this story not only echoes Dings feminist concerns in her other early works but also self-reflectively
questions the apparently unified interpretation of female subjectivity in Chinese intellectual discourse in the 1920s.
Ken Stuckey, of Bentley University, self-reflectively
uses the examples of two of his teaching activities, a "Read-In and Write-In," and a "Bring a Friend to Class Day," in order to illustrate what it is like to teach and learn from the point of passion, and by his own example (i.e., how he himself was passionately introduced into the world of literature by his parents), rather than from a pragmatic assignment-fulfillment point of view.
The enclosed little figure peers out self-reflectively
from the milky overlays of glass probably unable to be heard if he was ever moved to share his thoughts with us verbally.
Not so long ago, painful coming-out stories rife with unrequited love for bi-curious (and ultimately straight) friends proliferated in lesbian storytelling, but now queer filmmakers are self-reflectively
questioning toleplaying, lesbian sex and even sex with men.
be attempted either self-reflectively
, within the field of art, or
Pope's Petrarchan conventions allow him to create, through Eloisa, a god in Abelard, and self-reflectively
, a god in himself, as poet: he has "monumentum aere perennius."(26) The Shakespearean conventions that he employs allow him to depict Eloisa's self-division and to provide the poem with its characteristic sense of highly-wrought emotion -- of tragedy, even.
The "moral" that the author draws in the final section of the chapter points self-reflectively
back to the activity of the Hispanist critic in the drama of determining meanings, truth and value.