We Bare Bears的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

Comfort Measures Only: New and Selected Poems, 1994-2016

為了解決We Bare Bears的問題，作者Campo, Rafael 這樣論述：

In Comfort Measures Only, Rafael Campo bears witness to the unspeakable beauty bound up with human suffering. Gathered from his over twenty-year career as a poet-physician, these eighty-nine poems--thirty-one of which have never been previously published in a collection--pull back the curtain in the

ER, laying bare our pain and joining us all in spellbinding moments of pathos. The poet, who is also truly a healer, revives language itself--its sounds channeled through our hearts and lungs, its rhythms amplified through the stethoscope--to make meaning of our bewilderment when our bodies so eloq

uently and yet wordlessly fail us. Campo's transcendent poems, in all their modernity amidst the bleep of heart monitors and the wail of ambulance sirens, remind us of what the ancients understood: that poetry sustains us, and whether we live or die, through what we can imagine and create in our sha

red voices we may yet achieve immortality. Rafael Campo is Associate Professor of Medicine at Harvard Medical School and author of several books, including Alternative Medicine, The Enemy, and Landscape with Human Figure, all also published by Duke University Press, and The Desire to Heal: A Docto

r’s Education in Empathy, Identity, and Poetry.

We Bare Bears進入發燒排行的影片

形式-生命，情度，與非人類：愛蜜莉迪瑾蓀詩中的普世特異

為了解決We Bare Bears的問題，作者李廼澔 這樣論述：

本論文旨在透過「普世特異」這個概念來評析美國文藝復興女詩人愛蜜莉迪瑾蓀的詩。其中特別以形式-生命，情度，與非人類等概念來討論。論文中所談的「普世」指的並不是普遍的，而指的是絕對而沒有緣由的。而「特異」指的則是在讀者在閱讀迪瑾蓀的詩感知或經驗中所「發生」的(像是一種「事件」)。本論文試圖說明為何人們，尤其是受過批判理論訓練過的人們，會發現迪瑾蓀的詩是如此地「不同」。死亡，這個在她詩中不斷重覆出現的主題，實際上是在我們所熟悉的一切與永生或空無間的過渡點。因此有理論家指出，迪瑾蓀的詩並不符合一般被視為標準卻無疑是有著重重限制的「偉大文學」。事實上我相信迪瑾蓀的詩與當代理論有著密切的關係。在某些方面

而言，她的詩甚至預想到了許多當代文學理論的關鍵主題。的確，細讀她的詩就好像在「經歷現存模式中的缺口與未曾提及的」，更甚者，去「重新定義這些模式」。因為我要檢視的是：迪瑾蓀如何能夠在她的詩中啟動和活化其「普世特異」以對抗那一切過度抽象與同一不變的，並且在這些詩中尋找擺脫桎梏而脫身而出的文學「真理」。