Rhetorical Deception in the Short Fiction of Hawthorne, Poe, and Melville
Edwin Mellen Press, 1998 - 106 pagina's
This study analyzes an innovative rhetorical strategy employed in certain of the most challenging and misunderstood stories of American Renaissance, including Young Goodman Brown, Murders in the Rue Morgue and Benito Cereno. In these stories the reader is forced to take the view of a character who is self-deluded and implicated in crime, yet whose nature is never explicitly revealed, except through the works latent symbolic structure. The study seeks to offer original readings of these stories, identifying them as a significant sub-genre of the modern short story.
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Antiallegory and the Reader in Young Goodman Brown
Detection Imagination and the Introduction to The Murders
Benito Cereno and the American Confidence Man
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activity actually allegorical American analysis appearance authority Babo believe Benito Cereno blacks Brown Captain challenge character claims common course crime critics dark deception Delano described detail detective devil distinction Dupin effect elements entirely especially evidence evil examine example expectations experience fact Faith fiction final given Goodman Brown Hawthorne Hawthorne's historical human ideal imagination implied instance intentions interpretation introduction ironic kind later least likewise limited literary Literature meaning Melville Melville's merely mind moral Moreover motives murders narrative narrator narrator's nature never nevertheless noted novel object observes orangutan perception perhaps plot Poe's point of view precisely presents problem psychological question reader reality reason refer regard representative response revealed rhetorical role seems sense short story significant story's strategy structure Studies suggests symbolic takes things thought true truth ultra-deceptive story understanding Writings York Young