The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 45
... Amelia ( as character ) and the old man ( as historical source ) , the narrator ( as historian ) undermines the differences in status often felt to separate these three sources of information in narrative . Each has monumentalized some ...
... Amelia ( as character ) and the old man ( as historical source ) , the narrator ( as historian ) undermines the differences in status often felt to separate these three sources of information in narrative . Each has monumentalized some ...
Pagina 46
... Amelia , " does it mean the gen- uinely sentimental Amelia who is Dobbin's , or his sentimentalizing of whatever the " real " Amelia is ? At some point , perhaps , this becomes syntactic haggling , but the one conclusion that does seem ...
... Amelia , " does it mean the gen- uinely sentimental Amelia who is Dobbin's , or his sentimentalizing of whatever the " real " Amelia is ? At some point , perhaps , this becomes syntactic haggling , but the one conclusion that does seem ...
Pagina 57
... Amelia Sedley's bed - room , and understanding with the omniscience of the novelist all the gentle pains and passions which were tossing upon that innocent pillow , why should he not declare himself to be Rebecca's confidante too ...
... Amelia Sedley's bed - room , and understanding with the omniscience of the novelist all the gentle pains and passions which were tossing upon that innocent pillow , why should he not declare himself to be Rebecca's confidante too ...
Inhoudsopgave
Narrative Reflexivity and Constitutive Poetics | 1 |
Conrad Early Modernism and the Narrators | 66 |
FOUR | 122 |
Copyright | |
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apparent argues assumptions attempt becomes begins chance chapter characters codes coherence comes concept constitutive conventions course critical cultural depends desire discourse economic effect effort elements example existence expectations experience fact feels fiction figure final force Fowles frame function ground hand Hence human identity imagination individual interest interpretation issues Jeremiah kind language least less light limits lines literary living look mark Marlow material matter means Metafiction metaphor metaphysical moral narrative narrator narrator's nature novel object passage perhaps play plot poetics position possible Powell question reader reading reality reference reflect reflexive relation rhetorical role romantic seeks seems seen semiotic sense shape social stance story structure suggests tells textual theory things tion traditional truth turns University Press voice writing