The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 11
... Nietzsche comments , " we have projected the conditions of our preservation as predicates of being in general " ( 276 ) . Nietzsche , of course , is much more radical than Kuhn , holding that all of the " categories of reason " actually ...
... Nietzsche comments , " we have projected the conditions of our preservation as predicates of being in general " ( 276 ) . Nietzsche , of course , is much more radical than Kuhn , holding that all of the " categories of reason " actually ...
Pagina 134
... Nietzsche notes that since we " lack any sensitive organs " for the inner world , " we sense a thousand- fold complexity as a unity ” and “ introduce causation where any reason for motion and change remains invisible to us . " Three ...
... Nietzsche notes that since we " lack any sensitive organs " for the inner world , " we sense a thousand- fold complexity as a unity ” and “ introduce causation where any reason for motion and change remains invisible to us . " Three ...
Pagina 140
... Nietzsche : " No , facts is precisely what there is not , only interpretations " [ 267 ] , and hence no absolute line between truth and lie ) . " And before his [ Jeremiah's ] eyes , in the sunlit room , among the forms and voices , all ...
... Nietzsche : " No , facts is precisely what there is not , only interpretations " [ 267 ] , and hence no absolute line between truth and lie ) . " And before his [ Jeremiah's ] eyes , in the sunlit room , among the forms and voices , all ...
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