The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 56
... beauty than upon the virtues celebrated on the surface of the genre . Generic logic and conventions are most fully exposed by the omniscient narrator because he most fully subsumes within himself the institutional voice of culture that ...
... beauty than upon the virtues celebrated on the surface of the genre . Generic logic and conventions are most fully exposed by the omniscient narrator because he most fully subsumes within himself the institutional voice of culture that ...
Pagina 106
... beauty all become instruments for pro- ducing wealth . Surely a part of " the horror ” is the discovery of the capitalist's willingness to " exterminate the brutes , " a two - stage process in which humans are first reduced to brutish ...
... beauty all become instruments for pro- ducing wealth . Surely a part of " the horror ” is the discovery of the capitalist's willingness to " exterminate the brutes , " a two - stage process in which humans are first reduced to brutish ...
Pagina 181
... beauty or impatience , blow- ing away the plot as a fictional plaything , analyzing the nature and grounds of a given response or interpretation - this voice opens and closes differing relationships whose coincidence within one text ...
... beauty or impatience , blow- ing away the plot as a fictional plaything , analyzing the nature and grounds of a given response or interpretation - this voice opens and closes differing relationships whose coincidence within one text ...
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