The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 46
... becomes syntactic haggling , but the one conclusion that does seem clear from such a passage is that Amelia as she really is and Amelia as she melts into stylized perceptions ( by Dobbin , by the narrator ) become so indis- tinguishable ...
... becomes syntactic haggling , but the one conclusion that does seem clear from such a passage is that Amelia as she really is and Amelia as she melts into stylized perceptions ( by Dobbin , by the narrator ) become so indis- tinguishable ...
Pagina 117
... become an object in the campaign to make industrial values normative in every sphere . However repugnant in the main to Birkin , industrial capitalism is a spectacle of will shaping the materials of society according to its own ...
... become an object in the campaign to make industrial values normative in every sphere . However repugnant in the main to Birkin , industrial capitalism is a spectacle of will shaping the materials of society according to its own ...
Pagina 138
... become what a semiotician might take them for - nodes in a network of differential relations established by " the tongue of the world " and thus , as culturally posited , arbitrary and problematic . A few pages later , in fact ...
... become what a semiotician might take them for - nodes in a network of differential relations established by " the tongue of the world " and thus , as culturally posited , arbitrary and problematic . A few pages later , in fact ...
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