The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 187
... chapters feature quotations from poems , novels , and folk songs that , like the lines from Hardy in our sample chapter , echo the dominant emotion of their respective plot segments . These range from the jovial remark quoted by G. M. ...
... chapters feature quotations from poems , novels , and folk songs that , like the lines from Hardy in our sample chapter , echo the dominant emotion of their respective plot segments . These range from the jovial remark quoted by G. M. ...
Pagina 188
... chapters they head - often , as we have seen , they are guides to them , but they also serve as specifically literary frames that prefix an interpretive frame to the chapter , often an ambiguous one . Chapter 11 , for example , quotes ...
... chapters they head - often , as we have seen , they are guides to them , but they also serve as specifically literary frames that prefix an interpretive frame to the chapter , often an ambiguous one . Chapter 11 , for example , quotes ...
Pagina 190
... Chapter 29 , for example , is headed by Arnold's insistence that one must do things not by inclination " but because it is one's duty , or is reasonable . ” The chapter features Charles sensing his alienation from the age and going to ...
... Chapter 29 , for example , is headed by Arnold's insistence that one must do things not by inclination " but because it is one's duty , or is reasonable . ” The chapter features Charles sensing his alienation from the age and going to ...
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