The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 2
... fact - hence this new figure of " reflexive " seems more appropriate . It describes in fact a line that , in order to finish out its trip from one end to another , must turn back on itself and then turn back on its turning ; its marking ...
... fact - hence this new figure of " reflexive " seems more appropriate . It describes in fact a line that , in order to finish out its trip from one end to another , must turn back on itself and then turn back on its turning ; its marking ...
Pagina 40
... fact , part of a larger nostalgia for the simplistic childhood coding in which good and evil function ast distinct binary opposites , a nostalgia Pip shares with many critics of the novel who speak of his coming to a state of wisdom and ...
... fact , part of a larger nostalgia for the simplistic childhood coding in which good and evil function ast distinct binary opposites , a nostalgia Pip shares with many critics of the novel who speak of his coming to a state of wisdom and ...
Pagina 143
... fact , but even as he remembers he knows the fact to be a fleeting shadow of something that passed , as when he looks at the ground and sees the swift shadow of a bird's flight and lifts his eyes , but the hawk , or whatever bird it was ...
... fact , but even as he remembers he knows the fact to be a fleeting shadow of something that passed , as when he looks at the ground and sees the swift shadow of a bird's flight and lifts his eyes , but the hawk , or whatever bird it was ...
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