The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 92
... logo- centric assumptions we have seen the novel undermine , the " well - known , well - established , I'll almost ... logocentric abstraction and cultural mores as the composite workings of culture itself . That both these forms have ...
... logo- centric assumptions we have seen the novel undermine , the " well - known , well - established , I'll almost ... logocentric abstraction and cultural mores as the composite workings of culture itself . That both these forms have ...
Pagina 100
... logocentric law includes within itself the outlawed it appears to exclude . Like hope and despair , each of these oppositions emerges out of the absoluteness of its antonymical relations within the cultural myth and imposes a fictional ...
... logocentric law includes within itself the outlawed it appears to exclude . Like hope and despair , each of these oppositions emerges out of the absoluteness of its antonymical relations within the cultural myth and imposes a fictional ...
Pagina 104
... logocentric assumptions , but it does show how those assumptions prescribe a narra- tive project in which allusions to that internal but suppressed territory are woven into a fiction of the whole . The courage of Chance in sounding the ...
... logocentric assumptions , but it does show how those assumptions prescribe a narra- tive project in which allusions to that internal but suppressed territory are woven into a fiction of the whole . The courage of Chance in sounding the ...
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