The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 53
... omniscient narrator and the narra- tor as historian : for all its rhetorical and ideological potency , the his ... omniscient novelist sums up everything we would say about style and stance in voice . The omniscient narrator , that is ...
... omniscient narrator and the narra- tor as historian : for all its rhetorical and ideological potency , the his ... omniscient novelist sums up everything we would say about style and stance in voice . The omniscient narrator , that is ...
Pagina 54
... omniscient narrator voiced the power of fiction as a cultural institution treating other cultural institutions on the Victorian scene , a level of analytical awareness beyond Esther's narrative , and a sphere of activity precluding any ...
... omniscient narrator voiced the power of fiction as a cultural institution treating other cultural institutions on the Victorian scene , a level of analytical awareness beyond Esther's narrative , and a sphere of activity precluding any ...
Pagina 58
... omniscient narrator's praise is so po- tent that even being aware of it does not completely vitiate its effect . upon our judgments of the novel's characters - hence Thackeray's ability to use such a passage to prune our responses at ...
... omniscient narrator's praise is so po- tent that even being aware of it does not completely vitiate its effect . upon our judgments of the novel's characters - hence Thackeray's ability to use such a passage to prune our responses at ...
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