The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 28
... position of the case . Mr. Harding , however , insofar as he fails to merge himself with the en- abling power of institutional force , instead plays music - a nonverbal art . Even worse , however , are the versions of removal of even ...
... position of the case . Mr. Harding , however , insofar as he fails to merge himself with the en- abling power of institutional force , instead plays music - a nonverbal art . Even worse , however , are the versions of removal of even ...
Pagina 56
... position with the narrator , who determines for us the relevant facts and final opinions while forestalling any possibility of empathy with the characters . The narrator is above us in the sense of imposing his judgments upon us but ...
... position with the narrator , who determines for us the relevant facts and final opinions while forestalling any possibility of empathy with the characters . The narrator is above us in the sense of imposing his judgments upon us but ...
Pagina 106
... position occupied by Marlow , as by young Powell , is partly so for economic reasons . Their equal fas- cination with the content of the story is a function of the similarity in their positioning on the tenuously empowered margins of ...
... position occupied by Marlow , as by young Powell , is partly so for economic reasons . Their equal fas- cination with the content of the story is a function of the similarity in their positioning on the tenuously empowered margins of ...
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