The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 103
... principle of void or disorder as the most fully defined " center " of our cultural history - God himself . Chance is both the puzzle to coherence and the heart of its order . On the one hand it arouses our skepticism , since chance ...
... principle of void or disorder as the most fully defined " center " of our cultural history - God himself . Chance is both the puzzle to coherence and the heart of its order . On the one hand it arouses our skepticism , since chance ...
Pagina 149
... principle of order against the interests of labor and the principle of opportunity . The champions of the relief party are men like Skroggs , Wilkie , and Fort - those whose lower - class origins and subsequent struggle for meritocratic ...
... principle of order against the interests of labor and the principle of opportunity . The champions of the relief party are men like Skroggs , Wilkie , and Fort - those whose lower - class origins and subsequent struggle for meritocratic ...
Pagina 193
... principle of judgment we have already found the novel discrediting , but also studiously applying the chain of cause and effect interpretation that takes our present aware- ness , called " existentialist moments " by the passage , to be ...
... principle of judgment we have already found the novel discrediting , but also studiously applying the chain of cause and effect interpretation that takes our present aware- ness , called " existentialist moments " by the passage , to be ...
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