The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 80
... spirit " ( 251 ) . At this point we can hypothesize that the " strange spirit " is that of the narrator exercising godlike arrogance ( what Marlow calls " Satanic conceit " when Anthony exerts it [ 351 ] ) , positing a new testament of ...
... spirit " ( 251 ) . At this point we can hypothesize that the " strange spirit " is that of the narrator exercising godlike arrogance ( what Marlow calls " Satanic conceit " when Anthony exerts it [ 351 ] ) , positing a new testament of ...
Pagina 86
... spirit and leaves it " overdriven " ashore , " what with the fads and proprieties and the ceremonies and affectations " that are " a perfect terror to a simple man " ( 221 ) . The moral component , however , is much more intense ...
... spirit and leaves it " overdriven " ashore , " what with the fads and proprieties and the ceremonies and affectations " that are " a perfect terror to a simple man " ( 221 ) . The moral component , however , is much more intense ...
Pagina 192
... spirit to fulfill its manifest destiny ( or for the pessimist , its equally manifest damnation ) . One might well go back to the epigraph and substitute " writing " for " history " and " con- ventions " for " men . " That is , Marx is ...
... spirit to fulfill its manifest destiny ( or for the pessimist , its equally manifest damnation ) . One might well go back to the epigraph and substitute " writing " for " history " and " con- ventions " for " men . " That is , Marx is ...
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