The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 94
... tells Marlow " that he was excited as if watching some action on the stage " ( 114 ) , suggesting that for him , at this point , the narrative of Flora conformed to melodramatic conventions he found entertaining . Marlow thinks of Flora ...
... tells Marlow " that he was excited as if watching some action on the stage " ( 114 ) , suggesting that for him , at this point , the narrative of Flora conformed to melodramatic conventions he found entertaining . Marlow thinks of Flora ...
Pagina 103
... tells him of the " elopement " Marlow pauses , and in recalling the scene he tells his own listener , " And suddenly I be- came still more surprised at myself , at the way I had somehow taken for granted things which did appear queer ...
... tells him of the " elopement " Marlow pauses , and in recalling the scene he tells his own listener , " And suddenly I be- came still more surprised at myself , at the way I had somehow taken for granted things which did appear queer ...
Pagina 106
... tells us about narrative is what it tells us about more fundamental cultural processes that condition , among other things , narrative . Hence if Kurtz narratizes the Congo along capitalist lines , Marlow performs an equal violence in ...
... tells us about narrative is what it tells us about more fundamental cultural processes that condition , among other things , narrative . Hence if Kurtz narratizes the Congo along capitalist lines , Marlow performs an equal violence in ...
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