The Politics of Reflexivity: Narrative and the Constitutive Poetics of CultureJohns Hopkins University Press, 1986 - 271 pagina's |
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Pagina 14
... theory has been almost exclusively preoccupied with point of view and has thus existed in that mainly ontological frame , it has seemed to me essential to ap- proach my task by looking squarely at the key terms of that frame and to ...
... theory has been almost exclusively preoccupied with point of view and has thus existed in that mainly ontological frame , it has seemed to me essential to ap- proach my task by looking squarely at the key terms of that frame and to ...
Pagina 193
... theory runs aground on the contraries he finds in Sarah . Rather than dismissing Charles as ob- tuse , we are to see that our conventions of character reflect the com- plexity of modern psychological theory - Quentin Compson and Sarah ...
... theory runs aground on the contraries he finds in Sarah . Rather than dismissing Charles as ob- tuse , we are to see that our conventions of character reflect the com- plexity of modern psychological theory - Quentin Compson and Sarah ...
Pagina 236
... theory to theory , we are always talking about coordinates in a scheme , not four absolutes as they are in themselves . Figurative displacements rather than referential designations , these terms are powerful not by the extent to which ...
... theory to theory , we are always talking about coordinates in a scheme , not four absolutes as they are in themselves . Figurative displacements rather than referential designations , these terms are powerful not by the extent to which ...
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