Recueil général des opéras représentés par l'Academie royale de musique depuis son établissement, Volume 1Slatkine Reprints, 1965 |
Dall'interno del libro
Risultati 1-3 di 44
Pagina 245
... Emma's faults as revealed in the ironic texture from line to line, we cannot savor to the full the comedy as it is prepared for us. On the other hand, if we fail to love her, as Jane Austen herself predicted we would3— if we fail to ...
... Emma's faults as revealed in the ironic texture from line to line, we cannot savor to the full the comedy as it is prepared for us. On the other hand, if we fail to love her, as Jane Austen herself predicted we would3— if we fail to ...
Pagina 249
... Emma , Emma must shine supreme . It is not only that the slightest glance inside Jane's mind would be fatal to all of the author's plans for mystification about Frank Churchill , though this is important . The major problem is that any ...
... Emma , Emma must shine supreme . It is not only that the slightest glance inside Jane's mind would be fatal to all of the author's plans for mystification about Frank Churchill , though this is important . The major problem is that any ...
Pagina 257
... Emma , and if shown through her consciousness , it could not be accepted , as it must be , without question . Like most of the first three chapters , it is non- dramatic ... [ Emma ] was not struck by any thing remarkably Distance in Emma 257.
... Emma , and if shown through her consciousness , it could not be accepted , as it must be , without question . Like most of the first three chapters , it is non- dramatic ... [ Emma ] was not struck by any thing remarkably Distance in Emma 257.
Sommario
True Novels Must Be Realistic | 23 |
All Authors Should Be Objective | 67 |
True Art Ignores the Audience | 89 |
Copyright | |
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Parole e frasi comuni
aesthetic ambiguity artistic Aspern Papers beliefs chap chapter character comedy comic commentary complete consciousness conventional critics dramatic E. M. Forster effect Emma Emma's emotional Essays example experience F. O. Matthiessen fact Faulkner faults Federigo feel Flaubert George Eliot heighten Henry James hero human impersonal implied author important inside views intellectual intensity interest intrusions irony James Joyce James's Jane Austen Joseph Conrad Joyce Joyce's judgment Kenyon Review kind Knightley literary literature London look means ment mind modern fiction moral narrative narrator's natural never norms novel novelist object omniscient person plot PMLA poetry point of view Portrait precisely problem question R. P. Blackmur reader realism reality reflector reliable narrator rhetoric satire scene seems sense simply Stephen story sympathy technique tell thing tion Tom Jones trans Tristram Shandy true truth unreliable unreliable narrators values write York