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 83
Pagina 116
... in Emma , what looks to any external view to be a vain and meddling woman - what then ? Why then all the rhetorical resources at his command - every resource of style , of transformed sequence , of manipulated " inside views , " and of ...
... in Emma , what looks to any external view to be a vain and meddling woman - what then ? Why then all the rhetorical resources at his command - every resource of style , of transformed sequence , of manipulated " inside views , " and of ...
Pagina 163
... INSIDE VIEWS Finally , narrators who provide inside views differ in the depth and the axis of their plunge . Boccaccio can give inside views , but they are extremely shallow . Jane Austen ... inside view Types of Narration 163 Inside Views.
... INSIDE VIEWS Finally , narrators who provide inside views differ in the depth and the axis of their plunge . Boccaccio can give inside views , but they are extremely shallow . Jane Austen ... inside view Types of Narration 163 Inside Views.
Pagina 245
... view of her faults would have been fatal. SYMPATHY THROUGH CONTROL OF INSIDE VIEWS The solution to the problem of maintaining sympathy despite almost crippling faults was primarily to use the heroine herself as a kind of narrator, though in ...
... view of her faults would have been fatal. SYMPATHY THROUGH CONTROL OF INSIDE VIEWS The solution to the problem of maintaining sympathy despite almost crippling faults was primarily to use the heroine herself as a kind of narrator, though in ...
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