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 84
Pagina 165
... narrative choice . In dealing with the types of narration , the critic must always limp behind , referring constantly to the varied practice which alone can correct his temp- tations to overgeneralize . In place of our modern " fourth ...
... narrative choice . In dealing with the types of narration , the critic must always limp behind , referring constantly to the varied practice which alone can correct his temp- tations to overgeneralize . In place of our modern " fourth ...
Pagina 219
... narrative techniques ( for example , in The Cry [ 1754 ] , and The Lives of Cleopatra and Octavia [ 1757 ] ) , and particularly with the intrusive manner . Though it could hardly be said that her work as a whole becomes worse , her ...
... narrative techniques ( for example , in The Cry [ 1754 ] , and The Lives of Cleopatra and Octavia [ 1757 ] ) , and particularly with the intrusive manner . Though it could hardly be said that her work as a whole becomes worse , her ...
Pagina 344
... narrative technique . He creates and rejects one unreliable narrator , only to find himself creating another " I " who immediately becomes involved in the action so deeply that he produces the catastrophe.3 3 Once one is alerted to this ...
... narrative technique . He creates and rejects one unreliable narrator , only to find himself creating another " I " who immediately becomes involved in the action so deeply that he produces the catastrophe.3 3 Once one is alerted to this ...
Sommario
True Novels Must Be Realistic | 23 |
All Authors Should Be Objective | 67 |
True Art Ignores the Audience | 89 |
Copyright | |
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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