Time and the NovelP. Nevill, 1952 - 245 էջ |
From inside the book
Արդյունքներ 15–ի 1-ից 3-ը:
Էջ 45
... epic , and his observations were early taken over into the most important type of fiction , the plot novel . Structure is the first and one of the most material branches of novel - writing . ( 18 ) . and drama and epic offered ready ...
... epic , and his observations were early taken over into the most important type of fiction , the plot novel . Structure is the first and one of the most material branches of novel - writing . ( 18 ) . and drama and epic offered ready ...
Էջ 103
... Epic theory had long demanded that the narrative should begin in the middle or towards the end of the action , then break off to recount what had happened before the poem began , and finally continue with the main issue from the point ...
... Epic theory had long demanded that the narrative should begin in the middle or towards the end of the action , then break off to recount what had happened before the poem began , and finally continue with the main issue from the point ...
Էջ 163
... epic in the case of the episodic novel ; and it usually adheres to the principles of the beginning , middle and end as defined by Aristotle in his Poetics . Certain standard variations were held to be permissible or sometimes even ...
... epic in the case of the episodic novel ; and it usually adheres to the principles of the beginning , middle and end as defined by Aristotle in his Poetics . Certain standard variations were held to be permissible or sometimes even ...
Բովանդակություն
The time and the space arts | 3 |
The time problems of fiction | 30 |
The conventions of fiction | 39 |
Հեղինակային իրավունք | |
13 այլ բաժինները չեն ցուցադրվում
Այլ խմբագրություններ - View all
Common terms and phrases
action artistic behaviour causality century characters chronological duration clock consciousness contemporary conventions convey critics Dalloway device digressions Dorothy Richardson dramatic effect element epic episodes experience exposition expression feeling fictive present Ford Madox Ford Gertrude Stein Gide give happened Henry James hero historical human illusion imagination impression incident interest Joseph Conrad language limited literature living matter medium method mind narration narrative nature novelist omniscient author Orlando painting passage past pattern person novel plane play plot plot novel poetry Preface principle problems progression Proust psychological duration qu'il reader reading reality relation Richardson romances scene selection sense sequence significance simultaneously Sterne story structure suspense symbols technique temporal tense theme theory thing Thomas Mann thought time-arts time-shift tion Tom Jones Tristram Shandy truth Uncle Toby values Virginia Woolf Walter Shandy whole words writer Writer's present Wyndham Lewis