Time and the NovelP. Nevill, 1952 - 245 էջ |
From inside the book
Արդյունքներ 42–ի 1-ից 3-ը:
Էջ 98
... feeling of familiarity is a present experience , and therefore logically should not arouse a concept of the past ... feels the past of the novel as present , even if he is familiar with the story or has read it before , because he ...
... feeling of familiarity is a present experience , and therefore logically should not arouse a concept of the past ... feels the past of the novel as present , even if he is familiar with the story or has read it before , because he ...
Էջ 152
... feeling to lose its life and its colour . Hence , we are now standing before our own shadow : we believe that we have analysed our feeling , while we have really replaced it by a juxtaposition of lifeless states which can be translated ...
... feeling to lose its life and its colour . Hence , we are now standing before our own shadow : we believe that we have analysed our feeling , while we have really replaced it by a juxtaposition of lifeless states which can be translated ...
Էջ 207
... feelings and associations do not come to an end ; they are not felt once and then finished with ; they are not amenable to arrangement into shapes . A feeling formulated is a feeling falsified ; it has been given outlines it does not ...
... feelings and associations do not come to an end ; they are not felt once and then finished with ; they are not amenable to arrangement into shapes . A feeling formulated is a feeling falsified ; it has been given outlines it does not ...
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