Time and the NovelP. Nevill, 1952 - 245 էջ |
From inside the book
Արդյունքներ 41–ի 1-ից 3-ը:
Էջ 83
... principle of selection must come in somewhere . It is demanded by the nature of the medium . The power of the author , then , is revealed as much by what he does not write as by what he does . How to square this selection with the ...
... principle of selection must come in somewhere . It is demanded by the nature of the medium . The power of the author , then , is revealed as much by what he does not write as by what he does . How to square this selection with the ...
Էջ 101
... principle : But let the gentle - hearted reader be under no apprehension whatso- ever . It is not destined that Eleanor shall marry Mr. Slope or Bertie Stanhope . And here , perhaps , it may be allowed to the novelist to explain his ...
... principle : But let the gentle - hearted reader be under no apprehension whatso- ever . It is not destined that Eleanor shall marry Mr. Slope or Bertie Stanhope . And here , perhaps , it may be allowed to the novelist to explain his ...
Էջ 169
... principles of narration based on the sequential relating of successive events . " Alike , they have abandoned the close and closed pattern of the plot imposed on the novel by the principle of limited selection , a principle determined ...
... principles of narration based on the sequential relating of successive events . " Alike , they have abandoned the close and closed pattern of the plot imposed on the novel by the principle of limited selection , a principle determined ...
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