Rhetorical Deception in the Short Fiction of Hawthorne, Poe, and MelvilleEdwin Mellen Press, 1998 - 106 halaman This study analyzes an innovative rhetorical strategy employed in certain of the most challenging and misunderstood stories of American Renaissance, including Young Goodman Brown, Murders in the Rue Morgue and Benito Cereno. In these stories the reader is forced to take the view of a character who is self-deluded and implicated in crime, yet whose nature is never explicitly revealed, except through the works latent symbolic structure. The study seeks to offer original readings of these stories, identifying them as a significant sub-genre of the modern short story. |
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Antiallegory and the Reader in Young Goodman Brown | 19 |
Detection Imagination and the Introduction to The Murders | 33 |
Benito Cereno and the American Confidence Man | 55 |
Hak Cipta | |
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Allan Moore allegory Amasa Delano American Literature analysis appearance authority Babo's Bartleby the Scrivener benevolent Benito Cereno blacks Captain Delano's character Charvat crime critics dark Delano and Babo detective devil Dupin effect Emma evil fact Faith fancy final genre Hawthorne Hawthorne's Herman Melville human ideal meaning identification imagination innocence instance intellectual interpretation ironic L'Espanayes Lemay likewise limited point literary mask Melville's Benito Cereno Melville's Delano modern short story moral Moreover motives murders mystic narrative narrator narrator's Nathaniel Hawthorne nature nevertheless novel novella orangutan perception Philosophy of Composition Piazza Piazza Tales plot Poe's point of view protagonist psychological Purloined Letter question R. W. B. Lewis representative rhetorical strategy role Rue Morgue sailor San Dominick satire satyr second stories seems sense Short Fiction significant Spanish story's Studies suggests symbolic tale truth ultra-deceptive short story ultra-deceptive story undermines understanding William witches Writings York Young Goodman Brown