Galdós's Segunda Manera: Rhetorical Strategies and Affective ResponseU.N.C. Department of Romance Languages, 1998 - 200 halaman This book explores the change that occurred in the writings of Spanish novelist Benito Perez Galdos when he entered his segunda manera in 1881 with the publication of La desheredada, his first contemporary novel. Critical work on this important phase of Galdos's career has tended to concentrate on the content of his novels, with little attention given to the way in which Galdos conveys that content to the reader. By studying these works in light of how their stories are told, Linda Willem shows that La desheredada marks the beginning of a more sophisticated and varied mode of narrative in Galdos's novels. Through close readings of his first seven contemporary works, Willem shows how the affective response associated with various narrative devices plays a role in the rhetorical strategies of each text. |
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Halaman 121
... Agustín with her silence but knows that she isn't strong enough to face him with a confession . The narrator goes on to say that Amparo truly does love Agustín and considers to be virtues what society calls his faults . Thus , Amparo's ...
... Agustín with her silence but knows that she isn't strong enough to face him with a confession . The narrator goes on to say that Amparo truly does love Agustín and considers to be virtues what society calls his faults . Thus , Amparo's ...
Halaman 123
... Agustín / Amparo ) to determine who says what . By actively engaging in this deciphering process , we come to realize how similar Amparo and Agustín are in their tastes . They are of one mind , as the unbroken flow of their conversation ...
... Agustín / Amparo ) to determine who says what . By actively engaging in this deciphering process , we come to realize how similar Amparo and Agustín are in their tastes . They are of one mind , as the unbroken flow of their conversation ...
Halaman 134
... Agustín in her home before leaving or upon returning . Indeed , it is her absence from both her home and the text that allows the plot ... Agustín's movements during the same three days . On Monday Agustín 134 GALDÓS'S SEGUNDA MANERA.
... Agustín in her home before leaving or upon returning . Indeed , it is her absence from both her home and the text that allows the plot ... Agustín's movements during the same three days . On Monday Agustín 134 GALDÓS'S SEGUNDA MANERA.
Isi
ACKNOWLEDGMENTS | 9 |
NEW TRENDS LA DESHEREDADA AND FORTUNATA Y JACINTA | 41 |
RECURRING CHARACTERS THE CENTENOTORMENTOBRINGAS | 99 |
Hak Cipta | |
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Istilah dan frasa umum
able actions Agustín allows amigo Manso Amparo Anales Galdosianos appear attitudes becomes behavior Benito Pérez Galdós Bringas calls Centeno chapter characters concept concerning consciousness Consequently continues conversations conveyed course critical desheredada devices direct discoursive discussion display doctor Centeno effect emotional engaged entire example experience exterior feelings Fiction final Fortunata y Jacinta free indirect thought Galdós's implied implied author important interior views Isidora José María Juanito Language limited Madrid Manso mental mind Miquis moral narrative narrator narrator's nature negative noted novel passage past Pérez Galdós perspective point of view political Polo position present present tense reader reading refer relationship reliability response result reveal rhetorical role Romance Rosalía scene segment situation social society speaking story Studies style technique throughout tion Tormento unreliable values various voice volume