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 18
... limited to realistic vision or in- ference . " 14 Yet Galdós preserves the illusion of limited narration by occasionally suspending the narrator's privilege concerning minor facts . For example , the narrator may not be aware of the ...
... limited to realistic vision or in- ference . " 14 Yet Galdós preserves the illusion of limited narration by occasionally suspending the narrator's privilege concerning minor facts . For example , the narrator may not be aware of the ...
Halaman 153
... limited point of view as a protagonist - narrator within the embedded story forms the basis for the irony which permeates the novel . This irony has two layers . The first results from the inter- action between the frame and the story ...
... limited point of view as a protagonist - narrator within the embedded story forms the basis for the irony which permeates the novel . This irony has two layers . The first results from the inter- action between the frame and the story ...
Halaman 185
... limited first - person perspective of the narrator . In contrast , the om- niscient orientation of Realidad allows it to reveal the characters ' inner thoughts and feelings concealed behind what is visible . The end of La incógnita ...
... limited first - person perspective of the narrator . In contrast , the om- niscient orientation of Realidad allows it to reveal the characters ' inner thoughts and feelings concealed behind what is visible . The end of La incógnita ...
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