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 82
... mental state is depicted in a combination of discoursive tech- niques : free indirect thought is interspersed with direct thought , in- direct thought , and narrative summary . Through this discoursive mixture Galdós is able to capture ...
... mental state is depicted in a combination of discoursive tech- niques : free indirect thought is interspersed with direct thought , in- direct thought , and narrative summary . Through this discoursive mixture Galdós is able to capture ...
Halaman 126
... mental pro- cesses as he endeavors to work out his problem without the input of others . Through a series of these direct thought passages we see - 29 This scene is on page 239 of the Tormento galleys , which are stored in caja 19-3 at ...
... mental pro- cesses as he endeavors to work out his problem without the input of others . Through a series of these direct thought passages we see - 29 This scene is on page 239 of the Tormento galleys , which are stored in caja 19-3 at ...
Halaman 137
... mental world is gradually revealed to us , we draw closer to her . Consequently she ceases to be merely a caricature of a type and becomes a fuller character with human desires , fears , and weak- nesses . Interior views , because of ...
... mental world is gradually revealed to us , we draw closer to her . Consequently she ceases to be merely a caricature of a type and becomes a fuller character with human desires , fears , and weak- nesses . Interior views , because of ...
Isi
ACKNOWLEDGMENTS | 9 |
NEW TRENDS LA DESHEREDADA AND FORTUNATA Y JACINTA | 41 |
RECURRING CHARACTERS THE CENTENOTORMENTOBRINGAS | 99 |
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Agustín allows amigo Manso Amparo Anales Galdosianos attitudes Bakhtin behavior Benito Pérez Galdós Bringas chapter characterization characters Charnon-Deutsch Chatman concept consciousness conveyed critical desheredada dialogue direct thought passages discoursive devices doctor Centeno doña double-voicing emotional Estudios ethical exterior feelings Felipe Felipe's Fiction first-person Fortunata y Jacinta free indirect speech free indirect thought Galdós is able Galdós's novels Galdós's segunda manera Gullón había ideological Ido's implied author implied reader interior views interiorization devices Irene Iser Isidora James Phelan Joaquín José María Juanito Lupe Madrid Mauricia Maxi's mental mind Miquis Miquis's Moreno-Isla's narrative voice narratological narrator's Novelas Contemporáneas omniscient point of view political Polo Polo's portrayal present tense narration primera época novels prohibido protagonist-narrator real reader reliable narrator response rhetorical Ricardo Gullón role Romance Languages Rosalía scene segment segunda manera novels social society Story and Discourse sympathetic tion Tormento unreliable narration volume Wolfgang Iser