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 84
... present tense even though the narrative as a whole exists in the realm of the past . Elsewhere in the text the present tense is confined to records of di- rect speech . This sudden switch from past to present tense projects the dream ...
... present tense even though the narrative as a whole exists in the realm of the past . Elsewhere in the text the present tense is confined to records of di- rect speech . This sudden switch from past to present tense projects the dream ...
Halaman 110
... present tense represents a change from his original plan . In the manuscript of El doctor Centeno he first de- scribed the operation with preterite and imperfect verbs , which he subsequently scratched out and replaced with their present ...
... present tense represents a change from his original plan . In the manuscript of El doctor Centeno he first de- scribed the operation with preterite and imperfect verbs , which he subsequently scratched out and replaced with their present ...
Halaman 126
... present tense narration to convey an emotionally charged situation for one of his characters . And once again we ... tense orientation of the narration until the very end of this chapter . But in the galleys he replaced all of the past ...
... present tense narration to convey an emotionally charged situation for one of his characters . And once again we ... tense orientation of the narration until the very end of this chapter . But in the galleys he replaced all of the past ...
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