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 55
... scene that also features the narra- tor's friend and confidant , Augusto Miquis , who echoes the senti- ments of the narrator concerning Isidora's impracticality , high - so- ciety values , and unbridled imagination . Nowhere is this ...
... scene that also features the narra- tor's friend and confidant , Augusto Miquis , who echoes the senti- ments of the narrator concerning Isidora's impracticality , high - so- ciety values , and unbridled imagination . Nowhere is this ...
Halaman 84
... scene in Las Mi- caelas , Galdós conveys Fortunata's feelings stylistically as well as through content . This dream sequence occurs in the present tense even though the narrative as a whole exists in the realm of the past . Elsewhere in ...
... scene in Las Mi- caelas , Galdós conveys Fortunata's feelings stylistically as well as through content . This dream sequence occurs in the present tense even though the narrative as a whole exists in the realm of the past . Elsewhere in ...
Halaman 88
... scene progresses , one color comes to dominate and everything takes on a blood - red hue , above all the tavern doors that she sees at every turn . Suddenly Jacinta is aware of the potential danger of the area and becomes afraid . That ...
... scene progresses , one color comes to dominate and everything takes on a blood - red hue , above all the tavern doors that she sees at every turn . Suddenly Jacinta is aware of the potential danger of the area and becomes afraid . That ...
Isi
ACKNOWLEDGMENTS | 9 |
NEW TRENDS LA DESHEREDADA AND FORTUNATA Y JACINTA | 41 |
RECURRING CHARACTERS THE CENTENOTORMENTOBRINGAS | 99 |
Hak Cipta | |
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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