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 72
... volume 1 the narrator downplays or excuses Juanito's failings . For example , his unem- ployed status and large monetary expenditures are glossed over while his generosity and ability to prudently handle his monthly al- lowance are ...
... volume 1 the narrator downplays or excuses Juanito's failings . For example , his unem- ployed status and large monetary expenditures are glossed over while his generosity and ability to prudently handle his monthly al- lowance are ...
Halaman 101
... volume novel , we find that Galdós varied his distribu- tion of certain devices from one volume to the next . This change in narrative voice technique has an impact on the depiction of both Centeno and Miquis , and consequently affects ...
... volume novel , we find that Galdós varied his distribu- tion of certain devices from one volume to the next . This change in narrative voice technique has an impact on the depiction of both Centeno and Miquis , and consequently affects ...
Halaman 102
... volume to the next . In the first volume Miquis controls the story through his numerous plot actions , while the focal point of the discourse is on Centeno's interior views . In the second volume it is Centeno's activities which move ...
... volume to the next . In the first volume Miquis controls the story through his numerous plot actions , while the focal point of the discourse is on Centeno's interior views . In the second volume it is Centeno's activities which move ...
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