Narrative as Rhetoric: Technique, Audiences, Ethics, IdeologyOhio State University Press, 1996 - 237 من الصفحات In Narrative as Rhetoric, James Phelan explores the consequences for narrative theory of two significant principles: (1) narrative is rhetoric because narrative occurs when someone tells a particular story for a particular audience in a particular situation for some particular purpose(s); (2) the reading of narrative is a multidimensional activity, simultaneously engaging our intellects, emotions, ideologies, and ethics. The rhetorical theory of narrative that emerges from these investigations emphasizes the recursive relationships between authorial agency, textual phenomena, and reader response, even as it remains open to insights from a range of critical approaches - including feminism, psychoanalysis, Bakhtinian linguistics, and cultural studies. The rhetorical criticism Phelan advocates and employs seeks, above all, to attend carefully to the multiple demands of reading sophisticated narrative; for that reason, his rhetorical theory moves less toward predictions about the relationships between techniques, ethics, and ideologies and more toward developing some principles and concepts that allow us to recognize the complex diversity of narrative art. Written with clarity and flair and experimenting at times with the conventions of critical writing, this collection, which includes some of Phelan's best work, is itself audience oriented. The book includes an appendix that is in part an experiment with voice, and it ends with a helpful glossary of the technical vocabulary of narrative theory. |
المحتوى
02pdf | 1 |
03pdf | 25 |
04pdf | 43 |
05pdf | 59 |
06pdf | 85 |
07pdf | 105 |
08pdf | 119 |
09pdf | 132 |
10pdf | 154 |
11pdf | 173 |
12pdf | 191 |
13pdf | 199 |
14pdf | 215 |
15pdf | 221 |
229 | |
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
actual reader analysis asked audience's authorial audience Becky Beloved Booth Butler captain Catherine chapter character claim complicated concept Conrad critics D'Souza's deconstructive discourse Dolfman effect ence Ernest Hemingway essay ethical experience facts Farewell to Arms feel Fiction Fitzgerald flesh-and-blood Frederic functions Gatsby Gatsby's Hemingway Hemingway's heterodiegetic homodiegetic narration ideal narrative audience ideology Illiberal Education implied author instabilities interpretation Joe's Leggatt logic lyric Madame Blanchard Magic maid maid's story mimesis mimetic Moore's Morrison move narrative as rhetoric narrative's narratology narrator's Nick Nick's Ninette Ninette's story novel paradox paralipsis passage patriarchy perspective position progression question Rabinowitz reader-response criticism reading recalcitrance recognize relation relationship response Rhetoric of Fiction role Schaub second-person narration Secret Sharer sentence share Showman speaker structuralist stubborn style technique telling textual Thackeray's thematic things tion tive understanding University Press unreliable unreliable narration values Vanity Vanity Fair Wolfsheim Woolf