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Pagina 16
Cranford is exceptional in the clarity with which it gives its production away . Unlike such self - consciously written works as Tristram Shandy , Cranford does not dramatize its writing but admits it unconsciously — or at least in ...
Cranford is exceptional in the clarity with which it gives its production away . Unlike such self - consciously written works as Tristram Shandy , Cranford does not dramatize its writing but admits it unconsciously — or at least in ...
Pagina 17
9 To say that Cranford changes at a certain point from a loose collection of “ papers ” into a novel does not necessarily mean that Mrs. Gaskell changed her mind - though there is enough implied evidence to suggest that she did so .
9 To say that Cranford changes at a certain point from a loose collection of “ papers ” into a novel does not necessarily mean that Mrs. Gaskell changed her mind - though there is enough implied evidence to suggest that she did so .
Pagina 18
Cranford has not been highly regarded as a work of art because , though it seems to aim at these literary achievements , it manifestly falls short of them . But sloppiness of form is not always unintentional ; it can have positive ...
Cranford has not been highly regarded as a work of art because , though it seems to aim at these literary achievements , it manifestly falls short of them . But sloppiness of form is not always unintentional ; it can have positive ...
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Inhoudsopgave
Articles | 1 |
Myth and | 49 |
On Narrative Transitions in the Prologue | 74 |
Copyright | |
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accept acts already analysis appears approach attempt becomes beginning CALIFORNIA calls castration chapter communication complex concept concerned context continues course Cranford created critics culture death deconstruction define describe desire discourse discussion elements essay evolution example existence expectations experience explain fact father fiction final foregrounding function genre German Hermann human idea ideology important interest interpretation kind language LIBRARY linguistic literary literature Marxism meaning metaphor method München narrative narrator nature novel object once opening Orientalism origin poem poetic possible practical pragmatics present Press principle problem progressive provides question reader reading reception reference relation result rhetoric Schreber seems semiotics sense sequence situation social story structure suggests takes tale textual theory tion tradition transformation understand Univ UNIVERSITY various Victor writing York