عنوان

The rhetoric of fiction /

(Number (ISBN

0226065561

(Number (ISBN

0226065588

(Number (ISBN

9780226065564

(Number (ISBN

9780226065588

Number

b768721

Title Proper

The rhetoric of fiction /

General Material Designation

[Book]

First Statement of Responsibility

Wayne C. Booth.

Edition Statement

2nd ed.

Place of Publication, Distribution, etc.

Chicago :

Name of Publisher, Distributor, etc.

University of Chicago Press,

Date of Publication, Distribution, etc.

1983.

Specific Material Designation and Extent of Item

xix, 552 pages ;

Dimensions

21 cm

Text of Note

Includes bibliographical references (pages 459-520) and index.

Text of Note

Foreword to the Second Edition -- Preface to the First Edition -- Acknowledgments -- Part I: Artistic Purity and the Rhetoric of Fiction -- I. Telling and Showing -- Authoritative "Telling" in Early Narration -- Two Stories from the Decameron -- The Author's Many Voices -- II. General Rules, I: "True Novels Must Be Realistic" -- From Justified Revolt to Crippling Dogma -- From Differentiated Kinds to Universal Qualities -- General Criteria in Earlier Periods -- Three Sources of General Criteria: The Work, the Author, the Reader -- Intensity of Realistic Fiction -- The Novel as Unmediated Reality -- On Discriminating among Realisms -- The Ordering of Intensities -- III. General Rules, II: "All Authors Should be Objective" -- Neutrality and the Author's "Second Self" -- Impartiality and "Unfair" Emphasis -- Impassibilite; -- Subjectivism Encouraged by Impersonal Techniques -- IV. General Rules III: "True Art Ignores the Audience" -- "True Artists Write Only for Themselves -- Theories of Pure Art -- The "Impurity" of Great Literature -- Is a Pure Fiction Theoretically Desirable? -- V. General Rules, IV: Emotions, Beliefs, and the Reader's Objectivity -- "Tears and Laughter Are, Aesthetically, Frauds" -- Types of Literary Interest (and Distance) -- Combinations and Conflicts of Interests -- The Role of Belief -- Belief Illustrated: The Old Wives' Tale -- VI. Types of Narration -- Person -- Dramatized and Undramatized Narrators -- Observers and Narrator-Agents -- Scene and Summary -- Commentary -- Self-Conscious Narrators -- Variations of Distance -- Variations in Support or Correction -- Privilege -- Inside Views -- Part II: The Author's Voice in Fiction -- VII. The Uses of Reliable Commentary -- Providing the Facts, Picture, or Summary -- Molding Beliefs -- Relating Particulars to the Established Norms -- Heightening the Significance of Events -- Generalizing the Significance of Events -- Generalizing the Significance of the Whole Work -- Manipulating Mood -- Commenting Directly on the Work Itself -- VIII. Telling as Showing: Dramatized Narrators, Reliable and Unreliable -- Reliable Narrators as Dramatized Spokesmen for the Implied Author -- "Fielding" in Tom Jones -- Imitators of Fielding -- Tristram Shandy and the Problem of Formal Coherence -- Three Formal Traditions: Comic Novel, Collection, and Satire -- The Unity of Tristram Shandy -- Shandean Commentary, Good and Bad -- IX. Control of Distance in Jane Austen's Emma -- Sympathy and Judgment in Emma -- Sympathy through Control of Inside Views -- Control of Judgment -- The Reliable Narrator and the Norms of Emma -- Explicit Judgments on Emma Woodhouse -- The Implied Author as Friend and Guide -- Part III: Impersonal Narration -- X. The Uses of Authorial Silence -- "Exit Author" Once Again -- Control of Sympathy -- Control of Clarity and Confusion -- "Secret Communion" between Author and Reader -- XI. The Price of Impersonal Narration, I: Confusion of Distance -- The Turn of the Screw as Puzzle -- Troubles with Irony in Earlier Literature -- The Problem of Distance in A Portrait of the Artist -- XII. The Price of Impersonal Narration, II: Henry James and the Unreliable Narrator -- The Development from Flawed Reflector into Subject -- The Two Liars in "The Liar" -- "The Purloining of the Aspern Papers" or "The Evocation of Venice"? -- "Deep Readers of the World, Beware!" -- XIII. The Morality of Impersonal Narration -- Morality and Technique -- The Seductive Point of View: Ce;line; as Example -- The Author's Moral Judgment Obscured -- The Morality of Elitism -- Afterword to the Second Edition: The Rhetoric in Fiction and Fiction as Rhetoric: Twenty-One Years Later --Bibliography --Supplementary Bibliography, 1961-82, by James Phelan --Index to the First Edition --Index to the Bibliographies.

0

Text of Note

A standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts. Its concepts and terms have become standard critical lexicon.

Fiction-- Technique.

Roman-- Technique.

Fiction-- Technique.

Roman-- Esthétique.

Roman-- Technique.

Verteltheorie.

Number

Edition

Class number

Book number

Class number

System Code

Booth, Wayne C.

Date of Transaction

20201206142854.0

Electronic name

[Book]

Y