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Die Rhetorik der Belletristik von Wayne C. Booth (Englisch) Taschenbuch
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eBay-Artikelnr.:365734633068
Artikelmerkmale
- Artikelzustand
- ISBN-13
- 9780226065588
- Book Title
- The Rhetoric of Fiction
- ISBN
- 9780226065588
Über dieses Produkt
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226065588
ISBN-13
9780226065588
eBay Product ID (ePID)
87543
Product Key Features
Number of Pages
572 Pages
Language
English
Publication Name
Rhetoric of Fiction
Publication Year
1983
Subject
General, Rhetoric
Features
Revised
Type
Textbook
Subject Area
Literary Criticism, Language Arts & Disciplines
Format
Trade Paperback
Dimensions
Item Height
1.1 in
Item Weight
21 Oz
Item Length
7.9 in
Item Width
5.3 in
Additional Product Features
Edition Number
2
Intended Audience
Scholarly & Professional
LCCN
82-013592
TitleLeading
The
Dewey Edition
19
Dewey Decimal
808.3
Edition Description
Revised edition
Table Of Content
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 Impassibilité 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: Céliné 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
Synopsis
The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms--such as "the implied author," "the postulated reader," and "the unreliable narrator"--have become part of the standard critical lexicon. For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years--two decades that Booth describes as "the richest in the history of the subject."
LC Classification Number
PN3331
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