Resultados de Pesquisa

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Experiencing Visual Storyworlds - Focalization In Comics

66,18€ + 10% EM CARTÃO

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 <i>Experiencing Visual Storyworlds</i> illuminates how comics express what characters and narrators see, think, and feel. Drawing on the narratological concept of focalization, which describes the filtering of a story through the minds of characters and narrators, Silke Horstkotte and Nancy Pedri analyze comics from a range of genres, including graphic memoir, graphic historiography, silent comics, and metafictional comics. Through a series of close readings—including Jason Lutes’s <i>Berlin</i>, Charles Burns’s <i>Black Hole</i>, Ellen Forney’s <i>Marbles</i>, Eric Drooker’s <i>Flood!</i>, and Craig Thompson’s <i>Habibi</i>—Horstkotte and Pedri argue that the visual form of comics storytelling is uniquely suited to invite readers into storyworld experiences. The authors break down the ways focalization in comics is cued by features such as color, style, panel size and positioning, and genre—showing how these features regulate how readers access the experiences of characters and narrators.
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Narrative In The Anthropocene

de Erin James

59,56€ + 10% EM CARTÃO

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 In <i>Narrative in the Anthropocene</i>, Erin James poses two complementary questions: What can narrative teach us about our current geological epoch, defined and marked by the irrevocable activity of humans on the Earth’s geology and ecosystems? and What can our current geological epoch teach us about narrative? Drawing from a wide range of sources—including Jane Austen’s <i>Mansfield Park</i>, Maria Popova’s collective biography <i>Figuring</i>, Richard McGuire’s graphic novel <i>Here</i>, Indigenous and Afrofuturist speculative fiction, and more—James argues that a richer understanding of the forms and functions of narrative in the Anthropocene provides us with invaluable insight into how stories shape our world. At the same time, she contends that the Anthropocene alters the very nature of narrative. Throughout her exploration of these themes, James lays the groundwork for an "Anthropocene narrative theory," introducing new modes of reading narrative in the Anthropocene; new categories of narrative time, space, narration, and narrativity; and a new definition of narrative itself as a cognitive and rhetorical tool for purposeful worldbuilding.
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With Bodies - Narrative Theory And Embodied Cognition

de Karin Kukkonen e Marco Caracciolo

66,18€ + 10% EM CARTÃO

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 We read not only with our eyes and minds, but with our entire body. In With Bodies, Marco Caracciolo and Karin Kukkonen move systematically through all elements of narrative and put them into dialogue with recent research in neuroscience, cognitive psychology, cognitive linguistics, and philosophy of mind to investigate what it means to read literary narratives bodily. They draw their findings from a wide corpus of material-narratives from antiquity to the present and composed in various languages, from Apuleius's Metamorphoses to Hilary Mantel's Wolf Hall-and craft their embodied narratology to retool current theories about authors, narrators and characters, time and space in storyworlds, and plot. Their investigation serves as a foundation for wider discussions on embodied narratology's contributions to literary history, computation and AI, posthumanism, gender studies, and world literature.
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Audionarratology - Lessons From Radio Drama

46,31€ + 10% EM CARTÃO

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 <div>Explores how radio dramas construct narrative through sound, music, language, and voice.</div>
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Literary Identification From Charlotte Bronte To Tsitsi Dangarembga

de Green Laura Green

26,43€ + 10% EM CARTÃO

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 <div><div><i>Literary Identification from Charlotte Brontë to Tsitsi Dangarembga</i><i>,</i> by Laura Green, seeks to account for the persistent popularity of the novel of formation, from nineteenth-century English through contemporary Anglophone literature. Through her reading of novels, memoirs, and essays by nineteenth-, twentieth-, and twenty-first-century women writers, Green shows how this genre reproduces itself in the elaboration of bonds between and among readers, characters, and authors that she classifies collectively as "literary identification." Particular literary identifications may be structured by historical and cultural change or difference, but literary identification continues to undergird the novel of formation in new and evolving contexts.</div><div> </div><div>The two nineteenth-century English authors discussed in this book, Charlotte Brontë and George Eliot, established the conventions of the novel of female formation. Their twentieth-century English descendants, Virginia Woolf, Radclyffe Hall, and, Jeanette Winterson, challenge the dominance of heterosexuality in such narratives. In twentieth- and twenty-first-century narratives by Simone de Beauvoir, Jamaica Kincaid, and Tsitsi Dangarembga, the female subject is shaped not only by gender conventions but also by colonial and postcolonial conflict and national identity..</div><div> </div><div>For many contemporary critics and theorists, identification is a middlebrow or feminized reading response or a structure that functions to reproduce the middle-class subjectivity and obscure social conflict. However, Green suggests that the range and variability of the literary identifications of authors, readers, and characters within these novels allows such identifications to function variably as well: in liberatory or life-enhancing ways as well as oppressive or reactionary ones.</div></div>
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Narrative Bonds - Multiple Narrators In The Victorian Novel

de Valint Alexandra Valint

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 While narrative fracturing, multiplicity, and experimentalism are commonly associated with modernist and postmodern texts, they have largely been understudied in Victorian literature. <i>Narrative Bonds: Multiple Narrators in the Victorian Novel </i>focuses on the centrality of these elements and address the proliferation of multiple narrators in Victorian novels. In <i>Narrative Bonds</i>, Alexandra Valint explores the ways in which the Victorian multi-narrator form moves toward the unity of vision across characters and provides inclusivity in an era of expanding democratic rights and a growing middle class. Integrating narrative theory, gothic theory, and disability studies with analyses of works by Charles Dickens, Robert Louis Stevenson, Wilkie Collins, Emily Brontë, and Bram Stoker, this comprehensive and illuminating study illustrates the significance and impact of the multi-narrator structure in Victorian novels.
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Contemporary French And Francophone Narratology

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 The essays included in this collection seek to take the pulse of recent developments in narratological research in the French-speaking countries. Theorists in these countries heavily participated in and shaped narratology, an outgrowth of the structuralist movement during the 1960s and 1970s. While US, German, and Scandinavian theorists took the forefront in the 1990s, narratology in France faded into the background. It was not until the turn of the century that a new interest in narratological issues among French researchers emerged. Activity in the field has since intensified, spurred on, in part, by the realization that narratology cannot be summed up by its formalist and structuralist origins.
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Techniques For Living - Fiction And Theory In The Work Of Christine Brooke-Rose

de Lawrence Karen R. Lawrence

47,63€ + 10% EM CARTÃO

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 <div>Christine Brooke-Rose is a writer, critic, and narrative theorist whose extraordinarily varied body of work tests the relationship between twentieth-century theory and fiction in unparalleled ways. As they rupture "the relics of nineteenth-century ideologies," Brooke-Rose’s fictional experiments offer new ways to theorize life and formulate conduct in the new world orders of the twentieth and twenty-first centuries. Specifically addressing the loss of our ability to differentiate reality from what she calls "the unreal," her novels mime the various "deaths" and absences described in contemporary literary theory, registering these absences technically, ontologically, and emotionally in linguistic and grammatical "constraints." Rather than melancholy or self-enclosed exercises, however, her writing draws creative vitality out of the loss and limitation it examines. Deploying twentieth-century discourses drawn from technology, literary theory, astronomy, evolutionary biology, and popular culture, her vital, often humorous, fictions offer survival strategies for the genre of the novel. They offer new forms for telling the human story within the unreality of contemporary life.</div><div> </div><div>In <i>Techniques for Living: Fiction and Theory in the Work of Christine Brooke-Rose,</i> Karen R. Lawrence explains how Brooke-Rose’s career invites revision of contemporary literary histories and theories of postmodernism. With her highly original narrative forms, Brooke-Rose significantly contributes to the radical evolution of narrative in modernism’s wake. In its singular focus on the lively and prolific experiments of this writer/critic/theorist, <i>Techniques for Living</i> lays the groundwork for further challenges to our generalized versions of postmodernism, as it also provides a fascinating reading of a highly original writer.</div>
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Rhetoric Of Fictionality - Narrative Theory And The Idea Of Fiction

de Richard Walsh

238,43€ + 10% EM CARTÃO

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 Narrative theory has always been centrally concerned with fiction, yet it has tended to treat fictions as if they were merely the framed or disowned equivalents of nonfictional narratives. A rhetorical perspective upon fictionality, however, sees it as a direct way of meaning and a distinct kind of communicative gesture. The Rhetoric of Fictionality: Narrative Theory and the Idea of Fiction by Richard Walsh argues the merit of such a perspective and demonstrates its radical implications for narrative theory. A new conception of fictionality as a distinctive rhetorical resource, somewhat like the master-trope of fictional narrative, cuts across many of the core theoretical issues in the field. The model, set out in chapter one, is subsequently tested and elaborated in relation to currently prevalent assumptions about narrativity and mimesis; narrative structure; the narrator and transmission; voice and mediacy; narrative media and cognition; and creativity, reception, and involvement. Throughout, the theoretical analysis seeks to vindicate readers' intuitions about fiction without merely restating them: the result is a forceful challenge to many of narrative theory's orthodoxies. The rhetorical model of fictionality advanced in this book offers up new areas of inquiry into the purchase of fictiveness itself upon questions of narrative interpretation. It urges a fundamental reconception of the apparatus of narrative theory by theorizing the conditions of significance that make fictions conceivable and worthwhile.
INGLÊS

Vitality Of Allegory - Figural Narrative In Modern And Contemporary Fiction

de Johnson Gary Johnson

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 <div><div>In <i>The Vitality of Allegory</i> Gary Johnson argues that the rumors of allegory’s death have been greatly exaggerated. Surveying the broad landscape of modern and contemporary narrative fiction, including works from Europe, Africa, and North America, Johnson demonstrates that, although wholly allegorical narratives have become relatively rare, allegory itself remains a vibrant presence in the ongoing life of the novel, a presence that can manifest itself in a variety of ways.</div><div>Working from the premise that conventional conceptions of allegory have been inadequate, Johnson takes a rhetorical approach, defining allegory as the transformation of some phenomenon into a figural narrative for some larger purpose. This reconception allows us to recognize that allegory can govern a whole narrative—and can do so strongly or weakly—or be an embedded part or a thematic subject of a narrative and that it can even be used ironically. By developing these theoretical points through careful and insightful analysis of works such as Jackson’s "The Lottery," Orwell’s <i>Animal Farm,</i> Kafka’s <i>The Metamorphosis</i> and <i>The Trial,</i> Achebe’s <i>Things Fall Apart,</i> Roth’s <i>American Pastoral,</i> Mann’s <i>Death in Venice,</i> Coetzee’s <i>Elizabeth Costello,</i> and several works by John Barth, Johnson himself transforms our understanding of allegory and of the history of the modern and contemporary novel.</div></div>
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Real, The True, And The Told - Postmodern Historical Narrative And The Ethics Of Representation

de Berlatsky Eric L. Berlatsky

39,68€ + 10% EM CARTÃO

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 <div><div><i>The Real, The True, and The Told</i>: <i>Postmodern Historical Narrative and the Ethics of Representation,</i> by Eric L. Berlatsky, intervenes in contemporary debates over the problems of historical reference in a postmodern age. It does so through an examination of postmodern literary practices and their engagement with the theorization of history. The book looks at the major figures of constructivist historiography and at postmodern fiction (and memoir) that explicitly presents and/or theorizes "history." It does so in order to suggest that reading such fiction can intervene substantially in debates over historical reference and the parallel discussion of redefining contemporary ethics.</div><div> </div><div>Much theorization in the wake of Hayden White suggests that history is little better than fiction in its professed goal of representing the "truth" of the past, particularly because of its reliance on the narrative form.While postmodern fiction is often read as reflecting and/or repeating such theories, this book argues that, in fact, such fiction proposes alternative models of accurate historical reference, based on models of nonnarrativity. Through a combination of high theory andnarrative theory, the book illustrates how the texts examined insist upon the possibility of accessing the real by rejecting narrative as their primary mode of articulation. Among the authors examined closely in <i>The Real, The True, and The Told</i> are Virginia Woolf, Graham Swift, Salman Rushdie, Art Spiegelman, and Milan Kundera.</div></div>
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I Know That You Know That I Know - Narrating Subjects From Moll Flanders To Marnie

de George Butte

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 <p>In <i>I Know That You Know That I Know,</i> Butte explores how stories narrate human consciousness. Butte locates a historical shift in the representation of webs of consciousnesses in narrative—what he calls "deep intersubjectivity"—and examines the effect this shift has since had on Western literature and culture. The author studies narrative practices in two ways: one pairing eighteenth-and nineteenth-century British novels (<i>Moll Flanders</i> and <i>Great Expectations,</i> for example), and the other studying genre practices—comedy, anti-comedy and masquerade—in written and film narratives (Jane Austen and <i>His Girl Friday,</i> for example, and Hitchcock’s Cary Grant films).</p> <p>Butte’s second major claim argues for new ways to read representations of human consciousness, whether or not they take the form of deep intersubjectivity. Phenomenological criticism has lost its credibility in recent years, but this book identifies better reading strategies arising out of what the author calls poststructuralist phenomenology, grounded largely in the work of the French philosopher Merleau-Ponty. Butte criticizes the extreme of transcendental idealism (first-wave phenomenological criticism) and cultural materialism (when it rules out the study of consciousness). He also criticizes the dominant Lacanian framework of much academic film criticism.</p>
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We-Narratives - Collective Storytelling In Contemporary Fiction

de Natalya Bekhta

43,66€ + 10% EM CARTÃO

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 <div>Provides a comprehensive account of the structural and linguistic distinctiveness of stories told in the first-person plural, describing its features and rhetorical effects.</div>
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Unnatural Narratology - Extensions, Revisions, And Challenges

de Brian Richardson e Jan Alber

43,66€ + 10% EM CARTÃO

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 <i>Unnatural Narratology: Extensions, Revisions, and Challenges</i> offers a number of developments, refinements, and defenses of key aspects of unnatural narrative studies. The first section applies unnatural narrative theory and analysis to ideologically charged areas such as feminism, postcolonial studies, cultural alterity, and subaltern discourse. The book goes on to engage with and intervene in theoretical debates in several areas of both critical theory and narrative theory, including affect studies, immersion, narration, character theory, frames, and theories of reception and interpretation. Antimimetic perspectives are also extended to additional fields, including autobiography, graphic narratives, drama and film, performance studies, and interactive gamebooks. Written by an international assemblage of distinguished and emerging narrative scholars and theorists, this collection promises to greatly enhance the study of narrative and further advance the frontiers of narrative theory.
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Playing At Narratology - Digital Media As Narrative Theory

de Punday Daniel Punday

39,68€ + 10% EM CARTÃO

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 <div>In <i>Playing at Narratology</i> Daniel Punday bridges the worlds of digital media studies and narrative studies by arguing that digital media allows us to see unresolved tensions, ambiguities, and gaps in core narrative concepts. Rather than developing new terms to account for web-based storytelling, Punday uses established narrative forms to better understand how digital media exposes faulty gaps in narrative theory. Punday’s <i>Playing at Narratology</i> shows that artists, video game developers, and narrative theorists are ultimately playing the same game.<br> <br>Returning to terms such as <i>narrator, setting, event, character,</i> and <i>world,</i> <i>Playing at Narratology</i> reveals new ways of thinking about these basic narrative concepts—concepts that are not so basic when applied to games and web-based narratives. What are thought of as narrative innovations in these digital forms are a product of technological ability and tied to how we physically interact with a medium, creating new and complicated questions: Is the game designer the implied author or the narrator? Is the space on the screen simply the story’s setting? <i>Playing at Narratology</i> guides us through the evolution of narrative in new media without abandoning the field’s theoretical foundations.<br> </div>
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Making Conversation In Modernist Fiction

de Alsop Elizabeth Alsop

39,68€ + 10% EM CARTÃO

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 <div><i>Making Conversation in Modernist Fiction </i>examines the role of character dialogue in key works of Anglo-American modernism. Through close analysis of texts including <i>The Ambassadors, The Sun Also Rises, </i>"The Dead," <i>The Sound and the Fury, Absalom, Absalom!, The Waves, Between the Acts, </i>"Melanctha," and <i>Cane, </i>the book documents the ways in which some of the most canonical British and American modernist authors transformed the conventions traditionally used to render talk in fiction.<br>If historically dialogue had been treated as a subordinate element in fiction—a tool for developing character or advancing plot—this book demonstrates that writers such as Henry James, Ernest Hemingway, James Joyce, William Faulkner, Virginia Woolf, and Gertrude Stein would increasingly emphasize it as a poetic structure in its own right. In this way, Alsop argues, modernist writers "make" conversation in radically new ways and for a diverse range of expressive and communicative ends. Over the course of five chapters that explore this previously overlooked avenue of modernist innovation, <i>Making Conversation</i> offers readers a radical new paradigm not only for understanding fictional talk but also for interpreting some of the most celebrated examples of early twentieth-century narrative.<br> </div>
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Narratology And Ideology - Negotiating Context, Form, And Theory In Postcolonial Narratives

de Dwivedi Divya Dwivedi

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 <div><i>Narratology and Ideology: Negotiating Context, Form, and Theory in Postcolonial Narratives,</i> edited by Divya Dwivedi, Henrik Skov Nielsen, and Richard Walsh, brings together many of the most prominent figures in the interface between narratology and postcolonial criticism. While narrative theory has for some time recognized the importance of context in the analysis of fiction, this recognition has not quickly translated into substantial work in fields like postcolonialism, where situated questions of value and ideology have been brought to the fore. Postcolonial criticism, on the other hand, has often neglected the formal qualities of fiction in preference for ideological thematic interpretations, precisely because of the suspect legacy of formalism. The volume, then, stages a meeting between these two fields, negotiating both narratological and postcolonialist concerns by addressing specific features of narrative form and technique in the ideological analysis of key postcolonial texts.<br> <br>The thirteen essays in <i>Narratology and Ideology</i> offer compelling readings of individual novels, with a focus upon South Asian literature, that provide a cumulative case study on the value of postcolonial narratology. The essays show not only how narrative theory can be productively applied in service of postcolonial criticism but also how such attention to postcolonial fictions can challenge and refine our theoretical understanding of narrative.</div>
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Novelization - From Film To Novel

de Baetens Jan Baetens

39,68€ + 10% EM CARTÃO

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 <div>Studies of adaptation from novels to film are common, but not as widely known are adaptations with the opposite relationship. In <i>Novelization: From Film to Novel</i>, Jan Baetens explores how transforming an original film or screenplay into a novel establishes a new genre and revises our understanding of narrative theory more broadly. A typical example of popular literature, novelization has remained an overlooked practice in spite of the cultural and commercial importance of the genre, which is as old as cinema itself.<br> <br><i>Novelization</i> offers a historical overview of the genre, focusing on the various formats that have been adopted since the first decades of the twentieth century until today: daily and weekly novelizations, cheap brochures, pocket books, and trade editions. It studies the specific features of the genre from various points of view: narrative style, illustrations, authorship, and marketing. By studying novelization from a broad historical perspective, Baetens reframes our understanding of adaptation and the relationship between cinema and literature. Rather than assume that cinematic adaptations either cannibalize or rejuvenate literature, <i>Novelization</i> ultimately offers the opportunity to rethink the adaptation paradigm of film and literary studies.</div>
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Reading Conrad

de Miller J. Hillis Miller

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 <div>For half a century, J. Hillis Miller has been a premier figure in English and comparative literature, influencing and leading the direction of literary studies. What is less well-known is that he has been equally influential in Conrad studies with his work on nihilism, language, and narrative in Joseph Conrad’s fiction. Returning to Conrad at different stages of his long career—reading and rereading him in light of new critical trends—Miller continually discovered new aspects of the influential author’s fiction. This volume, edited by John G. Peters and Jakob Lothe, charts Miller’s shifting insights into Joseph Conrad’s fiction and also highlights the potential of Conrad studies to illuminate core questions in studies of narrative theory, aesthetics, and history.<br> <br><i>Reading Conrad</i> by J. Hillis Miller demonstrates a surprising cohesiveness across Miller’s career as well as the richness of Conrad’s fiction, which affords varied opportunities for critical approaches as different as phenomenology, new criticism, deconstruction, narrative theory, and narrative ethics. Miller’s analyses emphasize literature’s rhetorical and performative power, ultimately suggesting that while narrative fiction is an effect of a series of complex phenomena in society and in the human psyche, as literary language it can also refer to the external world indirectly and contribute to the formation of history from within. <br> </div>
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Somebody Telling Somebody Else - A Rhetorical Poetics Of Narrative

de James Phelan

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 <div>In <i>Somebody Telling Somebody Else</i>, James Phelan proposes a paradigm shift for narrative theory, a turn from viewing narrative as a structure to viewing it as a rhetorical action in which a teller selectively deploys the resources of storytelling in order to accomplish particular purposes in relation to particular audiences. Phelan explores the consequences of this shift for an understanding of various elements of narrative, including reliable and unreliable narration, character-character dialogue, and occasions of narration.<br> <br>In doing so, he offers new readings of a wide range of narratives from Jane Austen’s <i>Pride and Prejudice</i> to Joan Didion’s <i>The Year of Magical Thinking</i>, from Joseph Conrad’s <i>Lord Jim</i> to George V. Higgins’s <i>The Friends of Eddie Coyle, </i>from Franz Kafka’s "Das Urteil" to Toni Morrison’s "Recitatif," from David Small’s <i>Stitches</i> to Jhumpa Lahiri’s "Third and Final Continent," from John O’Hara’s "Appearances" to Ian McEwan’s <i>Enduring Love.</i> Phelan contends that the standard view of narrative as a synthesis of story and discourse is inadequate to handle the complexities of narrative communication, and he demonstrates the greater explanatory power of his rhetorical view. Furthermore, Phelan gives new prominence to the presence and activity of the "somebody else," as he shows that an audience’s unfolding responses to a narrative often influence its very construction.<br> </div>
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Media Of Serial Narrative

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 <div><i>Media of Serial Narrative</i>, edited by Frank Kelleter, is the first book-length study to address the increasingly popular topic of serial narratives—specifically, how practices and forms of seriality shape media throughout the landscape of popular culture. In modern entertainment formats, seriality and popularity can seem so obviously connected that scholarship has long neglected to address their specific interrelations. This volume looks closely at the relationship between seriality, popularity, media, and narrative form and asks: What are the structural conditions of serial stories? Which historical circumstances are presupposed or supported by series and serials? How do commercial types of seriality differ from serial structures in other cultural fields?<br><i>Media of Serial Narrative </i>focuses on key sites and technologies of popular seriality since the mid-nineteenth century and up to today: newspapers, comics, cinema, television, and digital communication. Paying close attention to the affordances of individual media, as well as to their historical interactions, the fourteen chapters survey the forms, processes, and functions of popular serial storytelling. With individual chapters by Frank Kelleter, Jared Gardner, Daniel Stein, Christina Meyer, Scott Higgins, Shane Denson, Ruth Mayer, Kathleen Loock, Constantine Verevis, Jason Mittell, Sudeep Dasgupta, Sean O’Sullivan, Henry Jenkins, Christine Hämmerling, Mirjam Nast, and Andreas Sudmann, <i>Media of Serial Narrative </i>is an exciting and broad-ranging intervention in the fields of seriality, media, and narrative studies.<br> </div>
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Suture And Narrative - Deep Intersubjectivity In Fiction And Film

de Butte George Butte

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 <div><p><i>Suture and Narrative: Deep Intersubjectivity in Fiction and Film</i> by George Butte offers a new phenomenological understanding of how fiction and film narratives use particular techniques to create and represent the experience of community. Butte turns to the concept of suture from Lacanian film theory and to the work of Merleau-Ponty to contribute a deeper and broader approach to intersubjectivity for the field of narrative theory.</p><p>Butte’s approach allows for narratives that represent insight as well as blindness, love, and loss, locating these connections and disconnections in narratological techniques that capture the crisscrossing of perspectives, such as those in fiction’s free indirect discourse and in the oblique angle of film’s shot/reverse shot convention. Butte studies the implications of this chiasmus in the novels and film adaptations of later Henry James works, Barrie’s Peter Pan tales and film adaptations, and the films <i>Silence of the Lambs</i>and <i>Nothing But a Man</i>. Suture’s story in the twentieth century, according to Butte, is a story of the loss of immediacy and community. Yet in concluding this, Butte finds optimism in the Coen brothers’ <i>Raising Arizona</i> as well as in <i>Why Be Happy When You Could Be Normal?</i> by Jeanette Winterson and Marc Webb’s film <i>(500) Days of Summer</i>.</p></div>
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Writer In The Well - On Misreading And Rewriting Literature

de Weissman Gary Weissman

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 <div>In <i>The Writer in the Well: On Misreading and Rewriting Literature</i>, Gary Weissman takes readers inside Ira Sher’s short story "The Man in the Well," about a group of children who discover a man trapped in an old well and decide not to help him. While absorbing readers in the pleasurable activity of interpreting this haunting tale, Weissman draws on dozens of his students’ responses to the short story, as well as his dialogue with its author, to show that the deepest engagement with literature occurs when we approach literary analysis as a collaborative enterprise conducted largely through writing.<br>Rethinking the methods and goals of literary analysis, Weissman’s study redefines the nature of authorial intention and reconceives literary interpretation as a writing-based practice. By integrating writing pedagogy with older and newer schools of thought—from psychoanalytic, reader-response, and poststructuralist theories to rhetorical narrative theory and cognitive literary studies—and bridging the fields of literary studies, composition and rhetoric, and creative writing, <i>The Writer in the Well</i> argues that the richest understanding of a literary work lies in probing how it has been misinterpreted and reconceived and offers a new "writer-response theory."<br>This highly accessible and thought-provoking book, which includes the full text of Sher’s "The Man in the Well," is designed to engage scholars, teachers, students, and avid readers of literature.<br> </div>
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Submerged Plot And The Mother'S Pleasure From Jane Austen To Arundhati Roy

de Marsh Kelly A. Marsh

47,63€ + 10% EM CARTÃO

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 <div>In <i>The Submerged Plot and the Mother’s Pleasure from Jane Austen to Arundhati Roy</i>, Kelly A. Marsh examines the familiar, overt plot of the motherless daughter growing into maturity and argues that it is accompanied by a covert plot. Marsh’s insightful analyses of nineteenth- and twentieth-century Anglophone novels reveal that these novels are far richer and more complexly layered than the overt plot alone suggests. According to Marsh, as the daughter approaches adulthood and marriage, she seeks validation for her pleasure in her mother’s story. However, because the mother’s pleasure is taboo under patriarchy and is therefore unnarratable, the daughter must seek her mother’s story by repeating it. These repetitions alert us to the ways the two plots are intertwined and alter our perception of the narrative progression.<br> <br>Combining feminist and rhetorical narratological approaches, Marsh’s study offers fresh readings of <i>Persuasion</i>, <i>Jane Eyre</i>, <i>Bleak House</i>, <i>The Woman in White</i>, <i>The House of Mirth</i>, <i>The Last September</i>, <i>The Color Purple</i>, <i>A Thousand Acres</i>, <i>Bastard Out of Carolina</i>, <i>Talking to the Dead</i>, and <i>The God of Small Things</i>. Through these readings, <i>The Submerged Plot and the Mother’s Pleasure</i> explores how the unnarratable can be communicated in fiction and offers a significant contribution to our understanding of narrative progression.<br> </div>
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