New PDF release: Style and Rhetoric of Short Narrative Fiction: Covert

By Dan Shen

ISBN-10: 1136202420

ISBN-13: 9781136202421

In lots of fictional narratives, the development of the plot exists in pressure with a really assorted and robust dynamic that runs, at a hidden and deeper point, during the textual content. during this quantity, Dan Shen systematically investigates how stylistic research is essential for uncovering this covert development via rhetorical narrative feedback. The booklet brings to gentle the covert progressions in works by way of the yank writers Edgar Allan Poe, Stephan Crane and Kate Chopin and British author Katherine Mansfield.

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Extra info for Style and Rhetoric of Short Narrative Fiction: Covert Progressions Behind Overt Plots (Routledge Studies in Rhetoric and Stylistics)

Sample text

The tombstone scene in fact visually dramatizes this dual character of the marsh, which will also come to be reflected in the German women in the film, symbolized by Anna and her mother. The tombstone is first imaged as standing in the middle of the marsh with a narrow path leading to it, very much like the first shot of Christian, which pictures him surveying in the middle of the marsh as well. The three of them— Christian, Anna, and her mother, signified by the tombstone—stand together in the marsh as Anna tells her story: she was only four when her mother died, not old enough to really understand what was going on, and still she confesses to a sometimes ‘‘uncanny longing’’ for her (eine unheimliche Sehnsucht).

Hence, the drama revolves in part around his failure as the voice of paternal reason, a narrative strategy that ultimately reinstates the father, not Anna, as the tragic figure who should have known better. Ultimately, both Czechs as a race and women as a gender are inherently flawed. But, while the father is expected to provide rational guidance to Anna in one prominent plotline, he is also victimized by Czech manipulations and so is allied with Anna in a common racial bond. ≥≠ Anna pulls out a necklace she wears bearing her mother’s image, which, shot in extreme close-up, illustrates that the physical resemblance between them is indeed uncanny (Söderbaum actually posed for it).

In the Romantic tradition, Goethe’s lines address the beauty of political freedom; in the film, a nationalist melodrama, Goethe serves instead to blend Romantic love and romantic love. Romantic ideals of liberal democracy used the language of personal relationships to characterize the bonds between citizens of the young republics—and Goethe’s verse typifies these Romantic notions. In the last 150 years of liberal democracy, however, the relationship between the public and private spheres has turned in the opposite direction: instead of Romantic friendship characterizing citizenship, citizenship has come to be defined by the conduct of citizens in the private sphere.

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Style and Rhetoric of Short Narrative Fiction: Covert Progressions Behind Overt Plots (Routledge Studies in Rhetoric and Stylistics) by Dan Shen

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