Search Results for sentence

... first by discussing what it calls “commodity origin” scenes in Émile Zola, F. Scott Fitzgerald, and Richard Powers, a genre that like the epic simile interrupts the action to provide background knowledge. Second, it reflects on the famous first sentence of Gabriel García Márquez's One Hundred Years...

...Figure 1. Source: Christof Schöch, “Do Sentences in Novels Get Shorter over the Course of the Nineteenth Century?” The Dragonfly's Gaze (blog), December 15, 2021 < https://dragonfly.hypotheses.org/1152 >. Creative Commons public domain dedication. ...

... as periodical: a repetitive round or return. Finally, it turns to Austen's own meditations on the word period , within those carefully formed periods that are her sentences, to reveal the implications and complications arising from our investment in periods and periodizing. © 2009 by Novel, Inc. 2009...

... of style in late James erodes the accumulation of detail that would build toward historical, cultural, and psychological insight in a typical realist novel. The surface density of James's prose toggles between the profound and the “merely” stylistic: circuitous sentences approach their objects with extreme...

... . “Literature as Sentences.” Reading about Language . Ed. Charlton Laird and Robert M. Gorrell New York: Harcourt, 1971 . 456 –64. Pearson , Keith Ansell . Philosophy and the Adventure of the Virtual: Bergson and the Time of Life . London: Routledge, 2002 . Reynolds , Margaret...

... particularly key conversation between Mary and Winifred, in which Mary talks about what she thinks Royal would have done in a particular situation, Winifred remarks, “Why put any ‘would’ in that sentence? . . . It belongs in the present tense” (60). Phelps has undertaken nothing less than to define...

... (Oxford: Oxford UP, 2008), pp. 208, cloth, $45.50. A writer on bad form had best have a sense of style, and Kent Puckett has that. It is on display in the opening sentence of his introduction: “Verbal slips and tics, fashion failures, lapses, gaffes, and blunders: these are, we learn the hard way...

.... ‘‘This style he affirms, ‘‘is not the sovereignty of one who manipulates sentences and forms, the manifestation of an individual’s free will in the sense in which it is ordinarily understood. It is, on the contrary, a force of disindividualization. The power of the sentence is a capacity to manifest new...

... this method as a “three-way convergence,” bringing together genre theory and narratology with sentence-level linguistic analysis (3). What could the theory of the novel show us, he asks, if it considered the prose medium of fiction up close rather than (as it sometimes does) from 30,000 feet...

... flannel trousers and carrying a tweed coat over his arm—emerge from the path and kneel to drink from the spring” (181). Ostensibly from Popeye's perspective, we see the man (Horace) drinking from the spring, and from the second sentence on, as the narrative fills in more details of the scene—the location...

... There have been a number of critical works that link "Jack the Ripper" to Stevenson's novel, the best of which remains Wakowib, Clfy 191-228. See also Caputi, Curtis, and Frayling. The use of "fiction" as a verb in this sentence-and throughout this essay- derives from Michel Foucault's...

... character of that century's prose, his study often takes on some of that character for itself. The first sentence of the chapter on “something” tells us that “Austen and Stoker, Dickens and Eliot, Newman and Darwin” all use “something” to consider the political and epistemological value of vagueness...

... of bridges between texts and genres. In any case, however, one cannot not ask how well these categories stand up under scrutiny. Take, for example, the exposition of bingeing. To illustrate the concept, Dango aligns the long take in the TV series The West Wing , the long sentence in writers like David...

... with another defining characteristic of the anagonist. Like Robinson, Davies locates an epistemic break in Coetzee—one identified by Coetzee himself in a short essay from 1976, “The First Sentence of Yvonne Burgess' The Strike .” The break that concerns Davies, however, does not divide Coetzee's body...

... circumscribed concluding sentence—“And dying thus around us every day”—with a reminder of institutional contexts and causes: “laws that occasion such scenes as this.” This shift in emphasis is typical of Crafts’s rewriting of Dickens’s novel, as she systematically replaces his criticism of disorder...

... ): 741 –43. Stewart , Garrett . Death Sentences: Styles of Dying in British Fiction . Cambridge: Harvard UP, 1984 . de Tocqueville , Alexis . The Old Regime and the Revolution . Ed. François Furet and Françoise Mélonio. Trans. Alan S. Kahan Chicago: U of Chicago P, 1998...