Search Results for Sandra Cisneros

... Mohsin Hamid's Reluctant Fundamentalist , Andrew Marvell's “To His Coy Mistress,” Sandra Cisneros's “Barbie-Q,” and Albert Camus's Fall . Authors working with this relationship, like Camus in The Fall , signal non-alignment between the narrator's actual and ideal narratees and use this gap...

...James Phelan [email protected] Copyright © 2024 by Porter Institute for Poetics and Semiotics 2024  ChatGPT rhetorical narratology structuralist narratology unreliable narration Sandra Cisneros “Barbie-Q” From the perspective of rhetorical narratology, artificial...

...] and ethical consequences of character narration” (30) covers fictional and nonfictional prose by Sandra Cisnero, Kazuo Ishiguro, Vladimir Nabokov, and Kathryn Har- rison, to name only some of the authors discussed. What Phelan ultimately .  Elsewhere in his book, Phelan sums up...

... and the short story in the cog- nitive terms of variations of goals, focus, and scope, with examples from cases where writers have dealt with similar materials in both the shorter and the longer genres. Consuelo Montes-Granado writes on code-switching between English and Spanish in Sandra Cisneros’s...

... ( New York : Picador ). McCracken Ellen 2016 Paratexts and Performance in the Novels of Junot Díaz and Sandra Cisneros ( New York : Palgrave Macmillan ). McHale Brian 2015 The Cambridge Introduction to Postmodernism ( New York : Cambridge University Press...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

... to distinguish between two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

...-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares the use of narrative beginnings in Julia Alvarez’s How the Garcı´a Girls Lost Their Accents...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

... two types of contemporary (or post- modernist) Latina narrative fictions, popular-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares...

...-commercial as against avant- gardist. The former is represented by Alisa Valdes-Rodriguez’s The Dirty Girls Social Club (2003) and the latter by Sandra Cisneros’s Caramelo (2002). Cath- erine Romagnolo compares the use of narrative beginnings in Julia Alvarez’s How the Garcı´a Girls Lost Their Accents...