Without a beginning and without an end, Tristram Shandy moves in many different directions, defying the conventional expectations of its readers.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Part I. Subjectivity revealed through textual fields of reference: 1. Does Tristram Shandy have a beginning? 2. Subjectivity discovered through Locke's philosophy 3. Locke's philosophy as a pattern of communication 4. Manic subjectivity 5. Melancholic subjectivity 6. Decentred subjectivity 7. Wit and judgment 8. The discovery of communication by verbalising subjectivity 9. The body semiotics of subjectivity as discovery of man's natural morality 10. Eighteenth-century anthropology Part II. Writing strategies: 11. The first-person narrator 12. Interruption 13. Digression 14.Equivocation Part III. The Play of the Text: 15. The imaginary scene 16. The games played 17. The humour.
Part I. Subjectivity revealed through textual fields of reference: 1. Does Tristram Shandy have a beginning? 2. Subjectivity discovered through Locke's philosophy 3. Locke's philosophy as a pattern of communication 4. Manic subjectivity 5. Melancholic subjectivity 6. Decentred subjectivity 7. Wit and judgment 8. The discovery of communication by verbalising subjectivity 9. The body semiotics of subjectivity as discovery of man's natural morality 10. Eighteenth-century anthropology Part II. Writing strategies: 11. The first-person narrator 12. Interruption 13. Digression 14.Equivocation Part III. The Play of the Text: 15. The imaginary scene 16. The games played 17. The humour.
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