In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickensâ s novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the readerâ s shoulder in shared...
In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickensâ s novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the readerâ s shoulder in shared...
Garrett Stewart is James O. Freedman Professor of Letters at University of Iowa. He is the author of several books on Victorian fiction as well as film theory, poetics, and conceptual art, including: Novel Violence: A Narratography of Victorian Fiction; The Deed of Reading: Literature ¿ Writing ¿ Language ¿ Philosophy; Transmedium: Conceptualism 2.0 and the New Object Art; and The Value of Style in Fiction.
Inhaltsangabe
Foreword: Preparing the Way Introduction: Some "Reagions" for Reading 1. Shorthand Speech / Longhand Sound 2. Secret Prose / Sequestered Poetics 3. Phrasing Astraddle 4. Reading Lessens Afterword: "That Very Word, Reading" Endpiece: The One and T'Otherest Notes Index
Foreword: Preparing the Way Introduction: Some "Reagions" for Reading 1. Shorthand Speech / Longhand Sound 2. Secret Prose / Sequestered Poetics 3. Phrasing Astraddle 4. Reading Lessens Afterword: "That Very Word, Reading" Endpiece: The One and T'Otherest Notes Index
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