Yearbook of Comparative Criticism, Volume 8Joseph Strelka |
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Page 33
... beginning , a middle , and an end — a cliché of experience which is at the same time the first principle of the dramatic imagination . For this cliché makes a deeper reference to passion , involvement , and concern . The beginning of ...
... beginning , a middle , and an end — a cliché of experience which is at the same time the first principle of the dramatic imagination . For this cliché makes a deeper reference to passion , involvement , and concern . The beginning of ...
Page 68
... beginning to end , but if by chance , one reads the fifteenth chapter before the fourteenth , the loss one suffers is not so great as with a fantastic tale . If one knows from the beginning the end of such a tale , all the fun is lost ...
... beginning to end , but if by chance , one reads the fifteenth chapter before the fourteenth , the loss one suffers is not so great as with a fantastic tale . If one knows from the beginning the end of such a tale , all the fun is lost ...
Page 120
... beginning or end . They see no valley , no house , cannot see the countless lighted trees nor hear the waves of sound rolling across the land . The calm voice of the narrator and the detached perspective become fully noticeable in the ...
... beginning or end . They see no valley , no house , cannot see the countless lighted trees nor hear the waves of sound rolling across the land . The calm voice of the narrator and the detached perspective become fully noticeable in the ...
Contents
DICHOTOMY OF ARTISTIC GENRES | 3 |
TOWARD A DEFINITION OF LITERARY GENRES | 41 |
SOME IDIOSYNCRATIC CONCEPTS | 80 |
Copyright | |
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aesthetic Andromaque Aristotle artistic aspect attitude audience ballad basic century character classification comedy comic concept criteria defined definition Dichtung distinction distinguish drama elements epic epic theater example experience expression fact fiction first-person narrative French Frye Frye's function genre theory German Hamburger hero historical human imagination imitatio individual interpretation Jan Mukařovský kind language linguistic literary criticism literary genres literature littérature logical ludic-aesthetic lyric poetry meaning medieval Middle Ages mimesis mimetic Minnesangs modes Molière narration narrative nature norm novel object oral Paris performance philosophical play poem poet poetic possible Prague Linguistic Circle present preterit principle problem prose question Racine's reader reality statement reception relation relationship Roman Jakobson satire semiotic sense songs specific Staiger statement-subject story structure subforms T.S. Eliot themes tion tive Todorov Tom Jones traditional tragedy tragic types Tzvetan Todorov University verse word writing