Yearbook of Comparative Criticism, Volume 3Joseph Strelka |
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Page 44
... force , one which is operative in the composition of a plot . Although sequential and causal thematic coherences are the most frequently used structural principles , they are not the only stylistic forces which may determine the design ...
... force , one which is operative in the composition of a plot . Although sequential and causal thematic coherences are the most frequently used structural principles , they are not the only stylistic forces which may determine the design ...
Page 47
... force , as it alone provides a means of representing the disparateness of lived reality , while at the same time ensuring a cohesive structure of meaning . We may , as already noted , apprehend such a structure of meaning in lived ...
... force , as it alone provides a means of representing the disparateness of lived reality , while at the same time ensuring a cohesive structure of meaning . We may , as already noted , apprehend such a structure of meaning in lived ...
Page 65
... force of the attraction in per cent of maximal possible values vertically , and the effective range of the attracting forces in per cent of maximal possible values horizontally , Fig . 7 provides us with an over - all picture . The ...
... force of the attraction in per cent of maximal possible values vertically , and the effective range of the attracting forces in per cent of maximal possible values horizontally , Fig . 7 provides us with an over - all picture . The ...
Contents
PREFACE | 1 |
THE EXISTENTIAL | 15 |
STYLISTIC FORCES IN THE NARRATIVE | 42 |
Copyright | |
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