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Series:

Dirk de Geest

disastrous traps. There is even a subgenre which concentrates on the many mistakes a writer should not make: How not to write a novel , for instance. It is intriguing how writers of these handbooks oscillate between two oppositional views on writing. Emphatically, there is the ultimate belief in individual

Series:

Justyna Fruzińska

are many more levels on which they should be studied as well. What is more, he states that there seem to be no real self-proclaimed narratologists in the sense of advocating the belief that games can be reduced only to narratives; most scholars associated with the narratological approach, in fact

Series:

Anna Ślósarz

try to sell products such as philosophies, beliefs, and political programs, and/or use marketing strategies to influence readers’ perceptions and standpoints. I, Putin: A Novel by Jennifer Ciotta (2012) uses the convention of historical fiction to “sell” the Russian president. Revisiting the Kursk

Series:

Arthur Langeveld

’s death at the beginning of the book. As a matter of fact all biographical information on Gogol, complete with such hilarious facts as Gogol’s mother’s belief that her son had invented the steam engine, is purloined, quite often almost verbatim, from Veresayev’s standard work. The same goes for all

Series:

Roy Groen

attention to anything but the text of the novel itself. He is interested in the intricate details of the very special worlds of the novels themselves, in their personal style and original methods of craftsmanship, an approach that is rooted in his unshakeable belief in the self-sufficiency of literary

Series:

Lara Delage-Toriel

light, evolved partly for financial reasons, but it also evidences the novel’s ever-present appeal and the urgency Nabokov therefore felt in giving it full justice in the English-speaking world. This appeal stems from a number of shared beliefs, among which a common endeavour to give precedence to the

Series:

Gerard de Vries

orientation that he misreads several of Brooke’s poems and badly misrepresents what we know of Brooke’s beliefs.’ 43 To be sure, although Nabokov’s lecture fails to be a helpful introduction to Stevenson’s story, there is hardly anything in the present lecture that detracts from the merits of Jekyll and Hyde

Series:

Ilse Logie

, precisely because his belief in a ‘true’ meaning is so absolute, he nevertheless succeeds in foregrounding interesting aspects of the work. He tries to scrape off the layers of varnish, free the book from the long shadow cast by that ‘afterlife’ and return to the source. But inevitably he is guilty of

Series:

Flora Keersmaekers

therefore derives its largely subjective and personal character from the belief that a text cannot and must not be studied from the exterior, and instead tries to revive and bring to the fore the experience that underlies it. 7 The critic’s ambition can thus be described as follows: Criticism must

Series:

Ben Dhooge and Jürgen Pieters

exactly, a reader of literature who shares his strongly held views and beliefs with his students. That is exactly the role Nabokov took up in the lectures on European and Russian literature that he taught between 1941 and 1959, mainly at the universities of Wellesley and Cornell. In these lectures