KotiRyhmätKeskusteluLisääAjan henki
Etsi sivustolta
Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.

Tulokset Google Booksista

Pikkukuvaa napsauttamalla pääset Google Booksiin.

Ladataan...

The Rhetoric of Fiction (1961)

Tekijä: Wayne C. Booth

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
8671124,682 (4.13)34
"Rhetoric is the author's term for the means by which the writer makes known his vision to the reader and persuades him of its validity; and he demonstrates convincingly that there is no essential difference between ostentatiously rhetorical novelists like Fielding and Dickens, and the admired masters of impersonality--Flaubert, James, Joyce ... this is a major critical work which should be required reading for everyone concerned in the academic study of prose fiction." [Modern Language Review].… (lisätietoja)
Ladataan...

Kirjaudu LibraryThingiin nähdäksesi, pidätkö tästä kirjasta vai et.

Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta.

» Katso myös 34 mainintaa

It helps to have read Emma, Tristram Shandy, Samuel Beckett's Company, some Dafoe, some Swift, and whole lot of Henry James, to really piece this work together. Booth is primarily concerned with the relationship between the narrator, the implied author, and the reader. I think he is one of the first to use the term "unreliable narrator" to describe the critical distance required when reading a first person narrative.

I enjoyed his analysis of Austen's Emma the most, as I recently reread it and appreciated his commentary on Austen's use of narrative voice to gain the both the reader's sympathy and approbation for her heroine.

( )
  jonbrammer | Jul 1, 2023 |
um exemplar está em Estescr6B
  ulisin | Feb 21, 2022 |
got to page 283. it's really good to learn the basic principles of the craft, but then I wanted works that dealt with the art of short stories specifically.
  AminBoussif | Sep 22, 2021 |
(Original Review, 1981-03-28)

When Booth came up with the idea of the "unreliable narrator," he wasn't speaking to writers; he was reminding critics and teachers and readers in general of something every decent writer of fiction has always known: that a narrator is a voice, and a voice is a character, and is still a character - a created fictional person - whether it has a name or is just an apparently omniscient intermediary. The idea that this particular character must for some reason be an honest (much less an accurate) portrait of the author himself is just silly, but it's a silliness that a great many critics once allowed themselves to fall into. If Hammett's voice in Falcon is anything, it's purposeful and controlled, and he had to have worked very hard on it. The idea that that voice must also be Hammett or Heinlein themselves... well, I don't think fatuous is too strong a word. We have had very little of that kind of fatuous talk around here (thank goodness), but at times we – me, as much as anyone – have gone off in the opposite direction and assumed that because we can find something in Falcon Hammett or in Strange Heinlein, must have meant for it to matter more than the story itself. In other words, I know there’s a line but I don’t know exactly where to draw it - and I suppose that all I want from you is a reassurance that you agree that that line is lurking somewhere quite close by.

This is one of the books that made me appreciate Robert A. Heinlein even more. [2018 EDIT: And K. J. Parker in this day and age; if you want to know what it means to write sucessful "unreliable narrators" look no further.]

(By the way, the idea that there are male equivalents to femmes fatales is strangely familiar to me...) ( )
  antao | Dec 8, 2018 |
Great read! I learned a lot about why authors in the post-Flaubert/Henry James era of modern fiction became so obsessed with eliminating all traces of narratorial commentary from their novels (that is, why modern fiction sought to privilege "showing" over "telling"), and Booth does a great job of questioning what should certainly be seen as an ideological insistence on certain modes of storytelling that only rarely question their own premises. That is, if Henry James was really quite responsible and dedicated in his discussions of why the presentation of dramatic scenes where stories more or less tell themselves, he also seemed to understand that this was an ideal that no text achieves. As Booth demonstrates, you can disguise the "telling" of a story in a lot of different ways so that it looks like the narrator isn't intruding on the narrative and injecting his or her own subjective views on the matter at hand, but you can't completely avoid using strategies that show your hand as the story's creator in various subtle ways.

The Rhetoric of Fiction gives some great practical guidance for readers of novels. I feel like I'm much more attuned to some of the subtleties of novel writing than I was before. I don't necessarily agree with his overarching concern with rescuing a certain moral function for the novel (that is, as he himself admits in an afterword written 20 years after the book's original publication, he is rather overzealous in his condemnation of books like Céline's Voyage au bout de la nuit due to their immorality), but his own historically-situated conclusions don't take anything away from his analyses of modern fiction. And, in fact, they're challenging in that I don't want to agree with his insistence on the moral function of fiction, but I'm not sure I have good reasons for disagreeing.

It's always refreshing to read classics like this, and I'd definitely recommend it. The Rhetoric of Fiction helped me understand late-19th and early-20th century literature in ways I hadn't necessarily thought of before. ( )
1 ääni msjohns615 | Aug 22, 2016 |
Näyttää 1-5 (yhteensä 11) (seuraava | näytä kaikki)
ei arvosteluja | lisää arvostelu
Sinun täytyy kirjautua sisään voidaksesi muokata Yhteistä tietoa
Katso lisäohjeita Common Knowledge -sivuilta (englanniksi).
Teoksen kanoninen nimi
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Alkuteoksen nimi
Teoksen muut nimet
Alkuperäinen julkaisuvuosi
Henkilöt/hahmot
Tärkeät paikat
Tärkeät tapahtumat
Kirjaan liittyvät elokuvat
Epigrafi (motto tai mietelause kirjan alussa)
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
"It is the first necessity of the novelist's position that he make himself pleasant." --TROLLOPE

"My task...is to make you see." --CONRAD

"Until these things are judged and given each its appointed place in the whole scheme, they have no meaning in the world of art." --KATHERINE MANSFIELD, protesting the method of Dorothy Richardson

"The author makes his readers, just as he makes his characters." --HENRY JAMES

"I write; let the reader learn to read." --MARK HARRIS
Omistuskirjoitus
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
To Ronald Crane
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
One of the most obviously artificial devices of the storyteller is the trick of going beneath the surface of the action to obtain a reliable view of a character's mind and heart.
Sitaatit
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
My goal is not to set everyone straight about my favourite novelists but rather to free both readers and novelists from the constraints of abstract rules about what novelists must do, by reminding them in a systematic way about what novelists have in fact done.
Viimeiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
(Napsauta nähdäksesi. Varoitus: voi sisältää juonipaljastuksia)
(Napsauta nähdäksesi. Varoitus: voi sisältää juonipaljastuksia)
Erotteluhuomautus
Julkaisutoimittajat
Kirjan kehujat
Alkuteoksen kieli
Kanoninen DDC/MDS
Kanoninen LCC

Viittaukset tähän teokseen muissa lähteissä.

Englanninkielinen Wikipedia (1)

"Rhetoric is the author's term for the means by which the writer makes known his vision to the reader and persuades him of its validity; and he demonstrates convincingly that there is no essential difference between ostentatiously rhetorical novelists like Fielding and Dickens, and the admired masters of impersonality--Flaubert, James, Joyce ... this is a major critical work which should be required reading for everyone concerned in the academic study of prose fiction." [Modern Language Review].

Kirjastojen kuvailuja ei löytynyt.

Kirjan kuvailu
Yhteenveto haiku-muodossa

Current Discussions

-

Suosituimmat kansikuvat

Pikalinkit

Arvio (tähdet)

Keskiarvo: (4.13)
0.5
1
1.5
2
2.5
3 9
3.5 2
4 24
4.5 1
5 16

Oletko sinä tämä henkilö?

Tule LibraryThing-kirjailijaksi.

 

Lisätietoja | Ota yhteyttä | LibraryThing.com | Yksityisyyden suoja / Käyttöehdot | Apua/FAQ | Blogi | Kauppa | APIs | TinyCat | Perintökirjastot | Varhaiset kirja-arvostelijat | Yleistieto | 203,226,257 kirjaa! | Yläpalkki: Aina näkyvissä