 |
The Ohio State University Press
Open Access Initiative |
|
|
The Ohio State University Press
Open Access Initiative |
| This title is no longer available in a traditional print edition. Nevertheless, the following PDF files contain the complete text of the book and may be used for any non-commercial purpose. The text remains © 1996 by The Ohio State University. | Open access is better with open dialogue. Click here to leave or read comments and critiques about this book |
Frontmatter and Preface
Introduction
Part I: Narrative Progression and Narrative Discourse: Lyric, Voice, and
Readerly Judgments
1: Character and Judgment in Narrative
and in Lyric: Toward an Understanding of Audience Engagement in The Waves
2: Gender Politics in the Showman’s
Discourse; or, Listening to Vanity Fair
3: Voice, Distance, Temporal
Perspective, and the Dynamics of A Farewell to Arms
Part II: Mimetic Conventions, Ethics, and Homodiegetic Narration
4: What Hemingway and a Rhetorical
Theory of Narrative Can Do for Each Other: The Example of “My Old Man”
5: Reexamining Reliability: The Multiple
Functions of Nick Carraway
6: Sharing Secrets
Part III: Audiences and Ideology
7: Narratee, Narrative Audience, and
Second-Person Narration: How I—and You?—Read Lorrie Moore's “How”
8: Narrating the PC Controversies:
Thoughts on Dinesh D’Souza's Illiberal Education
9: Toward a Rhetorical
Reader-Response Criticism: The Difficult, the Stubborn, and the Ending of
Beloved
Appendix: Why Wayne Booth Can’t Get with the Program; or, The Nintentional Fallacy