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Electronic reproduction; Available via World Wide Web Introduction: Reading the American novel, 1920-2010Principles of rhetorical reading -- The Age of Innocence (1920): bildung and the ethics of desire -- The Great Gatsby (1925): character narration, temporal order, and tragedy -- A Farewell to Arms (1929): bildung, tragedy, and the rhetoric of voice -- The Sound and the Fury (1929): portrait narrative as tragedy -- Their Eyes Were Watching God (1937): bildung and the rhetoric and politics of voice -- Invisible Man (1952): bildung, politics, and rhetorical design -- Lolita (1955): the ethics of the telling and the ethics of the told -- The Crying of Lot 49 (1966): mimetic protagonist, thematic-synthetic storyworld -- Beloved (1987): Sethe's choice and Morrison's ethical challenge -- Freedom (2010): realism after postmodernism. Cover; Series; Title Page; Copyright; Acknowledgments; Introduction: Reading the American Novel, 1920-2010; Broad Overview, Part One: History ↔ Literary Period ↔ Literary Work; The Role of Genre; Periodization and the Concept of the Dominant; Broad Overview, Part Two: Modernity/Modernism, Postmodernity/Postmodernism, and the Individual Work; History ↔ Period ↔ Work Redux: Toward a Shift in My "Composing Focus"; Choosing Ten Novels; Notes; References; Further Reading; Chapter 1: Principles of Rhetorical Reading; Narrative Progression: An Expanded View Ethics of the Telling and Ethics of the ToldOff-Kilter, Unreliable, and Deficient Narration: A Rhetorical Model; Respect, Disrespect, and Over-respect; Notes; References; Further Reading; Chapter 2: The Age of Innocence (1920): Bildung and the Ethics of Desire; Material and Treatment; The Beginning: Initiation and Launch; Scenes from the Voyage: Newland and May; Newland and Ellen; The Two-stage Arrival: Configuring Wharton''s Fierce Realism; Notes; References; Further Reading; Chapter 3: The Great Gatsby (1925): Character Narration, Temporal Order, and Tragedy Nick as Narrator: Initiation and LaunchNick as Narrator: The Interaction; Nick as Character: Fabula, Sjuzhet, and Progression (Especially in the Voyage); Gatsby: Voyage and Arrival; Talking Back; Notes; References; Further Reading; Chapter 4: A Farewell to Arms (1929): Bildung, Tragedy, and the Rhetoric of Voice; Initiation and Launch I: Or, the Concept of Voice and the Voice of Frederic Henry; Launch II: Frederic and Catherine; Voice in the Voyage; Final Stages of the Voyage, Arrival, and Farewell; Catherine Barkley; Hemingway''s View of the World; Notes; References; Further Reading Chapter 5: The Sound and the Fury (1929): Portrait Narrative as TragedyBenjy: Initiation, Launch, Portrait; Quentin: Initiation, Voyage, Portrait; Jason: Initiation, Voyage, Portrait; Dilsey: Initiation, Arrival, Farewell; Notes; References; Further Reading; Chapter 6: Their Eyes Were Watching God (1937): Bildung and the Rhetoric and Politics of Voice; Initiation, Phase One: The Narrator''s Voice; Initiation, Phase Two: Dialogue; The Launch; The Voyage; The Trial Scene; Arrival and Farewell; Notes; References; Further Reading Chapter 7: Invisible Man (1952): Bildung, Politics, and Rhetorical DesignInitiation; Launch; Voyage; Arrival, Part One; Arrival, Part Two, and Farewell; Notes; References; Further Reading; Chapter 8: Lolita (1955): The Ethics of the Telling and the Ethics of the Told; Initial Questions; Initiation; From Initiation to Interaction; Toward a Plot of Narration; Ethics of the Telling and Ethics of the Told; Arrival and Farewell; Limits of the Transformation and Further Ethical Consequences; Notes; References; Further Reading Chapter 9: The Crying of Lot 49 (1966): Mimetic Protagonist, Thematic-Synthetic Storyworld Cover; Series; Title Page; Copyright; Acknowledgments; Introduction: Reading the American Novel, 1920-2010; Broad Overview, Part One: History ↔ Literary Period ↔ Literary Work; The Role of Genre; Periodization and the Concept of the Dominant; Broad Overview, Part Two: Modernity/Modernism, Postmodernity/Postmodernism, and the Individual Work; History ↔ Period ↔ Work Redux: Toward a Shift in My "Composing Focus"; Choosing Ten Novels; Notes; References; Further Reading; Chapter 1: Principles of Rhetorical Reading; Narrative Progression: An Expanded View Ethics of the Telling and Ethics of the ToldOff-Kilter, Unreliable, and Deficient Narration: A Rhetorical Model; Respect, Disrespect, and Over-respect; Notes; References; Further Reading; Chapter 2: The Age of Innocence (1920): Bildung and the Ethics of Desire; Material and Treatment; The Beginning: Initiation and Launch; Scenes from the Voyage: Newland and May; Newland and Ellen; The Two-stage Arrival: Configuring Wharton's Fierce Realism; Notes; References; Further Reading; Chapter 3: The Great Gatsby (1925): Character Narration, Temporal Order, and Tragedy Nick as Narrator: Initiation and LaunchNick as Narrator: The Interaction; Nick as Character: Fabula, Sjuzhet, and Progression (Especially in the Voyage); Gatsby: Voyage and Arrival; Talking Back; Notes; References; Further Reading; Chapter 4: A Farewell to Arms (1929): Bildung, Tragedy, and the Rhetoric of Voice; Initiation and Launch I: Or, the Concept of Voice and the Voice of Frederic Henry; Launch II: Frederic and Catherine; Voice in the Voyage; Final Stages of the Voyage, Arrival, and Farewell; Catherine Barkley; Hemingway's View of the World; Notes; References; Further Reading Chapter 5: The Sound and the Fury (1929): Portrait Narrative as TragedyBenjy: Initiation, Launch, Portrait; Quentin: Initiation, Voyage, Portrait; Jason: Initiation, Voyage, Portrait; Dilsey: Initiation, Arrival, Farewell; Notes; References; Further Reading; Chapter 6: Their Eyes Were Watching God (1937): Bildung and the Rhetoric and Politics of Voice; Initiation, Phase One: The Narrator's Voice; Initiation, Phase Two: Dialogue; The Launch; The Voyage; The Trial Scene; Arrival and Farewell; Notes; References; Further Reading Chapter 7: Invisible Man (1952): Bildung, Politics, and Rhetorical DesignInitiation; Launch; Voyage; Arrival, Part One; Arrival, Part Two, and Farewell; Notes; References; Further Reading; Chapter 8: Lolita (1955): The Ethics of the Telling and the Ethics of the Told; Initial Questions; Initiation; From Initiation to Interaction; Toward a Plot of Narration; Ethics of the Telling and Ethics of the Told; Arrival and Farewell; Limits of the Transformation and Further Ethical Consequences; Notes; References; Further Reading Chapter 9: The Crying of Lot 49 (1966): Mimetic Protagonist, Thematic-Synthetic Storyworld |
