Titlebook: Contemporary Fiction and the Uses of Theory; The Novel from Struc Michael Greaney Book 2006 Palgrave Macmillan, a division of Macmillan Pub

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altruism

食品室

From Structuralism to Dialogics: David Lodge,ourse of his career, Lodge has proved himself the most conspicuously ‘a(chǎn)mbidextrous’ of the contemporary generation of novelist-critics. In what looks like a calculated reproach to the traditional division of labour between authors and critics, his major campus fictions, . (1975), . (1980), . (1984),

Meager

BARB

責(zé)難

責(zé)難

Feminism , Post-structuralism,ism have been intellectual categories of obvious value to the feminist project. News of the death of the author, for example, seems to come at exactly the wrong time for those who bid to rescue female authors from the neglect they have suffered beyond the pale of a male-dominated canon: there is no

過(guò)剩

Criminal Signs: Murder in Theory,d that the critic-as-detective conceit is sufficiently commonplace to be dropped into informal conversation in both . and . The affinities between theory and crime fiction are strong enough for novelists to have been tempted by the idea of the detective as a kind of hard-boiled Derrida, or the theor

巫婆

The Novel in Hyperreality,ebrated essay, ‘The Work of Art in the Age of Mechanical Reproduction’ (1938), as the ground-breaking intervention in this area of debate. For Benjamin, the consequences of such a revolution need to be understood in political terms. If the work of art has lost its numinous ‘a(chǎn)ura’ of uniqueness and u

LEERY

https://doi.org/10.1007/978-88-470-5510-0ded intellectual projects of its introverted system-makers and maladjusted bookworms. Novelists never tire of sabotaging the mental labours of theorists, exposing every ambitious new quest for some key to all mythologies as just another journey down an intellectual blind alley.