@book {Booth1983, title = {Rhetoric of Fiction}, year = {1983}, note = {

Contents

Foreword to the Second Edition\ 
Preface to the First Edition\ 
Acknowledgments\ 
Part I: Artistic Purity and the Rhetoric of Fiction\ 
I. Telling and Showing\ 
Authoritative "Telling" in Early Narration\ 
Two Stories from the\ Decameron
The Author{\textquoteright}s Many Voices\ 
II. General Rules, I: "True Novels Must Be Realistic"\ 
From Justified Revolt to Crippling Dogma\ 
From Differentiated Kinds to Universal Qualities\ 
General\ Criteria in Earlier Periods\ 
Three Sources of General Criteria: The Work, the Author, the Reader\ 
Intensity of Realistic Fiction\ 
The Novel as Unmediated Reality\ 
On Discriminating among Realisms\ 
The Ordering of Intensities\ 
III. General Rules, II: "All Authors Should be Objective"\ 
Neutrality and the Author{\textquoteright}s "Second Self"\ 
Impartiality and "Unfair" Emphasis\ 
Impassibilit{\'e}\ 
Subjectivism Encouraged by Impersonal Techniques\ 
IV. General Rules III: "True Art Ignores the Audience"\ 
"True Artists Write Only for Themselves\ 
Theories of Pure Art\ 
The "Impurity" of Great Literature\ 
Is a Pure Fiction Theoretically Desirable?\ 
V. General Rules, IV: Emotions, Beliefs, and the Reader{\textquoteright}s Objectivity\ 
"Tears and Laughter Are, Aesthetically, Frauds"\ 
Types of Literary Interest (and Distance)\ 
Combinations and Conflicts of Interests\ 
The Role of Belief\ 
Belief Illustrated: The Old Wives{\textquoteright} Tale\ 
VI. Types of Narration\ 
Person\ 
Dramatized and Undramatized Narrators\ 
Observers and Narrator-Agents\ 
Scene and Summary\ 
Commentary\ 
Self-Conscious Narrators\ 
Variations of Distance\ 
Variations in Support or\ Correction\ 
Privilege\ 
Inside Views\ 
Part II: The Author{\textquoteright}s Voice in Fiction
VII. The Uses of Reliable Commentary\ 
Providing the Facts, Picture, or Summary\ 
Molding Beliefs\ 
Relating Particulars to the Established Norms\ 
Heightening the Significance of Events\ 
Generalizing the Significance of Events\ 
Generalizing the Significance of the Whole Work\ 
Manipulating Mood\ 
Commenting Directly on the Work Itself\ 
VIII. Telling as Showing: Dramatized Narrators, Reliable and Unreliable\ 
Reliable Narrators as Dramatized Spokesmen for the Implied Author\ 
"Fielding" in\ Tom Jones\ 
Imitators of Fielding\ 
Tristram Shandy\ and the Problem of Formal Coherence\ 
Three Formal Traditions: Comic Novel, Collection, and Satire\ 
The Unity of Tristram Shandy\ 
Shandean Commentary, Good and Bad\ 
IX. Control of Distance in Jane Austen{\textquoteright}s\ Emma\ 
Sympathy and Judgment in\ Emma\ 
Sympathy through Control of Inside Views\ 
Control of Judgment\ 
The Reliable Narrator and the Norms of\ Emma\ 
Explicit Judgments on Emma Woodhouse\ 
The Implied Author as Friend and Guide\ 
Part III: Impersonal Narration
X. The Uses of Authorial Silence\ 
"Exit Author" Once Again\ 
Control of Sympathy\ 
Control of Clarity and Confusion\ 
"Secret Communion" between Author and Reader\ 
XI. The Price of Impersonal Narration, I: Confusion of Distance\ 
The Turn of the Screw\ as Puzzle\ 
Troubles with Irony in Earlier Literature\ 
The Problem of Distance in\ A Portrait of the Artist\ 
XII. The Price of Impersonal Narration, II: Henry James and the Unreliable Narrator\ 
The Development from Flawed Reflector into Subject\ 
The Two Liars in "The Liar"\ 
"The Purloining of the Aspern Papers" or "The Evocation of Venice"?\ 
"Deep Readers of the World, Beware!"\ 
XIII. The Morality of Impersonal Narration\ 
Morality and Technique\ 
The Seductive Point of View: C{\'e}lin{\'e} as Example\ 
The Author{\textquoteright}s Moral Judgment Obscured\ 
The Morality of Elitism\ 
Afterword to the Second Edition: The Rhetoric in Fiction and Fiction as Rhetoric: Twenty-One Years Later\ 
Bibliography\ 
Supplementary Bibliography, 1961-82, by James Phelan\ 
Index to the First Edition\ 
Index to the Bibliographies\ 

}, pages = {572}, publisher = {University of Chicago Press}, organization = {University of Chicago Press}, edition = {2nd. ed}, address = {Chicago}, abstract = {

For this edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years{\textemdash}two decades that Booth describes as "the richest in the history of the subject."

}, author = {Booth, Wayne C.} }