Библиография

1665–1773

ContentsForeword 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 DecameronThe Author'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's "Second Self" Impartiality and "Unfair" Emphasis Impassibilité 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'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' 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's Voice in FictionVII. 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'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 NarrationX. 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: Céliné as Example The Author'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