EBOOK / PDF [The Rhetoric of Fiction]

The Rhetoric of FictionI icked up and read Rhetoric from the erspective of an author wannabe so my copy is now scored with underlines and margin notes that will enable me to keep my interpretations and its key oints straight when I browse through it later for reference It

*goes beyond grammersyntax *
beyond grammersyntax beyond Prophets Unarmed: Chinese Trotskyists in Revolution, War, Jail, and the Return from Limbo plotcharactertheme construction to explore what actually makes a good novel a good novel I m not taking away any hard and fast lessons Mr Booth largely dispenses with theossibility of such things but I have now been made witness to many enlightening examples It makes me interested in The Labyrinth pursuing works Ireviously had no desire to read eg Tristram Shandy Tom Jones Madame Bovary The Raven and the Falcon: Youth Versus Old Age in Medieval Arabic Literature possibly Ulysses and the works of Henry James and Graham Greene among a few others because I m betterositioned to appreciate the telling of these tales not just the tales themselves I can see Rhetoric being a worthwhile read for anyone who would like to acuire a similar appreciationSomeone wiser than me summarized this book s thesis as all narrative is rhetoric An author has tangible The Humanist Interpretation of Hieroglyphs in the Allegorical Studies of the Renaissance: With a Focus on the Triumphal Arch of Maximilian I presence in hisher fiction novel however well disguised or aloof heshe strives to be and many have tried very hard depending on changing trends in critcism of how obvious how much obviousresence is judged acceptable There is a second self thus The Reproductive Bargain: Deciphering the Enigma of Japanese Capitalism produced by the author here called the implied author in the course of writing a fictioniece that suggests a Your Life Still Counts: How God Uses Your Past to Create a Beautiful Future personality who isulling the strings behind the scenes This implied author is tantamount to being a character in the story and should not be euated with the actual author The actual author needs to be aware of this implied Piers Plowman: A New Translation of the B-Text presence heshe is creating and its effect on how the readererceives and reads the story A good author writing a good novel will be aware of and use this resence to hisher advantage by being fully aware of what heshe is making a case for and employ good rhetoric accordinglyI m led to wonder how much of what I would have called an author s style is correctly attributed as characteristics of this implied author concept I think my next step should be to find a book that takes what Mr Booth roduced here and explores that uestion I d like to obtain find a book that takes what Mr Booth Fantasy Noir. Übernatürliche Mordfälle produced here and explores that uestion I d like to obtain firmer understanding of what is meant by style in the context of this book s thesis I ve found some excellent essays by horrorsf author Dan Simmons on his web site but exploration is reuired One of Narratology s most daunting curses is that everyone me too believes they know what it is about except that they don t First and thirderson narration sure basic shit right Except that NOAdmitting at the same time the limitations of the field and not retending it is an exact science while retending it be treated with the methodological approach of an actual science The Rhetoric of Fiction is a veritable gold mine explaining several key concepts in narratology A must read for any literature student Booth s sheer enthusiasm for his topic make this a great read for any dedicated reader whatsoeverAlthough occasionally a bit verbose it s also one of those rare theoretical texts that is ACTUALLY FUCKING UNDERSTANDABLE like uite easily Gee Mr Booth thanks Not all literary theorists choose to focus on rhetoric of course but Wayne Booth is Diari particularly interested in exploring the means by which authorsersuade their readers Booth begins his book by commenting on some of the rules that have been romulgated about fiction writing first discussing the admonition that the author must show rather than tell Booth cites many examples of fine fiction that seems to violate this rule ultimately concluding that the distinction itself is simplistic and in many cases uite arbitrary In fact since by definition an author must make judgments and craft his narrative accordingly a framework or base of telling is unavoidable Commenting on the relatively modern conclusion never entirely agreed upon by various authorities that novels must be realistic Booth discusses the tendency of modern criticism to try to deduce universal ualities from undifferentiated kinds of fiction thus creating generic criteria from which "Subseuent Judgments Are Made Itself "judgments are made itself an arbitrary osition Such conclusions must always be either descriptive or normative if the former than anything that varies from them is simply different rather than inferior and if the latter than they would seem often capriciously to exclude works that have long been acclaimed and affirmed as. The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field One of the most widely used texts in fiction courses it is a standard reference oint in advanced discussions of how fictional form works how authors make novels accessible and how readers recrea. ,
Excellent fiction a Scorch position that is hard to defend on any objective grounds Inart such a modern tendency results from a decreasing interest in recognizing different kinds or genres in fiction each having different characteristics and intents Perhaps the greatest insight that the reader can take away from this discussion is to attempt to discern what Labour Markets, Identities, Controversies position a given author is taking in his own work to try to identify the author s own criteria and goals and then to ascertain how well those goals have been met in the work of fiction in uestion Booth s argument is similar when addressing the demand that All Authors Should Be Objective ie neutral and impartial and the demand that True Art Ignore the Audience ie that true artists write only for themselves None of these rules can be taken at face value all being theroduct of Marrane Et Marronne: La Co-Ecriture Reversible D Andre Et de Simone Schwarz-Bart particularerspectives limited to articular eras and theoretical schools of criticism none above all being able truly to be formulated as generalizations Overall Booth tries to show that almost inherently the *Author Must Resort To Using * must resort to using that is to say that he must write to convince the reader to most effectively lead the reader to understand the story that he is trying to convey no writer writes without being aware of a otential audience and therefore writes to make his fiction understandable and thus uses rhetoricThere is clearly a cyclical nature to taste and thus to criteria of excellence each age or generation reacting to and rejecting the views of that immediately before it Booth s insights chronicle such a rocess although that is not his rimary intent rather he seems to be focused on correcting or modifying the convictions most recently in vogue Knowing that he risks setting up his own arbitrary criterion Booth nonetheless selects interest as the basis upon which he chooses to build his argument fully recognizing that this is fluid and to some extent imprecise to a real extent in the eye of the beholderThe types of literary interest fall into three kinds 1 Intellectual or cognitive 2 ualitative including cause and effect conventional expectations abstract forms and Tell Me What You Want promised ualities 3 Practical or Human which includes our emotional response our concern with the characters our moral judgments These interests would seem to boil down to truth beauty and goodness and most works contain all three albeit in differingroportionsThe author and the reader of a work of fiction are in a sense created selves different from either in real life and it is these created selves that must be in essential agreement if a work of art is to succeed with the reader Booth concludes Part I Artistic Purity and the Rhetoric of Fiction with a chapter on types of narrative a chapter that Water in Social Imagination: From Technological Optimism to Contemporary Environmentalism presents narrative as so variable and nuanced as to be of little assistance to the common reader in my opinion Perhaps the most that can usefully be asserted is that simpleoint of view such as first or third Sagwitch: Shoshone Chieftain, Mormon Elder, 1822-1887 person is of relatively little importance how thoseoints of view are utilized being of salience In Part II Booth moves to a discussion of The Author s Voice in Fiction In this long section he skillfully explores and illustrates his oints by analyzing the role of the narrator and the rhetoric used in Fielding s Tom Jones Sterne s Tristram Shandy and Austen s Emma thereby making clear his arguments in Part IFinally in Part III Booth addresses Impersonal Narration discussing the challenges that arise for an author when his narrator distances himself even to the oint of unreliability the most interesting examples involve the works of Henry JamesIn summary by focusing on the rhetoric of fiction Booth has Le rendez-vous provided the thoughtful reader with an additionalerspective an additional tool with which to read and evaluate what he is reading And the broader the reader s repertoire the greater his Molotov Mouths: Explosive New Writing potential enjoyment and appreciation of the fictional work in uestion A systematic and even handed study for which I rate him up there with Bakhtin Convergence of critical analysis and craftsmanship in the modern novelarticularly in and after Henry James If one were to be so "impudent as to simplify this book into any takeaway message it "as to simplify this book into any takeaway message it that one must take the middle way without generalizations that we must remember the tautological fact If you do such and such badly it will be bad Not that any method or techniue is true or false but that it must be true in the context of its workIn. Te texts and its concepts and terms such as the implied author the ostulated reader and the unreliable narrator have become art of the standard critical lexiconFor this new edition Wayne C Booth has written an extensive Afterword in which he clarifies misunderstandings corrects what he now views as errors and set. Apologizing for the All Our Trials: Prisons, Policing, and the Feminist Fight to End Violence pedantry of interpretation in his last section he uotes from Saul Bellow s Deep Readers of the World Beware 1959 Perhaps the deepest readers are those who are least sure of themselves An even disturbing suspicion is that theyrefer meaning to feelingHis approach to Portrait of the Artist is marvelous and his offhand summary of Joyce s epiphany is the best I ve read When in his earliest years he recorded his brief epiphanies those bits of dialogue or description that were supposed to reveal the inner reality of things there was always an implied identification of the recorder s norms and the reader s both were spectators at the revealing moment both shared iin the vision of one moment of truth Though some of the epiphanies are funny some sad and some mixed the basic effect is always the same an overwhelming sense when they succeed of what Joyce liked to call the incarnation Artistic Meaning has come to live in the world s body The Poet has done his work 331The bibli Just when you think Booth isn t going to resent any anecdotes about his friend in his youth beating off to the orgy scenes in Brave New World BAM There It World BAM there it age 389 Insofar as the title of Booth s book is The Rhetoric of Fiction and that rhetoric is both the carriage of argument over words and the lack thereof it is completely appropriate that Booth s book ends with "him advancing the argument that his book has been about morality in fiction and acknowledging that most modern his word "advancing the argument that his book has been about morality in fiction and acknowledging that most modern his word is modern In This Land: The Purple Book, Volume Four precisely in the lack of such moralityBooth s survey of fictional techniue is both deep and broad and If you re into stuff like this you can read the full reviewNarrative Voices The Rhetoric of Fiction by Wayne C BoothOriginal Review 1981 03 28When Booth came up with the idea of the unreliable narrator he wasn t speaking to writers he was reminding critics and teachers and readers in general of something every decent writer of fiction has always known that a narrator is a voice and a voice is a character and is still a character a created fictionalerson whether it has a name or is just an apparently omniscient intermediary I think my mark is not fair to the book it gives a lot of work to the brain and is really enlightening But I certainly had roblems with following author s logic and his examples often overbearingly detailed Exam reading Most of you robably don t care to read this I won t be offended This is The Houdini Solution: Put Creativity and Innovation to work by thinking inside the box pretty much THE bible for rhetorical literary criticism which is I discovered through the course of my PhD coursework how I actually think of literature but didn t have the language for until recently My dissertation is going to be about applying this framework in secondary English For those of you who care Which isn t too many of you However thisarticular text for my Cybercrime and Digital Forensics: An Introduction purposes was only super useful during Part One The second and third sections were less what I needed so I admit I skimmed them What is nice about this second edition is that the author spends uite a bit of time going back over his first edition and amending things he believed to be true then but sees differently now responding to feedbackcriticism he had gotten in the 20 years since the firstublication etc Anyway this book is GIGANTIC and I read it in one sitting This is my job for the moment I realize I am currently at the office aka the Caribou Coffee near my house so I m not looking *for any sort of at on the back * any sort of at on the back seriously 400 The Meaning of Difference: American Constructions of Race, Sex and Gender, Social Class, Sexual Orientation, and Disability pages of academic writing in one day My brain was fried I read this some years ago and it was completely impressive all about tellin and showin and modernism wishing to drive out the author s voice and very not reliable narrators and four kinds of realism and Henry James and how tears and laughter are aesthetically frauds god damn them to hell Years later when I thought of this book a little somethingopped into my head I saw a scarecrow in a field One Small Step: An Anthology of Discoveries peering closer I saw he had my face and he was grinning glassily and singing I could while away the hoursRe reading Richard PowersOr maybe Gertrude StainAnd my head I d be scratchin While my thoughts were busy hatchin If I only had a brainI d unravel any riddleof modernisticiddlewhile commutin on a trainAnd my thoughts would be dancin I could be another FranzenIf I only had a brainI could entertain the missusWith tales of brave UlyssesOr even James M CainI would formulate the iecesOf my throbbing mighty thesisIf I only had a brain. S forth his own recent thinking about the rhetoric of fiction The other new feature is a Supplementary Bibliography repared by James Phelan in consultation with the author which lists the important critical works of the ast twenty years two decades that Booth describes as the richest in the history of the subject.