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Seite 9
The first thing to do is to distribute the “ details ” ( I would say the units ) into formal classes that can be analyzed : the classes Seduction or Deceit , for example , at least on a first level , already keep you from having to talk ...
The first thing to do is to distribute the “ details ” ( I would say the units ) into formal classes that can be analyzed : the classes Seduction or Deceit , for example , at least on a first level , already keep you from having to talk ...
Seite 115
Although Suvin admits that this distinction indicates two endpoints of a continuum running from naturalist to a estranged fiction , his attempt to define formal genre categories leads him to separate this continuum into a sharp ...
Although Suvin admits that this distinction indicates two endpoints of a continuum running from naturalist to a estranged fiction , his attempt to define formal genre categories leads him to separate this continuum into a sharp ...
Seite 119
But estrangement cannot be merely a formal component of a genre , as Suvin claims ; it must also include the dimension of cultural reception , an effect of meaning ( distantiation ) produced in an audience consuming the work under ...
But estrangement cannot be merely a formal component of a genre , as Suvin claims ; it must also include the dimension of cultural reception , an effect of meaning ( distantiation ) produced in an audience consuming the work under ...
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Inhalt
Editorial | 3 |
The Order of Cinematographic Discourse | 39 |
Jürgen Habermas and the | 59 |
Urheberrecht | |
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according action actually analysis appear attempt become beginning called cinema cognitive communication complex concept concerns connotation constitute construction criticism culture definition denotation desire detective diegesis discourse discussion distinction effect elements estrangement example existence expression fact fiction figurative film forces formal function genre Habermas Habermas's human identification ideology images imaginary important individual interest issue kind knowledge language linguistic literary literature Marx Marxism mass material means mirror mother myth narrative nature notion novel object original person political position possible practical precisely present problem produced psychoanalysis question reference relation relationship remains represents science fiction seems sense signifier signs situation social society speak specific spectator sphinx stories structure Superman Suvin Symbolic theory things tion tradition unconscious University women writes