浅滩
发表于 2025-3-25 03:49:30
https://doi.org/10.1007/978-3-642-47834-5tional storytelling purposes’.3 It is perhaps the effect of this that led John Updike, in a percipient review of Doctorow’s 2005 novel ., to make theobservation that: ‘Doctorow is a stranger writer than he at first seems; his fiction, though generous with the conventional pleasures of dramatic plot,
mediocrity
发表于 2025-3-25 10:40:26
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Flustered
发表于 2025-3-25 15:16:09
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FLEET
发表于 2025-3-25 16:53:04
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使成整体
发表于 2025-3-25 20:48:18
Getriebe mit stufenlosem Regelbereich,ic style and language of what Tom LeClair calls the ‘art of excess’, DeLillo’s more measured, reserved style, might, for some, provide evidence that there is, as the . suggests, a form of ‘postmodern realism’.1 Indeed, it is the very presence of the ‘real’ in the novel which, for some critics, means
自然环境
发表于 2025-3-26 01:05:21
Die Getriebe für Normdrehzahlenry, but it is the 1997 novel ., with its eighteenth-century setting, language and typography (use of the em dash; capitalisation of real nouns; William Caslon’s ampersand, etc.) which is most deeply embedded in the past.1 As such it is, as most reviewers and critics have noted, the author’s clearest
狂怒
发表于 2025-3-26 07:03:44
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不规则的跳动
发表于 2025-3-26 12:10:45
https://doi.org/10.1007/978-3-642-47834-5concludes that ‘there is no fiction or nonfiction as we commonly understand the distinction: there is only narrative’.2 If this suggests an affiliation with a postmodernist thinker such as Hayden White, the comments in the lecture also imply that such ‘postmodern’ thinking is revolutionary only in t
Congregate
发表于 2025-3-26 16:03:48
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semble
发表于 2025-3-26 17:02:46
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