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Law, History, and Literature as Narr...

Kulvete, Samuel C.

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Law, History, and Literature as Narrative in The Sense of an Ending.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Law, History, and Literature as Narrative in The Sense of an Ending./
作者:	Kulvete, Samuel C.
面頁冊數:	59 p.
附註:	Source: Masters Abstracts International, Volume: 53-02.
Contained By:	Masters Abstracts International53-02(E).
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1558824
ISBN:	9781303991806

Law, History, and Literature as Narrative in The Sense of an Ending.
Kulvete, Samuel C.

Law, History, and Literature as Narrative in The Sense of an Ending. - 59 p.

Source: Masters Abstracts International, Volume: 53-02.

Thesis (M.A.)--East Carolina University, 2014.

This item must not be sold to any third party vendors.

This thesis explores how Tony Webster constructs personal narrative in The Sense of an Ending by Julian Barnes. Using the work of Hayden White, J. Christopher Rideout, and Frank Kermode as a critical foundation, the paper discusses the intersection of legal, literary, and historical lenses for viewing narration. Of particular interest is "the fantasy space of the trial," a term introduced in this paper that applies to situations in which literary characters imagine themselves in hypothetical courtroom spaces. Barnes' novel also uses correspondence (letters, notes, and e-mails) to create a convergence point for legal, historical, and literary narrative. Law, history, and literature are all constructs receiving social support that provide a method for ordering the difficulties and uncertainties of the human experience.

ISBN: 9781303991806Subjects--Topical Terms:

523234
American literature.

Law, History, and Literature as Narrative in The Sense of an Ending.
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520 $a This thesis explores how Tony Webster constructs personal narrative in The Sense of an Ending by Julian Barnes. Using the work of Hayden White, J. Christopher Rideout, and Frank Kermode as a critical foundation, the paper discusses the intersection of legal, literary, and historical lenses for viewing narration. Of particular interest is "the fantasy space of the trial," a term introduced in this paper that applies to situations in which literary characters imagine themselves in hypothetical courtroom spaces. Barnes' novel also uses correspondence (letters, notes, and e-mails) to create a convergence point for legal, historical, and literary narrative. Law, history, and literature are all constructs receiving social support that provide a method for ordering the difficulties and uncertainties of the human experience.
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