Particularities: Readings in George Eliot |
From inside the book
Results 1-3 of 55
Page 41
... moves from one impression to another , not in the big leaps of distanced analysis but in a continuous flow . Both the moments and the process too easily get forgotten . While we read we move through a continuum which is made up of many ...
... moves from one impression to another , not in the big leaps of distanced analysis but in a continuous flow . Both the moments and the process too easily get forgotten . While we read we move through a continuum which is made up of many ...
Page 42
... move him much faster than the fastest reader . The snail's pace keeps us close to the word , to its nuances ... moves slowly , the analyst of total structure moves fast : one gives an exaggerated close - up , the other a long - shot ...
... move him much faster than the fastest reader . The snail's pace keeps us close to the word , to its nuances ... moves slowly , the analyst of total structure moves fast : one gives an exaggerated close - up , the other a long - shot ...
Page 62
... move towards it ; it casts no shadow before it . James is wrong about nothing preparing us , wrong too about no shadow being cast , but he is quite right to say that ' the story does not move towards it ' . Almost everything moves ...
... move towards it ; it casts no shadow before it . James is wrong about nothing preparing us , wrong too about no shadow being cast , but he is quite right to say that ' the story does not move towards it ' . Almost everything moves ...
Other editions - View all
Common terms and phrases
action acts Adam affective analysis appearance appropriate artist become beginning bring Casaubon Chapter character close comes complete concerned consciousness continuity creates crisis criticism Daniel dark death Deronda detail Dorothea dream emotional environment essays example expected experience explicit expressive fantasy feeling fiction Floss fully George Eliot give going hand human imagery imagination implications important individual instance interest kind Ladislaw later less letter light living look Lydgate Maggie marriage masculine meaning Middlemarch Mill mind moral move movement narrative narrator nature never novel novelist objects observes particular passion past perhaps possible present psychological question reader reading relation relationship response reticence ritual scene seems sense sexual shape shows social speak story strong suggest symbol takes tells things thought truth turn vision voice whole writing