Plots /:
Robert L. Belknap's theory of plot illustrates the active and passive role literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structure...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York :
Columbia University Press,
[2016]
|
| Schriftenreihe: | University seminars/Leonard Hastings Schoff memorial lectures.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Robert L. Belknap's theory of plot illustrates the active and passive role literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being. Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits. Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion. In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, they provide us with a compelling way to see and order our world. |
| Beschreibung: | 1 online resource |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9780231541473 0231541473 |
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| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a Robert L. Belknap's theory of plot illustrates the active and passive role literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being. Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits. Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion. In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, they provide us with a compelling way to see and order our world. | ||
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Preface -- |t Introduction -- |t Part I. Literary Plots Deserve Still More Study -- |t 1. Plots Arrange Literary Experience -- |t 2. Plot Summaries Need More Serious Study -- |t 3. The Fabula Arranges the Events in the World the Characters Inhabit; the Siuzhet Arranges the Events in the World the Reader Encounters in the Text -- |t 4. Authors Can Relate One Incident to Another Only Chronologically, Spatially, Causally, Associatively, or Narratively -- |t 5. Plots Are Fractal, Formed from Incidents That Are Formed from Smaller, Similarly Shaped Incidents -- |t 6. The Best Authorities Consider Plots and Incidents to Be Tripartite, with a Situation, a Need, and an Action -- |t 7. But Siuzhets and the Incidents That Form Them Have Two Parts: An Expectation and Its Fulfillment or Frustration -- |t Part II. The Plot of King Lear Operates Purposefully But Also Reflects the Creative Process -- |t 8. For Integrity of Impact, Stages, Actors, and the Audience Need a Unity of Action -- |t 9. Shakespeare Replaced the Greek Unity of Action with a New Thematic Unity Based on Parallelism -- |t 10. Shakespeare Uses Conflict, the Righting of Wrongs, the Healing of an Inruption or Disruption, and Other Standard Plotting Devices, But His Recognition Scenes Move Us Most -- |t 11. Shakespeare Prepares for His Recognition Scenes with Elaborate Lies -- |t 12. In King Lear, Shakespeare Uses Elaborated Lies to Psychologize the Gloucester Subplot -- |t 13. Tolstoy and Tate Preferred the Comforting Plots of Lear's Sources to Shakespeare's, But Shakespeare Had Considered That Variant and Rejected It -- |t Part III. The Plot of Crime and Punishment Draws Rhetorical and Moral Power from the Nature of Novel Plots and from the European and Russian Tradition Dostoevsky Inherited and Developed -- |t 14. European Novelists Elaborated or Assembled Incidents into Plots Long Before Critics Recognized the Sophistication of the New Genre in Plotting Such Subgenres as the Letter Novel and the Detective Novel -- |t 15. Dostoevsky Shaped and Was Shaped by the Russian Version of the Nineteenth-Century Novel -- |t 16. In Reinventing the Psychological Plot, Dostoevsky Challenged the Current Literary Leaders -- |t 17. The Siuzhet of Part I of Crime and Punishment Programs the Reader to Read the Rest and to Participate Actively in a Vicious Murder -- |t 18. The One-Sidedness of Desire and Violence in Crime and Punishment Is More Peculiar to Dostoevsky's Plotting Than Dostoevshchina -- |t 19. Critics Often Attack Crime and Punishment for a Rhetoric That Exploits Causality in Ways They Misunderstand -- |t 20. The Epilogue of Crime and Punishment Crystallizes Its Ideological Plot -- |t 21. The Plots of Novels Teach Novelistic Justice, Not Poetic Justice -- |t Bibliography -- |t Index -- |t Works by Robert L. Belknap. |
| 546 | |a In English. | ||
| 600 | 1 | 7 | |a Dostoevskij, Fëdor Michajlovič |d 1821-1881 |t Prestuplenie i nakazanie |2 gnd |
| 600 | 1 | 7 | |a Shakespeare, William |d 1564-1616 |t King Lear |2 gnd |
| 600 | 1 | 7 | |a Shakespeare, William, |d 1564-1616. |t King Lear. |2 idszbzes |
| 650 | 0 | |a Plots (Drama, novel, etc.) |0 http://id.loc.gov/authorities/subjects/sh85103532 | |
| 650 | 0 | |a Fiction |x Technique. |0 http://id.loc.gov/authorities/subjects/sh85048065 | |
| 650 | 6 | |a Intrigues (Théâtre, roman, etc.) | |
| 650 | 7 | |a LANGUAGE ARTS & DISCIPLINES |x Composition & Creative Writing. |2 bisacsh | |
| 650 | 7 | |a LANGUAGE ARTS & DISCIPLINES |x Rhetoric. |2 bisacsh | |
| 650 | 7 | |a REFERENCE |x Writing Skills. |2 bisacsh | |
| 650 | 7 | |a Fiction |x Technique |2 fast | |
| 650 | 7 | |a Plots (Drama, novel, etc.) |2 fast | |
| 650 | 7 | |a Handlung |g Literatur |2 gnd |0 http://d-nb.info/gnd/4159031-4 | |
| 650 | 7 | |a Erzähltheorie |2 gnd | |
| 650 | 7 | |a Narratology. |2 idszbzes | |
| 650 | 7 | |a Plots. |2 idszbzes | |
| 650 | 7 | |a Fiction |x Technique. |2 idszbzes | |
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Datensatz im Suchindex
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|---|---|
| _version_ | 1816882349662535680 |
| adam_text | |
| any_adam_object | |
| author | Belknap, Robert L. |
| author_GND | http://id.loc.gov/authorities/names/nr89010849 |
| author_facet | Belknap, Robert L. |
| author_role | aut |
| author_sort | Belknap, Robert L. |
| author_variant | r l b rl rlb |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN3378 |
| callnumber-raw | PN3378 .B44 2016eb |
| callnumber-search | PN3378 .B44 2016eb |
| callnumber-sort | PN 43378 B44 42016EB |
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| collection | ZDB-4-EBA |
| contents | Frontmatter -- Contents -- Preface -- Introduction -- Part I. Literary Plots Deserve Still More Study -- 1. Plots Arrange Literary Experience -- 2. Plot Summaries Need More Serious Study -- 3. The Fabula Arranges the Events in the World the Characters Inhabit; the Siuzhet Arranges the Events in the World the Reader Encounters in the Text -- 4. Authors Can Relate One Incident to Another Only Chronologically, Spatially, Causally, Associatively, or Narratively -- 5. Plots Are Fractal, Formed from Incidents That Are Formed from Smaller, Similarly Shaped Incidents -- 6. The Best Authorities Consider Plots and Incidents to Be Tripartite, with a Situation, a Need, and an Action -- 7. But Siuzhets and the Incidents That Form Them Have Two Parts: An Expectation and Its Fulfillment or Frustration -- Part II. The Plot of King Lear Operates Purposefully But Also Reflects the Creative Process -- 8. For Integrity of Impact, Stages, Actors, and the Audience Need a Unity of Action -- 9. Shakespeare Replaced the Greek Unity of Action with a New Thematic Unity Based on Parallelism -- 10. Shakespeare Uses Conflict, the Righting of Wrongs, the Healing of an Inruption or Disruption, and Other Standard Plotting Devices, But His Recognition Scenes Move Us Most -- 11. Shakespeare Prepares for His Recognition Scenes with Elaborate Lies -- 12. In King Lear, Shakespeare Uses Elaborated Lies to Psychologize the Gloucester Subplot -- 13. Tolstoy and Tate Preferred the Comforting Plots of Lear's Sources to Shakespeare's, But Shakespeare Had Considered That Variant and Rejected It -- Part III. The Plot of Crime and Punishment Draws Rhetorical and Moral Power from the Nature of Novel Plots and from the European and Russian Tradition Dostoevsky Inherited and Developed -- 14. European Novelists Elaborated or Assembled Incidents into Plots Long Before Critics Recognized the Sophistication of the New Genre in Plotting Such Subgenres as the Letter Novel and the Detective Novel -- 15. Dostoevsky Shaped and Was Shaped by the Russian Version of the Nineteenth-Century Novel -- 16. In Reinventing the Psychological Plot, Dostoevsky Challenged the Current Literary Leaders -- 17. The Siuzhet of Part I of Crime and Punishment Programs the Reader to Read the Rest and to Participate Actively in a Vicious Murder -- 18. The One-Sidedness of Desire and Violence in Crime and Punishment Is More Peculiar to Dostoevsky's Plotting Than Dostoevshchina -- 19. Critics Often Attack Crime and Punishment for a Rhetoric That Exploits Causality in Ways They Misunderstand -- 20. The Epilogue of Crime and Punishment Crystallizes Its Ideological Plot -- 21. The Plots of Novels Teach Novelistic Justice, Not Poetic Justice -- Bibliography -- Index -- Works by Robert L. Belknap. |
| ctrlnum | (OCoLC)949988384 |
| dewey-full | 808.3 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 808 - Rhetoric & collections of literature |
| dewey-raw | 808.3 |
| dewey-search | 808.3 |
| dewey-sort | 3808.3 |
| dewey-tens | 800 - Literature (Belles-lettres) and rhetoric |
| discipline | Literaturwissenschaft |
| format | Electronic eBook |
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Belknap ; with an introduction by Robin Feuer Miller.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">New York :</subfield><subfield code="b">Columbia University Press,</subfield><subfield code="c">[2016]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©2016</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">text file</subfield><subfield code="b">PDF</subfield><subfield code="2">rda</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">University seminars. Leonard Hastings Schoff memorial lectures</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references and index.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Robert L. Belknap's theory of plot illustrates the active and passive role literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being. Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits. Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion. In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, they provide us with a compelling way to see and order our world.</subfield></datafield><datafield tag="505" ind1="0" ind2="0"><subfield code="t">Frontmatter --</subfield><subfield code="t">Contents --</subfield><subfield code="t">Preface --</subfield><subfield code="t">Introduction --</subfield><subfield code="t">Part I. Literary Plots Deserve Still More Study --</subfield><subfield code="t">1. Plots Arrange Literary Experience --</subfield><subfield code="t">2. Plot Summaries Need More Serious Study --</subfield><subfield code="t">3. The Fabula Arranges the Events in the World the Characters Inhabit; the Siuzhet Arranges the Events in the World the Reader Encounters in the Text --</subfield><subfield code="t">4. Authors Can Relate One Incident to Another Only Chronologically, Spatially, Causally, Associatively, or Narratively --</subfield><subfield code="t">5. Plots Are Fractal, Formed from Incidents That Are Formed from Smaller, Similarly Shaped Incidents --</subfield><subfield code="t">6. The Best Authorities Consider Plots and Incidents to Be Tripartite, with a Situation, a Need, and an Action --</subfield><subfield code="t">7. But Siuzhets and the Incidents That Form Them Have Two Parts: An Expectation and Its Fulfillment or Frustration --</subfield><subfield code="t">Part II. The Plot of King Lear Operates Purposefully But Also Reflects the Creative Process --</subfield><subfield code="t">8. For Integrity of Impact, Stages, Actors, and the Audience Need a Unity of Action --</subfield><subfield code="t">9. Shakespeare Replaced the Greek Unity of Action with a New Thematic Unity Based on Parallelism --</subfield><subfield code="t">10. Shakespeare Uses Conflict, the Righting of Wrongs, the Healing of an Inruption or Disruption, and Other Standard Plotting Devices, But His Recognition Scenes Move Us Most --</subfield><subfield code="t">11. Shakespeare Prepares for His Recognition Scenes with Elaborate Lies --</subfield><subfield code="t">12. In King Lear, Shakespeare Uses Elaborated Lies to Psychologize the Gloucester Subplot --</subfield><subfield code="t">13. Tolstoy and Tate Preferred the Comforting Plots of Lear's Sources to Shakespeare's, But Shakespeare Had Considered That Variant and Rejected It --</subfield><subfield code="t">Part III. The Plot of Crime and Punishment Draws Rhetorical and Moral Power from the Nature of Novel Plots and from the European and Russian Tradition Dostoevsky Inherited and Developed --</subfield><subfield code="t">14. European Novelists Elaborated or Assembled Incidents into Plots Long Before Critics Recognized the Sophistication of the New Genre in Plotting Such Subgenres as the Letter Novel and the Detective Novel --</subfield><subfield code="t">15. Dostoevsky Shaped and Was Shaped by the Russian Version of the Nineteenth-Century Novel --</subfield><subfield code="t">16. In Reinventing the Psychological Plot, Dostoevsky Challenged the Current Literary Leaders --</subfield><subfield code="t">17. The Siuzhet of Part I of Crime and Punishment Programs the Reader to Read the Rest and to Participate Actively in a Vicious Murder --</subfield><subfield code="t">18. The One-Sidedness of Desire and Violence in Crime and Punishment Is More Peculiar to Dostoevsky's Plotting Than Dostoevshchina --</subfield><subfield code="t">19. Critics Often Attack Crime and Punishment for a Rhetoric That Exploits Causality in Ways They Misunderstand --</subfield><subfield code="t">20. The Epilogue of Crime and Punishment Crystallizes Its Ideological Plot --</subfield><subfield code="t">21. The Plots of Novels Teach Novelistic Justice, Not Poetic Justice --</subfield><subfield code="t">Bibliography --</subfield><subfield code="t">Index --</subfield><subfield code="t">Works by Robert L. 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| id | ZDB-4-EBA-ocn949988384 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:27:12Z |
| institution | BVB |
| isbn | 9780231541473 0231541473 |
| language | English |
| oclc_num | 949988384 |
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| publishDate | 2016 |
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| publisher | Columbia University Press, |
| record_format | marc |
| series | University seminars/Leonard Hastings Schoff memorial lectures. |
| series2 | University seminars. Leonard Hastings Schoff memorial lectures |
| spelling | Belknap, Robert L., author. http://id.loc.gov/authorities/names/nr89010849 Plots / Robert L. Belknap ; with an introduction by Robin Feuer Miller. New York : Columbia University Press, [2016] ©2016 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda University seminars. Leonard Hastings Schoff memorial lectures Print version record. Includes bibliographical references and index. Robert L. Belknap's theory of plot illustrates the active and passive role literature plays in creating its own dynamic reading experience. Literary narrative enchants us through its development of plot, but plot tells its own story about the making of narrative, revealing through its structures, preoccupations, and strategies of representation critical details about how and when a work came into being. Through a rich reading of Shakespeare's King Lear and Dostoevsky's Crime and Punishment, Belknap explores the spatial, chronological, and causal aspects of plot, its brilliant manipulation of reader frustration and involvement, and its critical cohesion of characters. He considers Shakespeare's transformation of dramatic plot through parallelism, conflict, resolution, and recognition. He then follows with Dostoevsky's development of the rhetorical and moral devices of nineteenth-century Russian fiction, along with its epistolary and detective genres, to embed the reader in the murder Raskolnikov commits. Dostoevsky's reinvention of the psychological plot was profound, and Belknap effectively challenges the idea that the author abused causality to achieve his ideological conclusion. In a final chapter, Belknap argues that plots teach us novelistic rather than poetic justice. Operating according to their own logic, they provide us with a compelling way to see and order our world. Frontmatter -- Contents -- Preface -- Introduction -- Part I. Literary Plots Deserve Still More Study -- 1. Plots Arrange Literary Experience -- 2. Plot Summaries Need More Serious Study -- 3. The Fabula Arranges the Events in the World the Characters Inhabit; the Siuzhet Arranges the Events in the World the Reader Encounters in the Text -- 4. Authors Can Relate One Incident to Another Only Chronologically, Spatially, Causally, Associatively, or Narratively -- 5. Plots Are Fractal, Formed from Incidents That Are Formed from Smaller, Similarly Shaped Incidents -- 6. The Best Authorities Consider Plots and Incidents to Be Tripartite, with a Situation, a Need, and an Action -- 7. But Siuzhets and the Incidents That Form Them Have Two Parts: An Expectation and Its Fulfillment or Frustration -- Part II. The Plot of King Lear Operates Purposefully But Also Reflects the Creative Process -- 8. For Integrity of Impact, Stages, Actors, and the Audience Need a Unity of Action -- 9. Shakespeare Replaced the Greek Unity of Action with a New Thematic Unity Based on Parallelism -- 10. Shakespeare Uses Conflict, the Righting of Wrongs, the Healing of an Inruption or Disruption, and Other Standard Plotting Devices, But His Recognition Scenes Move Us Most -- 11. Shakespeare Prepares for His Recognition Scenes with Elaborate Lies -- 12. In King Lear, Shakespeare Uses Elaborated Lies to Psychologize the Gloucester Subplot -- 13. Tolstoy and Tate Preferred the Comforting Plots of Lear's Sources to Shakespeare's, But Shakespeare Had Considered That Variant and Rejected It -- Part III. The Plot of Crime and Punishment Draws Rhetorical and Moral Power from the Nature of Novel Plots and from the European and Russian Tradition Dostoevsky Inherited and Developed -- 14. European Novelists Elaborated or Assembled Incidents into Plots Long Before Critics Recognized the Sophistication of the New Genre in Plotting Such Subgenres as the Letter Novel and the Detective Novel -- 15. Dostoevsky Shaped and Was Shaped by the Russian Version of the Nineteenth-Century Novel -- 16. In Reinventing the Psychological Plot, Dostoevsky Challenged the Current Literary Leaders -- 17. The Siuzhet of Part I of Crime and Punishment Programs the Reader to Read the Rest and to Participate Actively in a Vicious Murder -- 18. The One-Sidedness of Desire and Violence in Crime and Punishment Is More Peculiar to Dostoevsky's Plotting Than Dostoevshchina -- 19. Critics Often Attack Crime and Punishment for a Rhetoric That Exploits Causality in Ways They Misunderstand -- 20. The Epilogue of Crime and Punishment Crystallizes Its Ideological Plot -- 21. The Plots of Novels Teach Novelistic Justice, Not Poetic Justice -- Bibliography -- Index -- Works by Robert L. Belknap. In English. Dostoevskij, Fëdor Michajlovič 1821-1881 Prestuplenie i nakazanie gnd Shakespeare, William 1564-1616 King Lear gnd Shakespeare, William, 1564-1616. King Lear. idszbzes Plots (Drama, novel, etc.) http://id.loc.gov/authorities/subjects/sh85103532 Fiction Technique. http://id.loc.gov/authorities/subjects/sh85048065 Intrigues (Théâtre, roman, etc.) LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. bisacsh LANGUAGE ARTS & DISCIPLINES Rhetoric. bisacsh REFERENCE Writing Skills. bisacsh Fiction Technique fast Plots (Drama, novel, etc.) fast Handlung Literatur gnd http://d-nb.info/gnd/4159031-4 Erzähltheorie gnd Narratology. idszbzes Plots. idszbzes Fiction Technique. idszbzes has work: Plots (Text) https://id.oclc.org/worldcat/entity/E39PCG3RhyvMkx87yMHY39Q4jd https://id.oclc.org/worldcat/ontology/hasWork Print version: Belknap, Robert L. Plots. New York : Columbia University Press, [2016] 9780231541473 (DLC) 2015039972 (OCoLC)923728125 University seminars/Leonard Hastings Schoff memorial lectures. http://id.loc.gov/authorities/names/n96045845 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1232739 Volltext |
| spellingShingle | Belknap, Robert L. Plots / University seminars/Leonard Hastings Schoff memorial lectures. Frontmatter -- Contents -- Preface -- Introduction -- Part I. Literary Plots Deserve Still More Study -- 1. Plots Arrange Literary Experience -- 2. Plot Summaries Need More Serious Study -- 3. The Fabula Arranges the Events in the World the Characters Inhabit; the Siuzhet Arranges the Events in the World the Reader Encounters in the Text -- 4. Authors Can Relate One Incident to Another Only Chronologically, Spatially, Causally, Associatively, or Narratively -- 5. Plots Are Fractal, Formed from Incidents That Are Formed from Smaller, Similarly Shaped Incidents -- 6. The Best Authorities Consider Plots and Incidents to Be Tripartite, with a Situation, a Need, and an Action -- 7. But Siuzhets and the Incidents That Form Them Have Two Parts: An Expectation and Its Fulfillment or Frustration -- Part II. The Plot of King Lear Operates Purposefully But Also Reflects the Creative Process -- 8. For Integrity of Impact, Stages, Actors, and the Audience Need a Unity of Action -- 9. Shakespeare Replaced the Greek Unity of Action with a New Thematic Unity Based on Parallelism -- 10. Shakespeare Uses Conflict, the Righting of Wrongs, the Healing of an Inruption or Disruption, and Other Standard Plotting Devices, But His Recognition Scenes Move Us Most -- 11. Shakespeare Prepares for His Recognition Scenes with Elaborate Lies -- 12. In King Lear, Shakespeare Uses Elaborated Lies to Psychologize the Gloucester Subplot -- 13. Tolstoy and Tate Preferred the Comforting Plots of Lear's Sources to Shakespeare's, But Shakespeare Had Considered That Variant and Rejected It -- Part III. The Plot of Crime and Punishment Draws Rhetorical and Moral Power from the Nature of Novel Plots and from the European and Russian Tradition Dostoevsky Inherited and Developed -- 14. European Novelists Elaborated or Assembled Incidents into Plots Long Before Critics Recognized the Sophistication of the New Genre in Plotting Such Subgenres as the Letter Novel and the Detective Novel -- 15. Dostoevsky Shaped and Was Shaped by the Russian Version of the Nineteenth-Century Novel -- 16. In Reinventing the Psychological Plot, Dostoevsky Challenged the Current Literary Leaders -- 17. The Siuzhet of Part I of Crime and Punishment Programs the Reader to Read the Rest and to Participate Actively in a Vicious Murder -- 18. The One-Sidedness of Desire and Violence in Crime and Punishment Is More Peculiar to Dostoevsky's Plotting Than Dostoevshchina -- 19. Critics Often Attack Crime and Punishment for a Rhetoric That Exploits Causality in Ways They Misunderstand -- 20. The Epilogue of Crime and Punishment Crystallizes Its Ideological Plot -- 21. The Plots of Novels Teach Novelistic Justice, Not Poetic Justice -- Bibliography -- Index -- Works by Robert L. Belknap. Dostoevskij, Fëdor Michajlovič 1821-1881 Prestuplenie i nakazanie gnd Shakespeare, William 1564-1616 King Lear gnd Shakespeare, William, 1564-1616. King Lear. idszbzes Plots (Drama, novel, etc.) http://id.loc.gov/authorities/subjects/sh85103532 Fiction Technique. http://id.loc.gov/authorities/subjects/sh85048065 Intrigues (Théâtre, roman, etc.) LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. bisacsh LANGUAGE ARTS & DISCIPLINES Rhetoric. bisacsh REFERENCE Writing Skills. bisacsh Fiction Technique fast Plots (Drama, novel, etc.) fast Handlung Literatur gnd http://d-nb.info/gnd/4159031-4 Erzähltheorie gnd Narratology. idszbzes Plots. idszbzes Fiction Technique. idszbzes |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85103532 http://id.loc.gov/authorities/subjects/sh85048065 http://d-nb.info/gnd/4159031-4 |
| title | Plots / |
| title_alt | Frontmatter -- Contents -- Preface -- Introduction -- Part I. Literary Plots Deserve Still More Study -- 1. Plots Arrange Literary Experience -- 2. Plot Summaries Need More Serious Study -- 3. The Fabula Arranges the Events in the World the Characters Inhabit; the Siuzhet Arranges the Events in the World the Reader Encounters in the Text -- 4. Authors Can Relate One Incident to Another Only Chronologically, Spatially, Causally, Associatively, or Narratively -- 5. Plots Are Fractal, Formed from Incidents That Are Formed from Smaller, Similarly Shaped Incidents -- 6. The Best Authorities Consider Plots and Incidents to Be Tripartite, with a Situation, a Need, and an Action -- 7. But Siuzhets and the Incidents That Form Them Have Two Parts: An Expectation and Its Fulfillment or Frustration -- Part II. The Plot of King Lear Operates Purposefully But Also Reflects the Creative Process -- 8. For Integrity of Impact, Stages, Actors, and the Audience Need a Unity of Action -- 9. Shakespeare Replaced the Greek Unity of Action with a New Thematic Unity Based on Parallelism -- 10. Shakespeare Uses Conflict, the Righting of Wrongs, the Healing of an Inruption or Disruption, and Other Standard Plotting Devices, But His Recognition Scenes Move Us Most -- 11. Shakespeare Prepares for His Recognition Scenes with Elaborate Lies -- 12. In King Lear, Shakespeare Uses Elaborated Lies to Psychologize the Gloucester Subplot -- 13. Tolstoy and Tate Preferred the Comforting Plots of Lear's Sources to Shakespeare's, But Shakespeare Had Considered That Variant and Rejected It -- Part III. The Plot of Crime and Punishment Draws Rhetorical and Moral Power from the Nature of Novel Plots and from the European and Russian Tradition Dostoevsky Inherited and Developed -- 14. European Novelists Elaborated or Assembled Incidents into Plots Long Before Critics Recognized the Sophistication of the New Genre in Plotting Such Subgenres as the Letter Novel and the Detective Novel -- 15. Dostoevsky Shaped and Was Shaped by the Russian Version of the Nineteenth-Century Novel -- 16. In Reinventing the Psychological Plot, Dostoevsky Challenged the Current Literary Leaders -- 17. The Siuzhet of Part I of Crime and Punishment Programs the Reader to Read the Rest and to Participate Actively in a Vicious Murder -- 18. The One-Sidedness of Desire and Violence in Crime and Punishment Is More Peculiar to Dostoevsky's Plotting Than Dostoevshchina -- 19. Critics Often Attack Crime and Punishment for a Rhetoric That Exploits Causality in Ways They Misunderstand -- 20. The Epilogue of Crime and Punishment Crystallizes Its Ideological Plot -- 21. The Plots of Novels Teach Novelistic Justice, Not Poetic Justice -- Bibliography -- Index -- Works by Robert L. Belknap. |
| title_auth | Plots / |
| title_exact_search | Plots / |
| title_full | Plots / Robert L. Belknap ; with an introduction by Robin Feuer Miller. |
| title_fullStr | Plots / Robert L. Belknap ; with an introduction by Robin Feuer Miller. |
| title_full_unstemmed | Plots / Robert L. Belknap ; with an introduction by Robin Feuer Miller. |
| title_short | Plots / |
| title_sort | plots |
| topic | Dostoevskij, Fëdor Michajlovič 1821-1881 Prestuplenie i nakazanie gnd Shakespeare, William 1564-1616 King Lear gnd Shakespeare, William, 1564-1616. King Lear. idszbzes Plots (Drama, novel, etc.) http://id.loc.gov/authorities/subjects/sh85103532 Fiction Technique. http://id.loc.gov/authorities/subjects/sh85048065 Intrigues (Théâtre, roman, etc.) LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. bisacsh LANGUAGE ARTS & DISCIPLINES Rhetoric. bisacsh REFERENCE Writing Skills. bisacsh Fiction Technique fast Plots (Drama, novel, etc.) fast Handlung Literatur gnd http://d-nb.info/gnd/4159031-4 Erzähltheorie gnd Narratology. idszbzes Plots. idszbzes Fiction Technique. idszbzes |
| topic_facet | Dostoevskij, Fëdor Michajlovič 1821-1881 Prestuplenie i nakazanie Shakespeare, William 1564-1616 King Lear Shakespeare, William, 1564-1616. King Lear. Plots (Drama, novel, etc.) Fiction Technique. Intrigues (Théâtre, roman, etc.) LANGUAGE ARTS & DISCIPLINES Composition & Creative Writing. LANGUAGE ARTS & DISCIPLINES Rhetoric. REFERENCE Writing Skills. Fiction Technique Handlung Literatur Erzähltheorie Narratology. Plots. |
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