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Ambiguities in Literature and Film: Selected Papers from the by Florida State University Conference on Literature and Film PDF

By Florida State University Conference on Literature and Film (7th : 1982), Hans P. Braendlin

ISBN-10: 081300893X

ISBN-13: 9780813008936

ISBN-10: 0813019192

ISBN-13: 9780813019192

E-book through Florida nation collage convention on Literature and picture (7th : 1982), Braendlin, Hans P.

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Extra info for Ambiguities in Literature and Film: Selected Papers from the Seventh Annual Florida State University Conference on Literature and Film (Florida State University ... on Literature and Film Selected Papers)

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The image of the smiling, loving peasant who helped him in his fright returns as the dominant figure (Jackson rightly calls the peasant an icon) in his experience. Now, in the frozen, brutal world of Siberia, Dostoevsky envisions all the convicts with new eyes. He sees them through the metaphorthe figureof his experience with the peasant Marey. The convicts have been transformed by way of his remembrance in that each now has the potential to be Marey. " And yet, the Dostoevsky of 1876 questions whether it is possible to know for certain if these convicts contain such goodness within themselves "for I have no way of peering into the human heart" (210).

By means of metaphor Dostoevsky has glimpsed what is absent, what is not readily visible; he has indeed seen into their heartsmemory's metaphorical aspect has allowed a vision of the invisible. " 15 Dostoevsky's attitude toward the Russian folk has been incarnated in the memory of the plowing peasant and the nineyear-old youth. Visible images lead him to invisible qualities, presences, ideas, and beliefs. Dostoevsky's literal remembrance re-orders, reforms experience, finally, in language; the literal assumes properties of metaphor.

This is the sense of her loss of consciousness once Stretter and Richardson exit. Lol is pure vision. So long as she sees, she is conscious. " Lol is difficult to define and to captivate. She thwarts the narrator's efforts to write himself into her scenario. He can never take place in what has already occurred. All scenes subsequent to the fantasy of the ball scene bear the mark of the already seen. That past scene is never domesticated by a revisionist script because the script repeats Lol's blindness: Lol can never be represented.

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Ambiguities in Literature and Film: Selected Papers from the Seventh Annual Florida State University Conference on Literature and Film (Florida State University ... on Literature and Film Selected Papers) by Florida State University Conference on Literature and Film (7th : 1982), Hans P. Braendlin


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