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text Ø The Art of Fiction Illustrated From Classic and Modern Texts Ô David Lodge

《小說的五十堂課》內有五十個簡短篇章,編排輕鬆又容易吸收。每個篇章介紹一個小說技巧,包含「開頭」、「觀點」、「神秘」、「意識流」、「陌生化」、「驚奇」、「角色介紹」、「寓言」、「異國風」、「諷刺」等等,完整涵蓋過去兩個? The very fact that the book has compelled me to put down my thoughts here when I've barely finished reading a uarter of it should reflect on how much a wonderful read it is What David Lodge has done is uite simple he has chosen a variety of styles in fiction eg intrusive author unreliable narrator suspense symbolism magical realism interior monologue etc and illustrated each of them with a passage taken from a well known book with a succinct missive to go with them The beauty of the book is in its discretion and economy making it easier to relate it to a lay reader by which I mean a reader who had the fortune of escaping the painful literary expositions of neurotic university professors Consider these chapters Interior Monologue Stream of Consciousness Symbolism as I think of these literary techniues left to myself I would have choosen Edouard Dujardin James Joyce and Scott Fitzgerald but then I realise how wrong my choices would be because these chaps almost master and monopolise their respective techniues thereby rendering themselves a poorer example for an average lay reader Then as you read the simple missives you see why David Lodge's choices are James Joyce Virginia Woolf and DH LawrenceI gather these chapters appeared as weekly articles in the Independent in the 90s I could easily picture myself religiously waiting for the articles every week so that I could cut them off for my collection Well with the book I guess that would be unnecessary

text The Art of Fiction Illustrated From Classic and Modern Texts

The Art of Fiction Illustrated From Classic and Modern Texts??紀以來,小說創作者常用的寫作手法與技巧。每個篇章的一開始,作者擷取一部或者多部經典小說的片段,包含《此情可問天》、《尤里西斯》、《麥田捕手》、《蒼蠅王》等作品,作為該篇章之例示。然後再用該篇章的主題(也就是招式)來分? When I first picked it up some months ago and browsed some pages inside I didn't want to read it due to its seemingly formidable technical terms in 50 headings but I later changed my mind due to its affirmation as follows Bringing to criticism the verve and humour of his own words David Lodge has provided essential reading for students of literature aspirant writers and anyone who wishes to understand how literature works back cover Moreover Professor Lodge's fame and contribution as a university academic as well as a highly acclaimed novelist himself have impressed me; his novels include The Picturegoers 1960 The British Museum is Falling Down 1965 Out of the Shelter 1970 to name but a few His Changing Places 1975 was awarded the Hawthornden Prize and the Yorkshire Post Fiction Prize; Nice Work won the 1988 Sunday Express Book of the Year Award; Paradise News 1991 was regional winner and finalist for the 1996 Commonwealth Writers' Prize and p iI found reading this book arguably rewarding and challenging due to his narratives tinged with appropriate examples; however I wouldn't claim I understood all he said there rather I left a number of highly technical points at that for those who know to digest since I need time to reflect on some issues as far as I can and hope someone out there with hisher charismatic wisdom could shed me some glimpses of light when the time comesAs we can see from the title it deals with the art of fiction covering 50 headings sections as mentioned by Dr Lodge I wonder if there are ; each one being immediately presented by an exemplified text from a novelist and hisher work This implies we should read from our familiar novelists and novels first one of the reasons is that it is easier and manageable to read about what we have read written by our favorite novelists In retrospect I found reading the following 27 headings their texts the novelists and the novels twice harder because I had never read them1 Beginning Jane Austen Ford Maddox Ford3 Suspense Thomas Hardy5 The Epistolary Novel Michael Frayn6 Point of View Henry James8 Names David Lodge Paul Aster12 The Sense of Place Martin Armis14 Introducing a Character Christopher Isherwood15 Surprise William Makepeace Thackeray17 The Reader in the Text Laurence Sterne22 The Experimental Novel Henry Green24 Magic Realism Milan Kundera25 Staying on the Surface Malcolm Bradbury26 Showing and Telling Henry Fielding27 Telling in Different Voices Fay Weldon28 A Sense of the Past John Fowles31 Allegory Samuel Butler33 Coincidence Henry James38 Surrealism Leonora Carrington39 Irony Arnold Bennett40 Motivation George Eliot41 Duration Donald Barthelme42 Implication William Cooper43 The Title George Gissing44 Ideas Anthony Burgess45 The Non Fiction Novel Thomas Carlyle46 Metafiction John Barth48 Narrative Structure Leonard MichaelsAs for the remaining 23 I would leave them for those readers interested in tasting themselves as they like since it's time consuming and not challenging to do all; therefore I would say something on a heading based on the accompanied text with three ueries 1 What does the heading mean? 2 Why is it an art of fiction? and 3 How does it play a role in the exemplary extract taken from the fiction?The one I mean is No 35 The Exotic its two paragraph excerpt has been taken from Graham Greene's The Heart of the Matter 1948 followed by the author's five paragraph nearly three page text Now I would try to find the answers from the text itself1 By exotic the author means foreign not necessarily glamorous or alluring p 1592 Since the exotic in fiction is the mediation of an abroad to an audience assumed to be located at home p 159; therefore it has primarily been adopted as an art in fiction by means of depicting anything exotic that is things naturally or physically different from what the novelists have long been familiar in their motherland Moreover it's interesting to readhear him me

David Lodge Ô The Art of Fiction Illustrated From Classic and Modern Texts epub

The Art of Fiction Illustrated From Classic and Modern Texts doc ↠ Paperback read è helpyouantib ✓ [PDF / Epub] ✑ The Art of Fiction Illustrated From Classic and Modern Texts ☄ David Lodge – Helpyouantib.co.uk 《小說的五十堂課》內有五十?小說,告訴讀者這個技巧是如何出現在小說裡,作者的手法如何,顯示的效果如何。除了開頭經典小說的例示,每個篇章裡面還提到其他很多作品,環繞著該篇章的主題招式,全面而徹底拆解小說內容,讓小說的創作、內容及意義,變得清晰透明。 David Lodge’s book has made me think differently about my reading indeed to read differentlyLodge examines aspects of approach and techniue authors use to enhance our understanding of what they do to tell their fictional stories He does not deconstruct so much as analyse the angles we can use to understand and appreciate fiction And he provides some telling examples He talks about among other things beginning ending the intrusive author the stream of consciousness approach place weather time–shifting staying on the surface the telephone irony motivation and symbolismBecause I read it gradually I was able to take in the different points as he makes them dipping in and out of the text Given also that it is a little time since I read it and I have completed a number of novels since then the lessons in Lodge’s book have stayed with meA lot of this stuff I knew already at least on a sub conscious level Articulating it raises the matters to a conscious level So what did I learn? Lots• Names an author chooses names carefully they ‘are never neutral’ They can be comic Pumblechook or realistic Emma Woodhouse Just recently I read a world war two spy story Restless by William Boyd where one the ambiguous characters always on the move was named Romer roamer restless It’s a bit of a clue Dickens did it all the time witness the hard man Mr Murdstone and the obseuious Uriah Heep from David Copperfield My favourite example not from Lodge’s book is Ian Fleming’s choice for his spy hero He had a book of his shelf at his home Golden Eye in Jamaica called A Field Guide to the Birds of the West Indies by ornithologist James Bond published in 1936 Fleming wanted a plain simple name A spy is born• Magic realism is principally practised by authors who have experienced national upheavals • There are different ways of telling a story different voices to use you can reference other works intertextuality and you can use repetitive prose plain or fancy prose• Co incidence can be used to bring characters together and to tie events It tends to feature in the comic world than the serious work Throughout the book Lodge uses good examples Austen Hemmingway Bennett Eliot and sometimes his own novels which has the advantage of the author knowing exactly what the creator of his illustration was trying to achieveI recently read a Biggles book Biggles Goes to War and paused to wonder why I liked it and what its enduring appeal might be it is after all a book written for boys a very long time ago and contains outdated attitudes is touchingly naïve and follows a pattern immediately familiar to readers of Captain WE Johns' series Biggles and his loyal comrades come to the rescue of a small mythical European principality being monstered by a bullying neighbour by shooting down enemy aircraft blowing up a bridge rescuing a diplomat and generally interfering in the politics of the warring states In Lodge’s terms though the author gives us a sense of place an exotic one he changes our point of view shifts time use co incidence uite a bit and tellingly gives us the motivation of the characters For me the daring–do is pleasing enough but it is the doubts apprehensions and anticipated difficulties in our hero’s head that make the story worthwhile and transcend its original purpose of spinning a yarn for the boys of pre war Britain