Narcissistic Narrative  

From The Art and Popular Culture Encyclopedia

Jump to: navigation, search

"In fact, in the discussion to follow here, Tristram Shandy will indeed sit alongside Don Quijote as the major forerunner of modern metafiction." --Narcissistic Narrative (1980) by Linda Hutcheon

"Sterne is perhaps the most blatant forebear of Barth’s brand of parody and self-consciousness about novelistic conventions. The causality of plots, the use of illustrations and footnotes, the demand for moral content, adventures, suspense, the time conventions, the writer’s power, the critic’s demands, chapter divisions, the use of prefaces, cover pages, digressions, stylistic uniformity - these are only a few of Tristram Shandy’s parodied conventions."--Narcissistic Narrative (1980) by Linda Hutcheon

"Gass also draws the reader directly into the text by trick footnotes, one of which ends with a verbal rape: "Now that I've got you alone down here, you bastard, don't think I'm letting you get away easily." The narcissism of the text, like that of sex, is here explicit. For instance, after a great proliferation of asterisks, the reader is told: "the stars interfere with reading, pester the eye. (Why don't you go to a movie?).""--Narcissistic Narrative (1980) by Linda Hutcheon

"For Aristotle, diegesis was a part of mimesis. Cervantes too saw this, and neatly demonstrated that in the novel form the narrative act itself is, for the reader, part of the action. For this reason the term "diegetic" might be preferable to the simpler and more familiar - term "narrative," as an adjective to signal this study's rejection of the split between process (the storytelling) and product (the story told)."--Narcissistic Narrative (1980) by Linda Hutcheon

Related e

Wikipedia
Wiktionary
Shop

Featured:

Narcissistic Narrative (1980) is a book on metafiction by Linda Hutcheon. On its cover is a detail from Metamorphosis of Narcissus (1937) by Dali.

[edit]

INDEX OF SUBJECTS AND NAMES

ABRAMS, M. H.: 41, 149-50 ACTUALIZATION: 6, 23, 30-35, 45, 71- 86, 101, 118-37, 154 ALLEGORY: 7, 8, 21, 23, 28, 29, 53, 56, 58, 70, 83, 84, 88, 106, 142, 143 ALTER, ROBERT: 3, 4-5, 20 AMBLER, ERIC; A Coffin for Dimitrios: 72 ANAGRAM: 34, 101, 119-20, 121-24 ANTI-REPRESENTATION: 14, 31, 34- 35, 124, 128, 129, 136-37 APPEL, ALFRED JR.: 49, 50, 76n, 101n AQUIN, HUBERT: 155-62; Prochain Episode: 155-56; Trou de mémoire: 56, 156-62 ARISTOTLE: 8, 40-41, 42, 43, 44, 63, 90, 128, 149, 153 ARNOLD, MATTHEW: 59, 70 AUERBACH, ERICH: 5, 9, 37n, 44 AUSTEN, JANE: 59, 68; Emma: 142 AUTO-REFERENTIALITY: see NARCISSISM; REFERENT AUTO-REPRESENTATION: 6, 14, 21- 23, 26-27, 28, 31, 34, 35, 39, 46, 122, 124, 128, 129, 136 BALESTRINI, NINO: 134; Tristano: 135 BALZAC, HONORÉ DE: : 9, 44, 81 ,91 , 127, 150 BARILLI, RENATO: 84n, 121-22, 130n, 133 BARTH, JOHN: 2, 3, 18, 19, 20, 21, 35, 37, 48, 50, 52-53, 56, 71, 121, 143, 144; Chimera: 22, 33, 47, 85; The End of the Road: 53, 89-90, 102; The Floating Opera: 28; Giles Goat-Boy: 24, 52; Lost in the Funhouse: 48, 52-53, 55, 56, 99-101, 121, 131, 143, 151 ; The Sot-Weed Factor: 24 BARTHELME, DONALD: 21, 29n, 104, 141n; Snow White: 118, 143 BARTHES, ROLAND: 9, 15, 23, 29, 33, 42, 46, 59, 77n, 94, 96, 132, 139n, 141n BAUMGARTEN, MURRAY: 27n, 37n BECKETT, SAMUEL: 14, 33, 91, 130 BEEBE, MAURICE: 18n BELLEMIN-NOËL, JEAN: 81 BENVENISTE, EMILE: 126n BERSANI, LEO: 38n, 150 BERTO, GIUSEPPE; Il male oscuro: 51-52 BIASIN, GIAN-PAOLO: 79n BIERCE, AMBROSE; "The Damned Thing": 92 BILDUNGSROMAN (ENTWICKLUNGSROMAN): 11, 60 BLANCHOT, MAURICE: 10, 18, 93, 94, 95, 97, 98 BOOTH, WAYNE C.: 149 BORGES, JORGE LUIS: 18, 19, 20, 25, 32, 37, 41, 47, 50n, 54, 72, 76, 78, 88, 164 / Narcissistic Narrative: The Metafictional Paradox 98, 100, 142-43; Labyrinths: 52, 53, 55, 74, 99; Seis Problemas Para Don Isidro Parodi: 74; A Universal History of Infamy: 20n BRECHT, BERTOLT : 49, 59 BRUNER, JEROME S.: 43n BUTOR, MICHEL: 81, 91n; L'Emploi du temps: 52 CALVINO, ITALO; Città invisibili: 78, 83; Cosmicomiche: 79; Ti con zero: 53, 79-80 CARPENTIER, ALEJO; El Camino de Santiago: 34; Guerra del Tiempo: 80-81 CARY , JOYCE: 43 CASEY, JOHN: 43n, 97n CAUTE, DAVID: 17, 138, 141 CERVANTES, MIGUEL DE: 12, 30, 38, 39, 47, 52, 59, 141, 143; Don Quijote: 3, 4, 5, 8, 9, 18, 23, 24, 37, 40, 94, 99, 113, 134, 135, 142, 153 CHESS (GAME MODEL): 33, 83, 128 CHESTERTON, G. K.: 53, 73, 76 CHINESE- BOX STRUCTURE: 57-58, 64, 101, 105 CHRISTIE, AGATHA: 73; And Then There Were 0one: 72; 0emesis: 32; The Pale Horse: 31 CIXOUS , HÉLÈNE: 126n; Tombe: 33 COHEN, LEONARD: 37, 156-61; Beautiful Losers: 33, 156-61 CONAN DOYE, SIR ARTHUR: 31, 73, 76, 83 CONCRETIZATION: 6, 34, 39, 76, 127, 143, 147, 154 CONNOTATION: see DENOTATION/ CONNOTATION CONRAD, JOSEPH: 59 COOVER, ROBERT: 21, 37; Pricksongs and Descants: 28, 38, 85; The Universal Baseball Association, J. Henry Waugh, Prop.: 33, 83-84 CORTAZAR, JULIO: 37; Rayuela: 30, 139 COVERT: see DIEGETIC and LINGUISTIC NARCISSISM CREWS , FREDERICK: 145-46 CULLER, JONATHAN: 25, 30n, 95n DÄLLENBACH, LUCIEN: 4, 21, 55-56, 153 DEFOE, DANIEL: 9, 38, 47, 60, 78 DENOTATION/ CONNOTATION: 94 DERRIDA, JACQUES: 6, 44, 125, 125n DETECTIVE PLOT: 31-32, 71-76, 83, 86, 91 DIDEROT, DENIS: 9, 18, 27, 39, 45, 101; Jacques le Fataliste: 9, 44 DIEGESIS: 5, 40-41, 43, 44, 47, 48, 51, 128, 137, 139 DIEGETlC NARCISSISM; DEFINITION: 5, 7, 22-23, 28, 41, 71, 154; OVERT FORM: 7, 23, 28-29, 48-56, 57-70, 122; COVERT FORM: 7, 23, 30-34, 71-86 DOLEŽEL, LUBOMÍR: 97n DUFRENNE, MIKEL: 146, 147-48 DURRELL, LAWRENCE; The Alexandria Quartet: 12 ECO, UMBERTO: 15N, 79, 125n, 130, 135, 151 ÉCRITURE: 74, 125-129, 153n ELIOT, T. S.: 25, 44, 134 ÉNONCÉ/ÉNONCIATION: 56, 139 ENTWICKLUNGSROMAN: see BILDUNGSROMAN EROTIC (MODEL): 33, 71, 85-86 EXISTENTIALISM: 19-20, 21, 30, 57, 61-62, 70, 89, 116 FABULATORS: 19, 20 FANTASY: 32, 47, 64, 71, 76-82, 86, 92, 97, 98, 115, 116 FEDERMAN, RAYMOND: xi, 143, 144; Double or 0othing: 53 FIELDING, HENRY: 38, 135, 142; Tom Jones: 27, 44 FILIPPINI, ENRICO: 135 FISH, STANLEY: 37n, 139n, 145 FLAUBERT, GUSTAVE: 15, 45, 59, 60, 91, 150; Madame Bovary: 38, 85, 94, 99, 132, 142, 150 FORD, FORD MADOX: 59; The Good Soldier: 142 FOUCAULT, MICHEL: 12, 13, 19, 53n, 38n, 126 FOWLES, JOHN: 18, 19, 37, 41, 57-70, 105, 150, 154; The Aristos: 61; The Collector: 33, 60; The Ebony Tower: 31, 60; The French Lieutenant's Woman: 24, 28, 32, 50, 57-70, 76, 85, 89, 97, 99, 114, 152, 155; The Magus: 60, 64 FREGE, GOTTLOB: 42n FREUD, SIGMUND: 1, 8, 48n, 51, 125, 127, 145-46, 152 FRYE, NORTHROP: 8, 81n, 82, 141 Index of Subjects and Names / 165 GADDA, CARLO EMILIO: 131 GAME (MODEL): 32-33, 71, 82-85, 86, 123 GARCÍA MÁRQUEZ, GABRIEL; Cien Años de Soledad: 32, 92 GARDNER, JOHN: 20 GASS, WILLIAM: 21, 117n, 140; Willie Masters' Lonesome Wife: 33, 85-86 GENERATIVE WORD PLAY: see WORD PLAY: ACTUALIZED GENETTE, GÉRARD: 40n, 46, 138, 151n GENEVA SCHOOL: see PHENOMENOLOGY GIDE, ANDRÉ: 5, 9, 15, 23, 25, 26, 45, 55, 58, 60, 151, 154; Les Fauxmonnayeurs: 18, 26, 27; Le Journal des faux-monnayeurs: 26; La Symphonie pastorale: 27 GRAFF, GERALD: 3 GREGOR, IAN: 142n, 145 GRUPPO 63: 37, 110, 130-36 GUGLIELMI, ANGELO: 131-32, 140n GUILLÉN, CLAUDIO: 26n, 36, 39, 45n, 47, 82, 139n HARDY, BARBARA: 47n, 48 HARDY, THOMAS: 59, 66, 142 HASSAN, IHAB: 3 HAWKES, JOHN: 57; Lunar Landscapes: 29 HERMENEUTIC GAPS: 72, 151 HERMENEUTICS: see PHENOMENOLOGY HETEROCOSM: 6, 39, 42, 58, 64, 87- 103, 111, 119, 138, 140, 150 HOLLAND, NORMAN: 145 HOMER: 32, 40, 80 HUGO, VICTOR: 34 HUXLEY, ALDOUS: 15, 45, 154; Point Counter Point: 12 IL ME0ABÒ: 131 IL VERRI: 131 INGARDEN, ROMAN: 6, 39, 42, 147-48 INTERTEXTUALITY: 24, 53, 59, 125, 126; see also PARODY INTROSPECTIVE: see NARCISSISM INTROVERTED: see NARCISSISM ISER, WOLFGANG: 6, 37, 148-49, 151 JAKOBSON, ROMAN: 44n JAMES, HENRY: 15, 42, 43, 59, 96 JAMES, WILLIAM: 26 JAMESON, FREDRIC: 14, 15, 50n, 126 JOURNAL NOVEL FORM: 12, 52, 106, 111, 117, 142, 156 JOYCE, JAMES: 14, 15, 25, 44, 45, 91, 120, 129, 130, 132, 133, 141n; Ulysses: 99, 121; Finnegans Wake: 34, 121 KAFKA, FRANZ: 96; Die Verwandlung: 91 KATZ, STEVE; The Exagggerations [sic] of Peter Prince: 143 KERMODE, FRANK: 40, 72n, 88-89, 118, 142n, 151 KLINKOWITZ, JEROME: 139n KRIEGER, MURRAY: 105n, 140-41 KRISTEVA, JULIA: 24n, 125, 126, 127, 128, 135-36 KUNDERA, MILAN: 27 KÜNSTLERROMAN: 11-12, 13, 18, 26, 44 LACAN, JACQUES: 126 LANGUE/PAROLE: 93-95 LAUTRÉAMONT: 125, 127 LAVIS, GEORGES: 42n, 93-94, 95-96 LAWRENCE, D. H.: 60 LEVIN, HARRY: 9 LINDSAY, DAVID; A Voyage to Arcturus: 92 LINGUISTIC NARCISSISM; DEFINITION: 7, 22-23, 28-29, 35, 41, 46, 87-103, 154; OVERT: 7 , 23, 29, 99-103, 104-1 17, 118; COVERT: 7, 23, 34-35, 99, 118-37 LODGE, DAVID: 91 LUBBOCK, PERCY: 151 LUKÁCS, GEORGES: 9, 91n MAILER, NORMAN; Armies of the 0ight: 29, 94 MALLARMÉ, STÉPHANE: 15, 125, 127 MANGANELLI, GIORGIO: 131, 132, 134; Agli dèi ulteriori: 32, 132; Hilarotragoedia: 132 MANN, THOMAS: 15 MANZONI, ALESSANDRO: 15, 27, 51 MASACCIO: 106, 111, 114 MAURIAC, CLAUDE: 24 MARX, KARL and MARXISM: 17, 61, 65, 68, 125, 127, 130, 134 METAFICTION: see NARCISSISM MIMESIS: 18, 25, 36-47, 63, 87, 90, 92, 126, 135-37, 150; PROCESS MIMESIS: 5, 6, 8, 11, 17, 24, 25, 29, 166 / Narcissistic Narrative: The Metafictional Paradox 39-47, 51, 56, 87, 113, 122, 138, 150, 153; PRODUCT MIMESIS: 5, 8, 25, 30, 38-47, 59, 113, 153 MIRRORING : see MISE E0 ABYME and NARCISSISM MISE EN ABYME : 9, 22, 28, 40, 42, 53- 56, 58, 59, 70, 72, 83-84, 97, 101, 105, 111, 120, 122, 127, 153, 160-6 1 MODERNISM: 2, 3, 41 MOORE, G. E.: 26 MORAWSKI, STEFAN: 43 MURDOCH, IRIS; The Black Prince: 101-102; The Word Child: 29, 102 MUSIL , ROBERT: 51, 130; Der Mann ohne Eigenschaften: 88 NABOKOV, VLADIMIR : 50n, 50, 55, 73, 76, 78, 83, 91, 141n, 143; Ada: 49, 78, 99, 100, 101, 118, 120-21, 122, 131; Bend Sinister: 78; The Defense: 83; Lolita: 73, 85, 99, 101, 143; Pale Fire: 52, 73, 78, 121, 122; The Real Life of Sebastian Knight: 49, 52, 53, 54-55, 73 NARCISSISM, TEXTUAL; DEFINITION (GENERAL): l , 6, 7, 12, 13, 20; HISTORY AND LIMITS: 8-16, 17-19, 23, 34-35, 51, 124-37, 153-54; TYPES: see DIEGETIC NARCISSISM AND LINGUISTIC NARCISSISM NARCISSUS MYTH: 1, 8-16, 30-31, 34, 56, 86, 137, 162 NARRATAIRE/NARRATEE: see READER NEOAVANT-GARDE: 104, 105, 110-111, 130-36 NEOREALISM (ITALY) : 104, 105, 130, 131, 133, 134 NEW CRITICISM: 87-88, 102, 126 NON-FICTIONAL NOVEL: 16 0OUVEAU 0OUVEAU ROMA0: 7, 14, 34, 35, 46, 47, 119-120, 122-24, 135, 136, 143 0OUVEAU ROMA0: 4, 7, 14, 18, 32, 37, 46, 47, 54, 58, 59, 64, 77, 82, 105, 119, 121, 127, 128, 133, 141 O’BRIEN, FLANN: 26, 45; At Swim-Two Birds: 18 ORTEGA Y GASSET: 20 OVERT: see DIEGETIC and LINGUISTIC NARCISSISM OVID: 8-16, 18, 30, 124, 162 PARODY: 9, 10, 18, 20, 23-25, 28, 31, 32, 33-34, 38, 49-53, 57, 59-61, 70, 73, 83, 84, 99, 101n, 104, 105, 106, 110, 111, 116, 121, 126, 133, 134, 139, 153, 154 PHENOMENOLOGY: 145, 146-49, 150, 152 PINGET, ROBERT: 136, 144; Passacaille: 143 PIRANDELLO, LUIGI: 25, 26, 46, 58, 89, 130; Il fu Mattia Pascal: 18, 46n; Serafino Gubbio, operatore: 18; Uno, nessuno, e centomila: 27 PLATO: 40, 44, 90, 149 POE, EDGAR ALLAN: 76, 82, 100 POIESIS: 20, 41, 88 POIRIER, RICHARD: 50n POSTMODER0ISM: 2-4, 5, 8 POULET, GEORGES: 95, 129n, 146-47 PRE-RAPHAELITES: 68-69 PROCESS: see PROCESS MIMES IS PRODUCT: see PROCESS MIME S IS PRODUCTIO0: 6, 76, 86, 122, 124, 128, 144, 153n PROUST, MARCEL: 5, 12, 15, 25, 26, 46, 59, 130, 153; A la recherche du temps perdu: 46n PSYCHOANALYTIC CRITICISM: 145- 46; see also FREUD, SIGMUND PSYCHOLOGICAL REALISM: see REALISM, PSYCHOLOGICAL PU0: see ANAGRAM PYNCHON, THOMAS: 132; The Crying of Lot 49: 20, 33; V: 31n, 33 QUEEN, ELLERY; The Finishing Stroke: 73, 83; The Roman Hat Mystery: 73 QUI0DICI: 133, 135 RABELAIS, FRANCOIS: 24 READER: 138-52; AS ACTIVE PARTICIPANT: 3, 9, 14, 25-26, 39, 41, 49, 53, 60, 72-73, 114, 130, 133, 138-52, 154; EXPECTATION: 92, 95-96, 102, 139; FREEDOM; 19-20, 27, 30, 36, 49, 63, 66- 67, 69-70, 71, 77, 79, 82, 91, 97, 124, 139, 140, 152, 155, 156-62; PARADOXICAL ROLE: 5, 7, 30, 36, 117, 119, 140, 141, 146, 147, 150, 161; RESPONSIBILITY: 20, 27, 30, 36, 39 READING PROCESS: 5, 20, 27, 28, 29-35, 37, 39, 71-86, 89, 98, 99, 106, 138, 139- 52, 154, 156-62 Index of Subjects and Names / 167 REALISM (NATURALISM) : 4, 5, 9, 11, 12, 13, 14, 16, 17, 18, 19, 25, 27, 35, 36- 47, 52, 59, 78, 81, 94, 95, 98, 102, 125, 138, 148, 150, 153 R EALISM, PSYCHOLOGICAL (SUBJECTIVE): 5, 12, 25-26, 46, 138, 153 RECEPTION THEORY: see PHENOMENOLOGY REFERENT; FICTIVE: 10, 27, 29, 32, 76, 79, 87, 88, 91, 92-103, 112-13, 140, 147; REAL: 79, 88, 90, 92-96, 112-13 REFERENTIALITY and REFERENCE: 6, 47, 94, 98, 102-103, 112 REVOLUTION: 3, 38, 68, 131, 155-61 RHETORICAL TRADITION: 39, 145, 149-50, 152 RICARDOU, JEAN: xi, 4, 14, 21-23, 28, 31, 34, 35, 35n, 43, 45, 46, 54, 75, 93, 95n, 96, 100, 118-19, 119n, 120, 122, 123n, 124, 127, 129n, 134, 136, 144, 154; Les Lieux-dits: 100, 120, 121; La Prise de Constantinople: 120, 121, 124 RICHARDSON, SAMUEL: 9, 38, 44, 135; Pamela: 23, 93 RICOEUR, PAUL: 42n, 95 ROBBE-GRILLET, ALAIN: 15, 32, 35n, 43, 44, 47, 72, 82, 96, 122, 125, 130, 136, 141n; Dans le labyrinthe: 54; Les Gommes: 74-76; Projet pour une révolution à 0ew York: 120; Le Voyeur: 74, 118 ROMANTICISM: 3, 11, 15, 18, 23, 25, 26, 39, 44, 58, 115, 123n, 124n, 127, 149, 151, 153, 154 ROSENBAUM, S. P.: 26n ROSENBERG, HAROLD: 41 ROUSSEL, RAYMOND: 14, 22, 34, 100, 119, 122-24, 135-36; Comment j'ai écrit certains de mes livres: 122-24, 137; Impressions d'Afrique : 122, 135-36; 0ouvelles Impressions d'Afrique: 136 ROUSSET, JEAN: l47 ROVANI, GIUSEPPE: 27 RUSSIAN FORMALISM: 10n, 23-24, 50, 50n, 59, 125, 126, 133 SALINARI, CARLO: 134 SANGUINETI, EDOARDO: 14, 18, 129, 133, 134; Capriccio italiano: 134; Il giuoco dell'oca: 30, 33, 84-85, 128, 134, 143; Il giuoco del Satyricon: un'imitazione da Petronio : 134 SAPORTA, MARC; Composition 0o 1 : 84 SARDUY, SEVERO: 2 SAROYAN, WILLIAM: 26-27 SARRAUTE, NATHALIE; Entre La vie et la mort : 122; Portrait d'un inconnu: 12 SARTRE, JEAN-PAUL: 42, 50, 88n, 127; La 0ausée: 52, 91 SAUSSURE, FERDINAND DE: 6, 34, 42, 93, 94, 119, 126, 128 SAYERS, DOROTHY: 31; Have His Carcase: 72 SCHOLES, ROBERT: 4, 19-20, 21, 37n, 85 SCIENCE FICTION: 24, 77, 79n, 81n SCOTT, WALTER: 59, 63, 68, 81 SELF- CONSCIOUS; SELF-INFORMING; SELF-REFLECTIVE; SELF-REFLEXIVE: see NARCISSISM SHAKESPEARE, WILLIAM: 52; Hamlet: 101-102; The Tempest: 33, 60 S IGNIFIED (SIG0IFIÉ): 6, 42, 94, 95, 96n, 126, 133, 136 SIGNIFIER (SIG0IFIA0T): 6, 42, 122, 123n, 126-27, 133, 136 SIMENON, GEORGES; The Methods of Maigret: 73 S IMON, CLAUDE: 144n; La Bataille de Pharsale: 121 ; La Route des Flandres: 96 SOLLERS, PHILIPPE: 18, 23, 35n, 125, 134; Drame: 33, 128; 0ombres: 128 SORRENTINO, GILBERT: 36, 87, 143; Imaginary Qualities of Actual Things: 152 SPENDER, STEPHEN: 44n STAROBINSKI, JEAN: 34n, 119n STENDHAL (HENRI BEYLE): 44, 47, 63, 81; Armance: 142 STERNE, LAURENCE: 13, 18, 30, 38, 39, 47, 52, 101, 141, 150; Tristram Shandy: 8, 9, 18, 27, 37, 40, 44, 52, 91, 116, 142 STREAM OF CONSCIOUSNESS: 26 STRI JCTURALISM: 6, 12, 14-15, 19-20, 30, 42, 87, 97, 102, 125n, 130, 145, 151-52 SUKENICK, RONALD: 143, 144, 153 SVEVO, ITALO: 5, 15, 25, 26, 130; La coscienza di Zeno: 51, 90, 132; "Il Vecchione": 90 TEL QUEL: 14, 34-35, 46n, 124-29, 130, 132, 133, 134, 135-37, 154 TEXTE : 34-35, 125-29 168 / Narcissistic Narrative: The Metafictional Paradox THACKERAY, WILLIAM MAKEPEACE: 51, 59; Vanity Fair: 44 THEMATIZATION: 7, 23, 27, 28-29, 30, 45, 53, 57-70, 71, 88, 92, 97, 99, 101, 102, 104-17, 132, 142, 154-55 THÉORIE D'E0SEMBLE: TELQUEL: 125- 28 TODOROV, TZVETAN: 10n, 12, 32, 44n, 46, 98, 138-39, 142n TOLKIEN, J. R.: 32, 77, 77n, 78, 92 TRUTH: See VALIDITY UNAMUNO, MIGUEL DE: 58, 64, 153 VALÉRY, PAUL: 11 VALIDITY: 42, 91, 94-95, 97, 103, 126, 140 VERBAL PLAY: see WORD PLAY VERNE, JULES: 34, 83 VERRIER, JEAN: 12, 45n VICTORIAN NOVEL: 24, 57, 59-60, 69- 70 VOLPONI, PAOLO: 104-17; Corporale: 105n, 106-107, 108, 117, 119-20, 132; La macchina mondiale: 29, 104-17; Memoriale: 105n , 107 VONNEGUT, KURT: 139n WATT, IAN: 5, 9, 16, 38, 43, 88n WELLEK, RENÉ: 17, 18, 43, 44n WITTGENSTEIN, LUDWIG: 91, 97, 109, 111 WOLFE, TOM: 1 6 n , 43n WOOLF, VIRGINIA: 5, 23, 25, 26, 43, 46, 145, 153; Jacob's Room: 26, 52; To the Lighthouse: 120. WORD PLAY; THEMATIZED: 101, 105, 107-10; ACTUALIZED: 118-37 ZOLA, ÉMILE: 78

[edit]

See also



Unless indicated otherwise, the text in this article is either based on Wikipedia article "Narcissistic Narrative" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

Retrieved from "http://artandpopularculture.com/Narcissistic_Narrative"
Personal tools
Metas