Titlebook: Narrative and Ethical Understanding; Garry L. Hagberg Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive license t

執(zhí)

Astigmatism

Storm Jameson’s Phenomenology of Place and Ethics of Responsibility in s compromised by one family member’s wartime betrayal of a kinsman? At issue under such circumstances is an ethics of choice that confronts two of the narrative’s main characters, one of whom is a former Resistance leader and older brother to the malefactor. Jameson’s late modernist novel set in 194

HUMID

Just Sex in Heller’s ,? the moral evolution of its protagonist, John Yossarian—which, ironically, was Heller’s stated purpose in Catch-22. Yossarian’s moral progress reveals itself in the evolution of his attitudes and behaviors toward women; yet, this is obfuscated by the novel’s tone—Heller’s use of absurdist humor—that

兩種語言

Imperfect Fiction and Criticism ,: A Reading of tation of George Eliot’s novel, one that engages with the critical strategy of surface reading. While a less tragic light is shed on the novel’s ending, my approach entails the reader’s recalibration of both the character of the protagonist and the personality of the narrator. Both reveal fractured

monopoly

Listening to the Dead: Exploring the Differend in Margaret Atwood’s tims of a literary differend in the ., where they are not given the chance to tell their own story, let alone obtain justice for their brutal murders. In . they are granted a voice although, despite a posthumous appearance in court, their differend is not transformed into a litigation. However, Atwo

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