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"Cohn, Dorrit"
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Discordant Narration
This article proposes the term “discordant narration” for the ideolological kind of unreliability that may induce a reader to attribute to a fictional text a different meaning from the one its narrator provides. After exemplifying this concept in works told by a first-person narrator (Marlow inThe Heart of Darknessand Nelly Dean inWuthering Heights), it shows that discordance also applies to certain third-person narrators, like the teller ofDeath in Venice. It concludes by conceiving an ideal reader who is aware of the choices involved in understanding this type of fiction.
Journal Article
'First Shock of Complete Perception': The Opening Episode of The Golden Bowl, Volume 2
Yet this momentary expression acquires essential importance for her: \"while it lasted it had been written large\" (2: 15); it takes on \"an historic value-beyond the importance of momentary expressions in general\" (2: 16); and \"this immense little memory\" becomes \"as it were the key to everything\" (2: 42, 15). Since it is Amerigo's only apparent reaction to her having broken the habit of waiting for him at her father's house, this look gives away the fact that he is wondering whether she suspects his relationship to Charlotte. [...] she has not been suspicious; Amerigo's expression makes her so.2 Though the impression created by Amerigo's facial aspect as he enters the room is temporarily effaced by his embraces, it is revived the next morning.
Journal Article
Signposts of Fictionality: A Narratological Perspective
The tendency of narratologists to \"homogenize\" the narrative domain makes it appear unlikely to contribute significantly to the discussion of the differential nature of fictional narrative. An attempt is made to counteract this impression through a critique of existing narratological systems. The question of whether established narratological categories are fiction-specific is addressed, the need for modification or qualification of certain conceptual devices & tools is noted, & criteria of fictionality available within the confines of narratology are sought. Three such criteria are discussed - levels of analysis, narrative situations, & narrators & authors - in a comparison of a fictional & a historical narrative. 71 References. B. Annesser Murray
Journal Article
Does Socrates Speak for Plato? Reflections on an Open Question
The potential separation of the author from his main protagonist has made only faint inroads into the close reading of Plato's works. Cohn explores the grounds and implications of such a reading for three middle-period dialogues--the Platonic texts that perhaps bring it to mind most loudly and most clearly--and then propose a reason why the separation of Socrates from Plato may also resolve an overriding problem in Palto's oeuvre.
Journal Article
The Poetics of Plato's Republic : A Modern Perspective
First of all, we must realize that Socrates holds to the norms of his own time in that he conceives of epic works in terms of their oral delivery.6 This explains why for him a \"mimetic\" poet communicates as though he were himself the character whom he quotes, acting \"as if he were someone else\" (393 C). 27 To be sure, certain modern critics refuse to see a sharp divorce between moral and aesthetic values. [...] Wayne Booth-in the Introduction to his book subtitled An Ethics of Fiction-insists on the ethical powers of [literary] form.
Journal Article
