Titlebook: Digressions in European Literature; From Cervantes to Se Alexis Grohmann (Senior Lecturer in Hispanic Studi Book 2011 Palgrave Macmillan, a

增強(qiáng)

,‘Let’s Forget All I Have Just Said’: Diversions and Digressions in Gidean Narratives,to ‘navigate for days and days without any land in sight’ (Gide 2009b: 435, 528). Given also his attachment to ‘inconséquence’ in his characters. and adventitious happenings in the development of his narratives (Gide 1966: 56), Gide’s fictions are particularly susceptible to defying the predictable,

oblique

,Errant Eyes: Digression, Metaphor and Desire in Marcel Proust’s ,me Lost’ and ‘Time Regained’, one might provocatively argue that the 3000-page, seven-volume novel into which these initial two volumes organically evolved in the period until Proust’s death in 1922 is largely composed of digressions from this teleological frame.. As the sampling of critical evaluat

cuticle

CARK

,Stealing the Story: Robert Walser’s ,-Novel, his choice, the short prose piece, ultimately amounted to nothing more than ‘one long, plotless, realistic story’ (1986b: 322). This statement is in its seeming contradictoriness extremely revealing. For, on the one hand, most of Walser’s prose work is indeed conspicuously lacking the dynamics and

Banquet

Nonthreatening

deficiency

Ardent

有抱負(fù)者

,The Sense of Sebald’s Endings … and Beginnings,y and self-conscious fictionality. Generically, the discourses of history, biography, novel, essay, autobiography and travel writing combine to create hybrid forms. Typographically, a lack of paragraph breaks facilitates a free-flowing discourse unconstrained by the discipline of the paragraph, whil

CHASM

Introduction,owing this line of reasoning, strictly speaking, no non-digressive works, there are merely narratives that could be said to be more digressive than others (either on the level of story or on that of discourse or both), and some in more ways than one.