Download Communities of the Heart: The Rhetoric of Myth in the by Warren Rochelle PDF
By Warren Rochelle
This ebook explores using resourceful literature as persuasion, targeting the technological know-how fiction of Ursula Le Guin and her rhetorical use of fable. the writer concludes that Le Guin (like Emerson, Peirce, Thoreau, Whitman, and Dewey) is a romantic/pragmatic rhetorician. In that experience, she is arguing for what Vico argued for within the eighteenth century: that wisdom may be noticeable and studied as an built-in complete, and that Cartesian considering is simply a part of how people make that means.
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Additional resources for Communities of the Heart: The Rhetoric of Myth in the Fiction of Ursula K. Le Guin (Liverpool University Press - Liverpool Science Fiction Texts & Studies)
63. Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response (Baltimore: The Johns Hopkins University Press, 1978), p. 107. 64. , p. 118. 65. Louise Rosenblatt, The Reader, the Text, the Poem: The Transactional Theory of the Literary Work (Carbondale, IL: Southern Illinois University Press, 1978), p. 10. 66. , p. 121. 67. , p. 76. LUP/LeGuin/1 28 5/1/01, 11:01 am THE MAKING AND REMAKING OF MEANING 29 68. Walter Ong, ‘The Writer’s Audience is Always a Fiction’, PMLA: Publication of the Modern Language Association of America, 90, 1975, p.
Bakhtin argues that even Story 1 is not simply ‘the true account of a sequence of events’ or a verbatim narrative. Even a list implies choice: some items are included, some are not. A recitation of events and the pertinent details also, Bakhtin suggests, implies choice and therefore LUP/LeGuin/1 27 5/1/01, 11:01 am 28 COMMUNITIES OF THE HEART interpretation. Not every detail is included by the reciter. Offred, the primary character in Margaret Atwood’s The Handmaid’s Tale, explains all this very succinctly: ‘It is impossible to say a thing exactly the way it was, because what you say can never be exact, you always have to leave something out, there are too many parts, sides, crosscurrents, nuances; too many gestures, which could mean this or that, too many shapes which can never be fully described, too many flavors in the air or on the tongue, half-colors, too many’ (pp.
The hero may encounter the goddess three times, as she is often triune: maiden or young woman, mother and crone. In a word, the goddess is sexual knowledge: what one comes to know, in all senses of the word, as an adult. It is worth noting that the hero’s encounter of a goddess at this point is proof of his maleness. LUP/LeGuin/2 39 5/1/01, 11:02 am 40 COMMUNITIES OF THE HEART The atonement with the father is of a different nature. The father awaits the hero to see if he is truly ready for the quest.