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The Last of England and The Garden
Alexandra Parsons

home movies are noticeably thematically and stylistically different from the rest of the film, presenting generic characters and amateur stylistic techniques that indicate that they should be immediately read as home movies. As Jarman gives no context that might immediately and definitively situate the participants in the film within an understanding of his life on first watching, Jarman creates what Justin Wyatt terms a ‘“generic” home movie’. 28 And indeed this is what we read from the family sequences at first

in Luminous presence
Mary Wollstonecraft’s Frankenstein
Damian Walford Davies

Eagleton, the Irish novel more generally – confronts national trauma, the uncanny ‘stereoscopic depth of the nation’s time’ and the permeability of the boundaries between history, romance, the gothic, antiquarianism and tourist literature by adopting appropriate structural and stylistic techniques.80 These include the tousling and fracturing of the narrative line with ‘heteroglossic textures’, ‘alternative histories’ and ‘the play of multiple genres’ that befit the distressful political and ethnic ‘entanglements’ of Irish history and its ‘disrupted’, ‘recursive’ and

in Counterfactual Romanticism
Alexander Bove

, moreover, gives us in intensified form the same stylistic techniques of the narrator of these opening passages—the extreme condensations, the elliptical grammar, the distortions, even the cool irony set against powerful forces—and can thus help us answer the question we raised above about the ineffable tone of these opening pages. Dickens’s linguistic style, here, we may say, has

in Spectral Dickens