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Perspective and Subjectivity: The Power of Images in Northamerican Short-Story Writing
María Rosa Burillo Gadea
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DOI:10.17265/2159-5836/2015.04.002
Universidad Complutense de Madrid, Madrid, Spain
The study is meant to describe the evolution of American short-story writing with patterns where visual images have become central and not peripheral for the understanding of stories. Hemingway’s use of objective correlatives was a trace mark, and the literary editors at The New Yorker urged their writers to slow down the emphasis on movement and plot in order to recreate a certain mood which would favour the perception of objects, anecdotes, and details. The impressionistic device works very much in the same way that an advertisement would do. It is meant to persuade the audience. The apparently non-commitant vision of reality shows in fact the author’s point of view. The apparent simplicity is meant for a very wide audience and its deepest meaning suggests the scope of the particular visual aids working at the deepest level of consciousness.
images, detachment, view-point, subjectivity, passion, effect
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