Add to ORKGThe starting point for any Kroetsch novel is the recognition of the importance of the "old dualities" -- chaos/order, life/death, freedom (movement)/stasis, beginnings/endings, youth/age. Gone Indian abounds in binary distinctions; indeed, these paired opposites are also played off against each other. Moreover, one dual polarity (the difference between the real and the imagined Professor R. Mark Madham, the similarity between Jeremy Sadness and his very different professor) is so playfully presented that it may not be present at all -- which is simply another dichotomy
Let's now have a look at what R. K. Narayan had to say about the common trend among fiction authors ...
Recently, Modernity in Indian English novels as well as novelists are of scrupulous interest. As an ...
International audienceThe fiction of R. K. Narayan, one of the so-called Founding Fathers of Indian ...
The starting point for any Kroetsch novel is the recognition of the importance of the "old dualities...
Abstract. The narrative structure of Robert Kroetsch's novel Gone Indian is multi-layered and a...
Most critics misread Robert Kroetsch's theoretical statement "The Fear of Women in Prairie Fiction: ...
In three novels, The Studhorse Man, Gone Indian, and Badlands, Robert Kroetsch has faced the problem...
While many readings of Robert Kroetsch's Gone Indian focus on the text's postmodern structural devic...
Robert Kroetsch attempts to free himself from the logocentric and positivistic impulses of thematic ...
Robert Kroetsch, whose approaches to novel writing extend from the primarily realist novel But We Ar...
Critics of Robert Kroetsch\u27s fiction have praised his willingness to take risks employ new and di...
For Robert Kroetsch the play of language and consummation, word and world, is an intricate one, a De...
The focus of my argument is that much of the counter-realist elements in postcolonial writing can be...
It would not be too much of an exaggeration to claim that, with the odd and honourable exception (su...
Fashions changed, but Raja Rao remained a transcendentalist throughout his long life. It may be note...
Let's now have a look at what R. K. Narayan had to say about the common trend among fiction authors ...
Recently, Modernity in Indian English novels as well as novelists are of scrupulous interest. As an ...
International audienceThe fiction of R. K. Narayan, one of the so-called Founding Fathers of Indian ...
The starting point for any Kroetsch novel is the recognition of the importance of the "old dualities...
Abstract. The narrative structure of Robert Kroetsch's novel Gone Indian is multi-layered and a...
Most critics misread Robert Kroetsch's theoretical statement "The Fear of Women in Prairie Fiction: ...
In three novels, The Studhorse Man, Gone Indian, and Badlands, Robert Kroetsch has faced the problem...
While many readings of Robert Kroetsch's Gone Indian focus on the text's postmodern structural devic...
Robert Kroetsch attempts to free himself from the logocentric and positivistic impulses of thematic ...
Robert Kroetsch, whose approaches to novel writing extend from the primarily realist novel But We Ar...
Critics of Robert Kroetsch\u27s fiction have praised his willingness to take risks employ new and di...
For Robert Kroetsch the play of language and consummation, word and world, is an intricate one, a De...
The focus of my argument is that much of the counter-realist elements in postcolonial writing can be...
It would not be too much of an exaggeration to claim that, with the odd and honourable exception (su...
Fashions changed, but Raja Rao remained a transcendentalist throughout his long life. It may be note...
Let's now have a look at what R. K. Narayan had to say about the common trend among fiction authors ...
Recently, Modernity in Indian English novels as well as novelists are of scrupulous interest. As an ...
International audienceThe fiction of R. K. Narayan, one of the so-called Founding Fathers of Indian ...