Authorial Subversion of the First-Person Narrator in Twentieth-Century American Fiction

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American writers of narrative fiction frequently manipulate the words of their narrators in order to convey a significance of which the author and the reader are aware but the narrator is not. By causing the narrator to reveal information unwittingly, the author develops covert themes that are antithetical to those espoused by the narrator. Particularly subject to such subversion is the first-person narrator whose "I" is not to be interpreted as the voice of the author. This study examines how and why the first-person narrator is subverted in four works of twentieth-century American fiction: J. D. Salinger's The Catcher in … continued below

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iv, 69 leaves

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Russell, Noel Ray December 1988.

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  • Russell, Noel Ray

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American writers of narrative fiction frequently manipulate the words of their narrators in order to convey a significance of which the author and the reader are aware but the narrator is not. By causing the narrator to reveal information unwittingly, the author develops covert themes that are antithetical to those espoused by the narrator. Particularly subject to such subversion is the first-person narrator whose "I" is not to be interpreted as the voice of the author. This study examines how and why the first-person narrator is subverted in four works of twentieth-century American fiction: J. D. Salinger's The Catcher in the Rye, F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's A Farewell to , and Philip Roth's Goodbye, Columbus

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iv, 69 leaves

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  • December 1988

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  • 1900 - 1988

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  • March 9, 2015, 8:15 a.m.

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  • Dec. 20, 2018, 1:05 p.m.

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Russell, Noel Ray. Authorial Subversion of the First-Person Narrator in Twentieth-Century American Fiction, thesis, December 1988; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc501035/: accessed June 29, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .

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