What is "novelistic"

Usage examples of "novelistic".

In the existence of each of them we meet again, in various forms and tonalities, the same anti-Hegelian novelistic model, or the same antimodel: that of the deserter, the person who chooses not to confront the world anymore, to abandon the fight, to disappear.

To return to it constantly, never to tire of proliferating its variations and seeking their meaning, is, for the novelistic imagination, to contemplate as in a mirror its own reversed reflection, its exact antithesis, and thus constantly to learn to know itself better and keep track of what brought it to birth and can keep it what it is.

Existence and world whose complexity calls for the elucidating effort of the essay, but that in the last analysis always escapes, thus dooming novelistic thinking and any theory it can produce to insurmountable relativity and incompletion.

In other words, thematic unity can be seen as one of the basic principles of all novelistic composition.

Its method is to create a homogeneous environment, a novelistic ether in which people and things are steeped and which send vibrations through all the senses.

It is primarily in the novels of the Czech cycle that we find the first group of cases, which have in common that the novelistic moment is shown there as a kind of awakening in which the character, until then caught up in his story, frees himself from it and from himself so as to see them from the outside and suddenly discover their vanity.

I discussed in the preceding chapter, concerns not only the techniques of novelistic composition.

Moreover, Kundera ends his novel with a final nostalgic memory of the blue point which is Agnes and, in so doing, his entire novelistic score in seven movements.

Attempting to make his critical reflection historical and chronological would therefore be as ridiculous and nonsensical as wanting to reconstruct a linear plot from his novelistic variations.

Czech or Central European literature, but also in the history of the four centuries of the European novel as Kundera has been able to encompass them in his seven novelistic movements.

He makes laughter itself the central semantic object of his own novelistic repetition, his playful digressions and meditations.

The laughter which Kundera also examines in our own age is given great importance in his critical reflection, and simultaneously, in his novelistic variation.

This is also the inspirational ground of the cognitive part of his variational esthetic, a part which he himself refers to, let us remember, as a specifically novelistic essay.

Through the wide range of repetitions where all the levels of composition and structure concur in a common Donjuanesque examination of time, Kundera achieves a fascinating novelistic synthesis in which the esthetic, erotic, ethical, playful and cognitive functions combine as in a single semantic river.

In this way he himself raises the possibility of a poetic coincidence between the journey of his novelistic variations and that of donjuanesque knowledge.