Absorption and Space Reddening in the Galaxy as Shown by the by Stebbins J.

By Stebbins J.

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In critiquing Freud’s “assertion that artists’ work is motivated by the desire ‘to achieve honour, power, riches, fame and the love of women,’” Ursula K. Le Guin counters Freud’s materialism with a boundary-crossing model of escape that sees a very different impulse motivating both artists and readers: “The pursuit of art, then, by artist or audience, is the pursuit of liberty. If you accept that, you see at once why truly serious people reject and mistrust the arts, labelling them as ‘escapism’” (1979, 150).

Ryan, moreover, locates immersion within a historical framework, rejecting the proposal that narrative realism is simply one of many conventions: “The literary effect that was pioneered by Richardson, Fielding, and Smollett, and perfected in the next century by the likes of Balzac, Dickens and Gogol . . is not the art of revealing ‘how things are,’ nor the art of imitating real-world speech acts, but the art of getting the reader involved in the narrated events” (2001, 161). This approach differs from approaches to novelistic realism that center on the 21 1 2 3 4 5T 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 22 1 .

T i m e a n d space i n na r r at i v e fic t ion a “real” one for the reader. Above all, the pivotal position within the coincidence plot of the recognition scene (in which estranged family members discover their true identity) can be attributed to the deep cognitive imprint and consequent emotional power that kinship recognition has in real life. As Johnson and Morton (1991) show, a child’s ability to identify its parents in contrast to other faces constitutes one of the most basic and comforting human experiences from early childhood onward.

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