The image therefore depicts Mary's present desire simultaneously as an analeptic
intimation of its non-fulfillment in the past and as a subjunctively proleptic reference to its imagined--but ultimately impossible--consummation.
Buried in this extended paragraph, the analeptic
recall of Rider's lynching takes place between the section's two em dashes.
Like Everyman, the narrative of Sabbath's Theater is analeptic
, although its temporal zig- zaggings are far more complex than in the later novel, in keeping with its greater density of rhetoric and incident.
In one narrative, through an analeptic
retelling, the couple's story is allowed to run from beginning to end, to its proper end, objectively and in the voice of the third person.
The narrator's analeptic
remarks foreshadow the future conflict that will arise between Hrothulf and Hrothgar that will eventually destroy Heorot.
Furthermore, if we take Kern at his word and assume that the pervasive "exceptional quality" (7) of his brand of modernism has indeed democratized our world, then the conventional notion that "Realist novels are more readily intelligible on the first reading" (130), presumably along with any and all less exceptional novels that are absent from the study (Waugh, predictably, given the ideology, goes unmentioned, though he is in both good and plentiful company), regurgitated here to the point of supererogation, should be upended, since our post-modernist sensibility would only find their speciously analeptic
values more confusing.
use in clinical toxicology: a historical appraisal.
Charnot (1945) gave an analeptic
recipe from root powder.
Bazin sets out to 'demonstrate that the Autobiography can be taken as an analeptic
or hermeneutic tool--a precious key--with which to reread the novels'.
4) Also, the narrative is highly analeptic
, which means
But these shifts in time create an unsettling effect since narratives with a third person, extradiegetic narrator usually narrate using present tense and then use the flashback or analeptic
narration to configure events in the past.
Cedric Watts, who is among those who have untangled and re-chronicled Conrad's analeptic
narrative, notes that as Conrad's time-shift method throws us about from one time to another by grafting one incident onto the ongoing scene, what remains constant is the scenic background that helps reorient readers in the course of the narrative's "convolutions and abruptness" (Preface 156-57).
dependent clauses as a function of syntactic structure type.
Instead, it begins in medias res with an analeptic
prologue set in a courtroom at the suspenseful moment when the protagonist who has not yet been introduced is awaiting and then receives the jury's verdict for a crime that has not yet been explained.
The second voice is that of the protagonist, Simonini, the homodiegetic narrator who knows and may only describe those analeptic
events and those which unfold before his eyes, as they are bond to a past/present temporal duration.