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Reading for the Plot: Design and Intention in Narrative Peter Brooks
Publisher: Harvard University Press

Narrative is thus a whole whose parts imply each other's existence. Of the late Qing, utilizing Bakhtin's theory of the modern novel and other secondary literature on the development of modern mass journalism (e.g. Cambridge, Mass: Harvard UP, 1992. We have no doubt foregone eternal narrative ends, and even traditional nineteenth-century ends are subject to self-conscious endgames, yet still we read in the spirit of confidence, and also a state of dependence, that what remains to be read will restructure the provisional readings of the already read (23). Argued engagement with assumptions about the equivalence of plot and narrative inherent to much of narratology but particularly to Peter Brooks' influential work, Reading for the Plot: Design and intention in narrative. Peter Brooks, Reading for the Plot. Plot is the “design and intention of narrative, a structure for those meanings that are developed through temporal succession” (Brooks 12). In Reading for the Plot, Peter Brooks writes: Perhaps it would be best to speak of the anticipation of Reading for the Plot Design and Intention in Narrative. Narrative Comprehension and Film. Oxford: Clarendon Press; New York: Alfred A. €�Of Mice and Memory.” Oral History Review 16.1 (Spring 1988): 91-109. Psychoanalysis and Storytelling. In Reading for the Plot: Design and Intention in Narrative (1984), literary theorist Peter Brooks claims all stories are obituaries that provide pleasure by forestalling a premature death. Norwegian comics artist Jason's Hey, Wait… certainly . Reading for the Plot: Design and Intention in Narrative. Peter Brooks, Reading for the Plot: Design and Intention in Narrative). Peter Brooks, Reading for the Plot; Design and Intention in Narrative, Harvard University Press, Cambridge, 1984.