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Robert Selman developed his developmental theory of role-taking ability based on four sources. [4] The first is the work of M. H. Feffer (1959, 1971), [5] [6] and Feffer and Gourevitch (1960), [7] which related role-taking ability to Piaget's theory of social decentering, and developed a projective test to assess children's ability to decenter as they mature. [4]
The problem becomes, then, taking the abstract/ethical part of the novel, which only exists in the writer's mind, and making it the essential element of a novel which cannot accommodate it. This means, of course, that the novel starts off degraded from the beginning because abstract authenticity cannot be represented in the novel).
Rand wanted to write a novel that was less overtly political than We the Living, to avoid being viewed as "a 'one-theme' author". [54] As she developed the story, she began to see more political meaning in the novel's ideas about individualism. [55] Rand also planned to introduce the novel's four sections with quotes from Friedrich Nietzsche ...
The novel has also been the subject of a number of significant rewritings and related interpretations, notably Jean Rhys's seminal 1966 novel Wide Sargasso Sea. [24] A famous line in the book is at the beginning of Chapter 38: "Reader, I married him." Many authors have used a variation of this line in their work.
Atlas Shrugged is a 1957 novel by Ayn Rand. It is her longest novel, the fourth and final one published during her lifetime, and the one she considered her magnum opus in the realm of fiction writing. [1] She described the theme of Atlas Shrugged as "the role of man's mind in existence" and it includes elements of science fiction, mystery and ...
A bestselling crime writer took on the role of a character in one of his own novels when he managed to thwart an attemped break-in of his Southern California home – thanks to security cameras ...
Ian Watt in The Rise of the Novel (1957) saw the novel as originating in the early 18th-century and he argued that the novel's 'novelty' was its 'formal realism': the idea 'that the novel is a full and authentic report of human experience'. [37] His examples are novelists Daniel Defoe, Samuel Richardson and Henry Fielding. Watt argued that the ...
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