Matches in Harvard for { ?s ?p Antecedents -- Signals of closure -- Direct and indirect form -- Boccaccio, Day III, Fifth story -- Zima -- Chaucer, "The Nun's Priet's tale" -- The Early Nineteenth century -- The Shape of the short story -- Neal, "Otter-Bag" -- Irving, "The Story of the young Italian" -- Willis, "Mabel Wynne" -- poe, "The Fall of the House of Usher" -- Direct and indirect form -- Hawthorne, "The Celestial Rail-road," "Mrs. Bullfrog," "Roger Malvin's burial" -- Irving, "Rip Van Winkle" -- Melville, "Bartleby the scrivener," "I and my chimney" -- The Later Nineteenth century -- Conventional patterns -- page, "Marse Chan" -- The Surprise ending: Aldrich, O. Henry -- Poe, "Ligeia" -- Wharton, "Roman Fiver" -- Alternatives to surprise -- Indirection and parody -- Twain, "The Notorious jumping frog of Calaveras County" -- Jewett, "A White heron" -- Crane, "The Bridge comes to Yellow sky" -- Converging closure and the theory of openness -- James, "Paste, " "A Bundle of letters," "Four meetings," "The Altar of the dead" -- Convergence: Retrospection and new directions -- The Twentieth century: new forms -- Imagist form -- Anderson, "Hands" -- Porter, "Flowering Judas" -- Compressed form -- Hemingway, "Cat in the rain," "Hills like white elephants," "The Short happy life of Francis Macomber" -- The Twentieth century: extending the frame -- The illusion of openness.. }
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- catalog description "Antecedents -- Signals of closure -- Direct and indirect form -- Boccaccio, Day III, Fifth story -- Zima -- Chaucer, "The Nun's Priet's tale" -- The Early Nineteenth century -- The Shape of the short story -- Neal, "Otter-Bag" -- Irving, "The Story of the young Italian" -- Willis, "Mabel Wynne" -- poe, "The Fall of the House of Usher" -- Direct and indirect form -- Hawthorne, "The Celestial Rail-road," "Mrs. Bullfrog," "Roger Malvin's burial" -- Irving, "Rip Van Winkle" -- Melville, "Bartleby the scrivener," "I and my chimney" -- The Later Nineteenth century -- Conventional patterns -- page, "Marse Chan" -- The Surprise ending: Aldrich, O. Henry -- Poe, "Ligeia" -- Wharton, "Roman Fiver" -- Alternatives to surprise -- Indirection and parody -- Twain, "The Notorious jumping frog of Calaveras County" -- Jewett, "A White heron" -- Crane, "The Bridge comes to Yellow sky" -- Converging closure and the theory of openness -- James, "Paste, " "A Bundle of letters," "Four meetings," "The Altar of the dead" -- Convergence: Retrospection and new directions -- The Twentieth century: new forms -- Imagist form -- Anderson, "Hands" -- Porter, "Flowering Judas" -- Compressed form -- Hemingway, "Cat in the rain," "Hills like white elephants," "The Short happy life of Francis Macomber" -- The Twentieth century: extending the frame -- The illusion of openness.".
- catalog tableOfContents "Antecedents -- Signals of closure -- Direct and indirect form -- Boccaccio, Day III, Fifth story -- Zima -- Chaucer, "The Nun's Priet's tale" -- The Early Nineteenth century -- The Shape of the short story -- Neal, "Otter-Bag" -- Irving, "The Story of the young Italian" -- Willis, "Mabel Wynne" -- poe, "The Fall of the House of Usher" -- Direct and indirect form -- Hawthorne, "The Celestial Rail-road," "Mrs. Bullfrog," "Roger Malvin's burial" -- Irving, "Rip Van Winkle" -- Melville, "Bartleby the scrivener," "I and my chimney" -- The Later Nineteenth century -- Conventional patterns -- page, "Marse Chan" -- The Surprise ending: Aldrich, O. Henry -- Poe, "Ligeia" -- Wharton, "Roman Fiver" -- Alternatives to surprise -- Indirection and parody -- Twain, "The Notorious jumping frog of Calaveras County" -- Jewett, "A White heron" -- Crane, "The Bridge comes to Yellow sky" -- Converging closure and the theory of openness -- James, "Paste, " "A Bundle of letters," "Four meetings," "The Altar of the dead" -- Convergence: Retrospection and new directions -- The Twentieth century: new forms -- Imagist form -- Anderson, "Hands" -- Porter, "Flowering Judas" -- Compressed form -- Hemingway, "Cat in the rain," "Hills like white elephants," "The Short happy life of Francis Macomber" -- The Twentieth century: extending the frame -- The illusion of openness.".