ABSTRACT Title of Document: BRITISH MODERNIST ... - DRUM

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which a story unfolds, and perhaps nowhere more so than at the beginning of Book Second. The famous image of the pagoda is notable not only for its exoticism (in a novel concerned entirely with Western high society) and its elaboration, but also for how it places the very plot of the novel (the “situation”) in Maggie’s mind, which is figured explicitly as a setting. This rendering of the mind as a setting is accomplished by rather elaborate thought report: This situation had been occupying, for months and months, the very centre of the garden of her life, but it had reared itself there like some strange, tall tower of ivory, or perhaps rather some wonderful, beautiful, but outlandish pagoda, a structure plated with hard, bright porcelain, coloured and figured and adorned, at the overhanging eaves, with silver bells that tinkled, ever so charmingly, when stirred by chance airs. She had walked round and round it—that was what she felt; she had carried on her existence in the space left her for circulation, a space that sometimes seemed ample and sometimes narrow; looking up, all the while, at the fair structure that spread itself so amply and rose so high, but never quite making out, as yet, where she might have entered had she wished. (James, Golden Bowl 299) The pagoda, though exotically Orientalized (it is later figured as a Mosque), is contained at the center, specifically, of Maggie’s life. It is her garden the pagoda occupies. Maggie is no longer a figure in the plot of the novel—the plot of the novel is a figure in her life. And all of this is contained within her consciousness: 99
If this image, however, may represent our young woman’s consciousness of a recent change in her life—a change now but a few days old—it must at the same time be observed that she both sought and found in renewed circulation, as I have called it, a measure of relief from the idea of having perhaps to answer for what she had done. The pagoda in her blooming garden figured the arrangement— how otherwise was it to be named?--by which, so strikingly, she had been able to marry without breaking, as she like to put it, with her past. (James, Golden Bowl 300) The image here is referred to is not actually the static visual image. Instead, it is a scene suggested by the narrator, complete with action—and with figurative language nested again within the scene: “She had knocked, in short—though she could scarce have said whether for admission or for what; she had applied her hand to a cool, smooth spot, and had waited to see what would happen. Something had happened; it was as if a sound, at her touch, after a little, had come back to her from within; a sound sufficiently suggesting that her approach had been noted” (300). A change in Maggie’s consciousness is figured as an action within an image. And within that action, there is not so much a sound as a further layer of Maggie’s consciousness, as the Maggie within the image imagines a sound, or has an experience that to the narrator suggests a sound. And this whole elaborate image is itself a way of describing Maggie’s consciousness as she thinks back on the last few days: her mind contains not only the plot of the novel, but contains its own evolution. 100
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ABSTRACT Title of Document: BRITISH
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BRITISH MODERNIST NARRATIVE MIDDLES
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Dedication To my wife Pat, my disse
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Table of Contents Dedication ......
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necessarily after anything else, an
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eginning. That is, a modernist midd
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and Mario Ortiz-Robles have brought
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Princess Casamassima. The former is
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choice of McHale’s definition is
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In examining modernist middles, I w
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“is to overlook the other fundame
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evolution of capitalism strikes me
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spatial and temporal confines. On t
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narratives in Beckett’s Molloy, c
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Johnson mark an end to Britain’s
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period somewhat peripheral, a parti
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is oriented around endings (Jim’s
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eal world, yet the novel explores i
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Ulysses, the second half of In Tran
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Modernist texts may also contain mi
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chapters), and the end as Marlow’
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potentially be used to highlight ep
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middle) of the veracity of the Time
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Jim’s actions within a causal nar
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to Patusan midway through the novel
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violation of the unity of action, b
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which mass culture will be articula
Page 56 and 57: Jameson shows how the difference be
Page 58 and 59: genres, connected by multiple middl
Page 60 and 61: it does in Jameson’s reading. How
Page 62 and 63: text, since only a vast rupture req
Page 64 and 65: actually see Jim make the deal with
Page 66 and 67: for interpreting his own life and t
Page 68 and 69: garners an enthusiastic response fr
Page 70 and 71: circular encasement, which has the
Page 72 and 73: text’s initial questions are begi
Page 74 and 75: Chapter 2: Modernist Points of View
Page 76 and 77: it seems that the marriage plot is
Page 78 and 79: centering his novels within his pro
Page 80 and 81: singular, centered focalization—a
Page 82 and 83: inn. The lovers will return to Char
Page 84 and 85: consciousness itself seems to contr
Page 86 and 87: created, in part, by the use of mul
Page 88 and 89: epistemological problem: how do the
Page 90 and 91: observation leads immediately and i
Page 92 and 93: ineffectiveness” (Kafalenos 125).
Page 94 and 95: shall have everything’” (266).
Page 96 and 97: can to the sheer unspeakable narrat
Page 98 and 99: induce me” (277). Fanny, then, re
Page 100 and 101: and the objective world. Instead, M
Page 102 and 103: ‘Sure. Nothing will. Good-night,
Page 104 and 105: It was not till many days had passe
Page 108 and 109: When Amerigo arrives, Maggie’s co
Page 110 and 111: accomplish, who she will meet, what
Page 112 and 113: Chapter 3: “Time Passes”: The M
Page 114 and 115: narrative force towards modernist m
Page 116 and 117: Even as “Time Passes” serves an
Page 118 and 119: technique of modernist narrative, b
Page 120 and 121: ground of any rival solutions to Li
Page 122 and 123: summary and scene” (Genette, Narr
Page 124 and 125: Window,” and the ending section,
Page 126 and 127: presentation in “Time Passes.”
Page 128 and 129: where things happen. Events are mad
Page 130 and 131: has promised James that they will g
Page 132 and 133: For Lucio Ruotolo, however, this na
Page 134 and 135: eginning, middle, and end together
Page 136 and 137: integral to the musical and dramati
Page 138 and 139: spring from the narrative problem o
Page 140 and 141: who creates a mind for inanimate ob
Page 142 and 143: own thoughts nor that of any charac
Page 144 and 145: language, and thus subject to the c
Page 146 and 147: Lighthouse,” and narrations of th
Page 148 and 149: in so far as her presence helps the
Page 150 and 151: anthropomorphizing narrative—but
Page 152 and 153: In the initial description of summe
Page 154 and 155: they find “something out of harmo
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upper rooms of the empty house only
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like to be up here at dusk alone ne
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armistice, but it follows so immedi
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y the narrator, allow a world unpop
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Furthermore, passages like this fun
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(“narrated monologue”) as “a
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Mrs. McNab and Mrs. Bast are arguab
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unclear whether time flows forward,
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conventions of modernist and tradit
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middle by making itself markedly di
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Lighthouse’s primary narrative pa
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served to marginalize experimental
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the author’s other novels. Alick
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himself. In an episode that resembl
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unity between time story time and n
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accept the lying perspective as par
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cause and which effect. Any attempt
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died on October, 1938” (7). Frobi
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middle of fundamental change; the u
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However, like the stories Macmann a
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which takes Saturnine to the edge o
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Aspic, to thank him for his kindnes
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Whereas Genette’s discussion of h
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problems of the self, but instead p
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sees in the faces. But here we can
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narration. Frobisher has entered a
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Frobisher is reassured both by the
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strode on. He said, with his eyes n
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analyze mental states from outside
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journey up. But meaning emanates fr
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death vision, in which life is self
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Thus, after a tile falls from the r
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objection to realism: yes, an objec
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esulted in a doubling—or repetiti
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The ending Frobisher comes to with
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though the novel’s return to epis
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andom order. However, each memory r
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middle therefore randomizes the nov
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created by a formal device that rep
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final section resolves the scenario
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that each of the novel’s sections
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inadequate to me for such a narrati
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narratives. This fundamental differ
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turned into a thing. In fact, as Jo
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unburden the author’s memory. How
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Instead, the middle of The Unfortun
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By contrast, the second type of sec
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at both. This particular failure is
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as knowing it, as he did not know o
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had been so full-fleshed, the whole
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had talked, Tony” (“That was th
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epudiation of its own central moder
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narrator/rememberer. Johnson mainta
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etrospective, an attempt to think i
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it, welcome it) the ball spun lazil
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worn” 9-10). The image finds the
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like a miracle, though he still cou
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By contrast, when the narrator firs
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memory: a mixture of the ordered an
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Chapter 6: Indivisible Form, Divide
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ecause postmodernism concerns the n
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in the diegetic reality of the nove
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section one LINGUISTIC LEPROSY Alle
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In Transit’s musical subtitles al
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they are perched between or represe
Page 286 and 287:
performative in a Butlerian sense,
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the chorus describe themselves as a
Page 290 and 291:
lamentable incident which I am now
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social component of thought only th
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identity, which remains unitary and
Page 296 and 297:
not an effort to give the narrator
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Novelist 33). That is, Pat-the-narr
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primarily with classifying Pat’s
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now irrelevant, replaced by the pur
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etween reader and author. When Pat
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consequences for the entire world o
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world presented to the reader in Se
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of Pat’s own life, and by forgett
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evolutionaries find that another gr
Page 314 and 315:
However, Brophy is not entirely don
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masculinity. Its manifestations are
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to violate. In Transit’s postmode
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ontological—shifts to consider de
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However, I would argue that we read
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Conclusion Modernism and narrative
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approximately half of the narrative
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little attention in the past, littl
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Brophy, Brigid. Don’t Never Forge
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1989. 162-185. ---. “Periodizing
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Johnson, B. S. The Unfortunates. Ed
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Political in the Novels of Virginia
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Said, Edward. Beginnings: Intention
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ABSTRACT Title of Document: BRITISH MODERNIST ... - DRUM

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