- Page 1 and 2:
ABSTRACT Title of Document: BRITISH
- Page 3 and 4:
BRITISH MODERNIST NARRATIVE MIDDLES
- Page 5 and 6:
Dedication To my wife Pat, my disse
- Page 7 and 8:
Table of Contents Dedication ......
- Page 9 and 10:
necessarily after anything else, an
- Page 11 and 12:
eginning. That is, a modernist midd
- Page 13 and 14:
and Mario Ortiz-Robles have brought
- Page 15 and 16:
Princess Casamassima. The former is
- Page 17 and 18:
choice of McHale’s definition is
- Page 19 and 20:
In examining modernist middles, I w
- Page 21 and 22:
“is to overlook the other fundame
- Page 23 and 24:
evolution of capitalism strikes me
- Page 25 and 26:
spatial and temporal confines. On t
- Page 27 and 28:
narratives in Beckett’s Molloy, c
- Page 29 and 30:
Johnson mark an end to Britain’s
- Page 31 and 32:
period somewhat peripheral, a parti
- Page 33 and 34:
is oriented around endings (Jim’s
- Page 35 and 36:
eal world, yet the novel explores i
- Page 37:
Ulysses, the second half of In Tran
- Page 40 and 41:
Modernist texts may also contain mi
- Page 42 and 43:
chapters), and the end as Marlow’
- Page 44 and 45:
potentially be used to highlight ep
- Page 46 and 47:
middle) of the veracity of the Time
- Page 48 and 49:
Jim’s actions within a causal nar
- Page 50 and 51:
to Patusan midway through the novel
- Page 52 and 53:
violation of the unity of action, b
- Page 54 and 55:
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 106 and 107:
which a story unfolds, and perhaps
- 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
- Page 156 and 157:
upper rooms of the empty house only
- Page 158 and 159:
like to be up here at dusk alone ne
- Page 160 and 161:
armistice, but it follows so immedi
- Page 162 and 163:
y the narrator, allow a world unpop
- Page 164 and 165:
Furthermore, passages like this fun
- Page 166 and 167:
(“narrated monologue”) as “a
- Page 168 and 169:
Mrs. McNab and Mrs. Bast are arguab
- Page 170 and 171:
unclear whether time flows forward,
- Page 172 and 173:
conventions of modernist and tradit
- Page 174 and 175:
middle by making itself markedly di
- Page 176 and 177:
Lighthouse’s primary narrative pa
- Page 178 and 179:
served to marginalize experimental
- Page 180 and 181:
the author’s other novels. Alick
- Page 182 and 183:
himself. In an episode that resembl
- Page 184 and 185:
unity between time story time and n
- Page 186 and 187:
accept the lying perspective as par
- Page 188 and 189:
cause and which effect. Any attempt
- Page 190 and 191:
died on October, 1938” (7). Frobi
- Page 192 and 193:
middle of fundamental change; the u
- Page 194 and 195:
However, like the stories Macmann a
- Page 196 and 197:
which takes Saturnine to the edge o
- Page 198 and 199: Aspic, to thank him for his kindnes
- Page 200 and 201: Whereas Genette’s discussion of h
- Page 202 and 203: problems of the self, but instead p
- Page 204 and 205: sees in the faces. But here we can
- Page 206 and 207: narration. Frobisher has entered a
- Page 208 and 209: Frobisher is reassured both by the
- Page 210 and 211: strode on. He said, with his eyes n
- Page 212 and 213: analyze mental states from outside
- Page 214 and 215: journey up. But meaning emanates fr
- Page 216 and 217: death vision, in which life is self
- Page 218 and 219: Thus, after a tile falls from the r
- Page 220 and 221: objection to realism: yes, an objec
- Page 222 and 223: esulted in a doubling—or repetiti
- Page 224 and 225: The ending Frobisher comes to with
- Page 226 and 227: though the novel’s return to epis
- Page 228 and 229: andom order. However, each memory r
- Page 230 and 231: middle therefore randomizes the nov
- Page 232 and 233: created by a formal device that rep
- Page 234 and 235: final section resolves the scenario
- Page 236 and 237: that each of the novel’s sections
- Page 238 and 239: inadequate to me for such a narrati
- Page 240 and 241: narratives. This fundamental differ
- Page 242 and 243: turned into a thing. In fact, as Jo
- Page 244 and 245: unburden the author’s memory. How
- Page 246 and 247: Instead, the middle of The Unfortun
- Page 250 and 251: at both. This particular failure is
- Page 252 and 253: as knowing it, as he did not know o
- Page 254 and 255: had been so full-fleshed, the whole
- Page 256 and 257: had talked, Tony” (“That was th
- Page 258 and 259: epudiation of its own central moder
- Page 260 and 261: narrator/rememberer. Johnson mainta
- Page 262 and 263: etrospective, an attempt to think i
- Page 264 and 265: it, welcome it) the ball spun lazil
- Page 266 and 267: worn” 9-10). The image finds the
- Page 268 and 269: like a miracle, though he still cou
- Page 270 and 271: By contrast, when the narrator firs
- Page 272 and 273: memory: a mixture of the ordered an
- Page 274 and 275: Chapter 6: Indivisible Form, Divide
- Page 276 and 277: ecause postmodernism concerns the n
- Page 278 and 279: in the diegetic reality of the nove
- Page 280 and 281: section one LINGUISTIC LEPROSY Alle
- Page 282 and 283: In Transit’s musical subtitles al
- Page 284 and 285: they are perched between or represe
- Page 286 and 287: performative in a Butlerian sense,
- Page 288 and 289: the chorus describe themselves as a
- Page 290 and 291: lamentable incident which I am now
- Page 292 and 293: social component of thought only th
- Page 294 and 295: identity, which remains unitary and
- Page 296 and 297: not an effort to give the narrator
- Page 298 and 299:
Novelist 33). That is, Pat-the-narr
- Page 300 and 301:
primarily with classifying Pat’s
- Page 302 and 303:
now irrelevant, replaced by the pur
- Page 304 and 305:
etween reader and author. When Pat
- Page 306 and 307:
consequences for the entire world o
- Page 308 and 309:
world presented to the reader in Se
- Page 310 and 311:
of Pat’s own life, and by forgett
- Page 312 and 313:
evolutionaries find that another gr
- Page 314 and 315:
However, Brophy is not entirely don
- Page 316 and 317:
masculinity. Its manifestations are
- Page 318 and 319:
to violate. In Transit’s postmode
- Page 320 and 321:
ontological—shifts to consider de
- Page 322 and 323:
However, I would argue that we read
- Page 324 and 325:
Conclusion Modernism and narrative
- Page 326 and 327:
approximately half of the narrative
- Page 328 and 329:
little attention in the past, littl
- Page 330 and 331:
Brophy, Brigid. Don’t Never Forge
- Page 332 and 333:
1989. 162-185. ---. “Periodizing
- Page 334 and 335:
Johnson, B. S. The Unfortunates. Ed
- Page 336 and 337:
Political in the Novels of Virginia
- Page 338 and 339:
Said, Edward. Beginnings: Intention