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

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social component of thought only through the variety of discourses that weave their way through Pat’s stream of consciousness. However, this does not supply the social context in which these thoughts occur, nor is this a complete account of Pat’s psyche. The identity of that psyche is rooted firmly in the stability of the narrating “I,” yet we (and, seemingly Pat as well) know little if anything about its relationship to the social environment. While the first-person narrator certainly engages with multiple discourses— the multiple languages of the transit lounge, opera from the public-address system, formal logic—these are tools the narrator uses in an attempt to understand the world and the narrator’s place in it: epistemological questions, as, for example, when the narrator uses multi-linguistic play, the cultural precendent of opera, the narrator’s own Irish heritage, and a reference to the environment of the airport to explore new possibilities of the gendered state: I even blamed opera, which I Irished and reproached as O’Pera, O’Pera. For O’Pera it was that had introduced this confusion in the very first place – by its habit of so perversely running counter to the tenor of the secondary sex characteristics and send } ing up camp castrati to a contraltitude cast (cugini cognati castrati) . . . Was I, perhaps, castrato/a? Was the truth behind my oblivion that I had no sex? (75) 285
The narrator here has access to many discourses and mixes them freely. The narrator’s consciousness is indeed multi-linguistic and multi-discursive and constantly influenced by Pat’s surroundings. But self and society are not merged. The narrator plays, actively, with the international space of the lounge and delights in the disintegration of language as a coherent, stable source of meaning. But the narrator’s identity and consciousness are not threatened by this linguistic and gender play. Identity, then, seems to be intimately bound up with the social realm, as our sense of ourselves as separate persons depends on our sense of other persons. Identity, as a sense of oneself as a coherent being, then, is in some sense constructed out of a social sense, a sense of kinship—these are other selves, I have such-and-such a relationship to these selves. But Sexshuntwo leaves identity in this realm—in transit between a sort of pure consciousness and a socially constructed role that reifies the consciousness. Identity exists both completely apart from and intimately bound with the social role. Pat’s identity depends on her social sense, but it is not determined by the roles assigned by the social realm. Instead, in this “Case,” the social realm is a source of information, a source of “facts” that the narrator (and the narrator’s narrated self) can use to learn more about the stable “I” of identity. The social status of gender and the physical status of sex are questions which the narrator’s agile, socially un-anchored consciousness can explore fluidly, safe in the certainty of the narrating “I” and its active stream of consciousness. As Karen Lawrence argues, the ungendered first-person pronoun enables a sort of gender agnosticism for both narrator and reader (Lawrence 40). The stream of consciousness that pours out from the narrator allows both narrator and reader to infer a unified 286
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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
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Jameson shows how the difference be
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genres, connected by multiple middl
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it does in Jameson’s reading. How
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text, since only a vast rupture req
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actually see Jim make the deal with
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for interpreting his own life and t
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garners an enthusiastic response fr
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circular encasement, which has the
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text’s initial questions are begi
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Chapter 2: Modernist Points of View
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it seems that the marriage plot is
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centering his novels within his pro
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singular, centered focalization—a
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inn. The lovers will return to Char
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consciousness itself seems to contr
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created, in part, by the use of mul
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epistemological problem: how do the
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observation leads immediately and i
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ineffectiveness” (Kafalenos 125).
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shall have everything’” (266).
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can to the sheer unspeakable narrat
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induce me” (277). Fanny, then, re
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and the objective world. Instead, M
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‘Sure. Nothing will. Good-night,
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It was not till many days had passe
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which a story unfolds, and perhaps
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When Amerigo arrives, Maggie’s co
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accomplish, who she will meet, what
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Chapter 3: “Time Passes”: The M
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narrative force towards modernist m
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Even as “Time Passes” serves an
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technique of modernist narrative, b
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ground of any rival solutions to Li
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summary and scene” (Genette, Narr
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Window,” and the ending section,
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presentation in “Time Passes.”
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where things happen. Events are mad
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has promised James that they will g
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For Lucio Ruotolo, however, this na
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eginning, middle, and end together
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integral to the musical and dramati
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spring from the narrative problem o
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who creates a mind for inanimate ob
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own thoughts nor that of any charac
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language, and thus subject to the c
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Lighthouse,” and narrations of th
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in so far as her presence helps the
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anthropomorphizing narrative—but
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In the initial description of summe
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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
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 248 and 249: By contrast, the second type of sec
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 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
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