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

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Brophy, Brigid. Don’t Never Forget: Collected views and reviews. New York, Chicago, and San Francisco: Holt, Reinehart and Winston, 1966. ---. In Transit: An Heroi-Cyclic Novel. Chicago: Dalkey Archive, 2002. ---. Prancing Novelist: A Defence of Fiction in the Form of a Critical Biography in Praise of Ronald Firbank. New York: Barnes & Noble Books, 1973. Bruss, Paul S. “Marlow’s Interview with Stein: The Implications of the Metaphor.” Studies in the Novel 5.4 (Winter 1973): 491-503 Bucknell, J. G. Rayner Heppenstall: A Critical Study. Champaign and London: Dalkey Archive, 2007. Butler, Judith. “Critically Queer.” GLQ 1.1 (1993): 17-32. Calinescu, Matei. Five Faces of Modernity. Durham: Duke University Press, 1987. Campbell, Sarah. “Saying ‘Nothing’ and Meaning ‘Everything’ in The Golden Bowl.” Arizona Quarterly 67.2 (Summer 2011): 101-125. Caughie, Pamela L. Virginia Woolf & Postmodernism: Literature in Quest & Question of Itself. Urbana and Chicago: University of Illinois Press, 1991. ---. “Wo(o)lfish Academics.” The Journal of the Midwest Modern Language Association 37.2 (Spring 2004): 69-80. Cixous, Hélène. “Grande-Bretagne: Langage et regard dans le roman experimental.” Le Monde 18 May 1967, literature supplement: 7. Coe, Jonathan. Like a Fiery Elephant: The Story of B. S. Johnson. New York: Continuum, 2005. Chu, Patricia E. Race, Nationalism and the State in British and American Modernism. Cambridge: Cambridge University Press, 2006. 323
Croft, William and D. Alan Cruse. Cognitive Linguistics. Cambridge: Cambridge University Press, 2004. Cohen, Scott A. “ ‘Get Out!’: Empire Migration and Human Traffic in Lord Jim.” Novel: A Forum in Fiction 37 (Summer 2003): 374-97. Cohn, Dorrit. “ ‘First Shock of Complete Perception’: The Opening Episode of The Golden Bowl, Volume 2.” Henry James Review 22 (2001): 1-9. ---. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Princeton, NJ: Princeton University Press, 1978. Conrad, Joseph. Lord Jim. Ed. Thomas C. Moser. New York and London: Norton, 1996. Cuddon, J. A. The Penguin Dictionary of Literary Terms and Literary Theory. Fourth Ed. Rev. C. E. Preston. London: Penguin, 1999. DuPlessis, Rachel Blau. Writing beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers. Bloomington: Indiana University Press, 1985. Freedman, Jonathan. “What Maggie Knew: Game Theory, The Golden Bowl, and the Possibilities of Aesthetic Knowledge.” The Cambridge Quarterly 37.1 (2008): 98-113. Freedman, Ralph. The Lyrical Novel: Studies in Hermann Hesse, André Gide, and Virginia Woolf. Princeton, NJ: Princeton University Press, 1970 Friedman, Susan Stanford. “Lyric Subversion of Narrative in Women’s Writing: Virginia Woolf and the Tyranny of the Plot.” Reading Narrative: Form, Ethics, Ideology. Ed. James Phelan. Columbus: Ohio State University Press, 324
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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
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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
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 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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