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

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1989. 162-185. ---. “Periodizing Modernism: Postcolonial Modernities and the Space/Time Borders of Modernist Studies.” Modernism/modernity 13.3 (2006): 425-443. ---. “Planetarity: Musing Modernist Studies.” Modernism/modernity 17.3 (Sept. 2010): 471-499. Freud, Sigmund. The Uncanny. Trans. David McLintock. New York: Penguin, 2003. Fussell, Paul. The Great War and Modern Memory. Oxford and New York: Oxford University Press, 2000 [1977]. Genette, Gérard. Narrative Discourse: An Essay in Method. Trans. Jane E. Lewin. Ithaca, NY: Cornell University Press, 1980. ---. Narrative Discourse Revisited. Trans. Jane E. Lewin. Ithaca, NY: Cornell University Press, 1990. ---. “Vraisemblance and Motivation.” Trans. David Gorman. Narrative 9.3 (Oct. 2001): 239-258. Green, Jeremy. “Rayner Heppenstall and the Politics of Cultural Memory.” Hungarian Journal of English and American Studies 5.2: 95-108. Guerard, Albert J. Conrad the Novelist. Cambridge, MA: Harvard University Press, 1958. Hampson, Robert. Cross-Cultural Encounters in Joseph Conrad’s Malay Fiction. Basingstoke and New York: Palgrave, 2000. Heppenstall, Rayner. The Intellectual Part. London: Barrie & Rockliffe, 1963. ---. The Lesser Infortune. London: Jonathan Cape, 1953. ---. Saturnine. London: Secker and Warburg, 1943. 325
Herman, David. Story Logic: Problems and Possibilities of Narrative. Lincoln: University of Nebraska Press, 2002. ---. Universal Grammar and Narrative Form. Durham and London: Duke Univeristy Press, 1995. Hopkins, Chris. “The Neglect of Brigid Brophy.” Review of Contemporary Fiction 15.3 (Fall 1995): 12-17. Humphrey, Robert. Stream of Consciousness in the Modern Novel. Berkeley, Los Angeles, and London: University of California Press, 1972 [1954]. James, Henry. The Ambassadors. Ed. Christopher Butler. Oxford: Oxford University Press, 1998. ---. The Critical Muse: Selected Literary Criticism. Ed. Roger Gard. London: Penguin, 1987. ---. The Golden Bowl. Ed. Virginia Llewellyn Smith. Oxford: Oxford University Press, 1999. Jameson, Frederic. The Political Unconscious: Narrative as a Socially Symbolic Act. Ithaca, NY: Cornell University Press, 1981. ---. A Singular Modernity. London and New York: Verso, 2012 [2002]. Jamil, S. Salina. Jamesian Centgers of Consciousness as Readers and Tellers of Stories. Lanham, New York, and Oxford: U P of America, 2001. Jensen, Meg. “Tradition and revelation: moments of being in Virginia Woolf’s major novels.” The Cambridge Companion to the Modernist Novel. Ed. Morag Shiach. Cambridge and New York: Cambridge University Press, 2007. 112- 25. 326
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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
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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 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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