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

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Johnson, B. S. The Unfortunates. Ed. Jonathan Coe. New York: New Directions, 2007. ---. Aren’t You Rather Young to be Writing Your Memoirs? London: Hutchinson, 1973. Kafalenos, Emma. “Lingering along the Narrative Path: Extended Functions in Kafka and Henry James.” Narrative 3.2 (May 1995): 117-138. Kermode, Frank. The Sense of an Ending: Studies in the Theory of Fiction. Oxford and New York: Oxford University Press, 2000. Langacker, Ronald W. Grammar and Conceptualization. Berlin: Mouton de Gruyter, 2000. Lawrence, Karen. “In Transit: from James Joyce to Brigid Brophy.” Transcultural Joyce. Ed. Karen R. Lawrence. Cambridge, New York, and Melbourne: Cambridge University Press, 1998. 37-45. Leavis, F. R. The Great Tradition: George Eliot, Henry James, Joseph Conrad. London: Chatto and Windus, 1948. Lee, Hermione. The Novels of Virginia Woolf. New York: Holmes and Meier, 1977. Leaska, Mitchell A. The Novels of Virginia Woolf: From Beginning to End. New York: John Jay Press, 1977. ---. Virginia Woolf’s Lighthouse: A Study in Critical Method. New York: Columbia U P, 1970. London, Bette. The Appropriated Voice: Narrative Authority in Conrad, Forster, and Woolf. Ann Arbor: University of Michigan Press, 1990. Levine, Caroline. The Serious Pleasures of Suspense: Victorian Realism and Narrative Doubt. Charlottesville and London: University of Virginia Press, 327
2003. Levine, Caroline and Mario Ortiz-Robles, ed. Narrative Middles: Navigating the Nineteenth-Century British Novel. Columbus: Ohio State University Press, 2011. Lewis, Pericles. Modernism, Nationalism, and the Novel. Cambridge: Cambridge University Press, 2000. Lothe, Jakob. Conrad’s Narrative Method. Oxford: Clarendon Press, 1989. Lucas, John. “The sixties: realism and experiment.” The Cambridge History of Twentieth-Century English Literature. Ed. Laura Marcus and Peter Nicholls. Cambridge: Cambridge University Press, 2004. 545-61. Maack, Annegret. “Condordia Discors: Brigid Brophy’s In Transit.” Trans. J. Swann. Review of Contemporary Fiction 15.3 (Fall 1995): 40-45. Majumdar, Robin and Allen McLaurin, ed. Virginia Woolf: The Critical Heritage. London and Boston: Routledge and Kegan Paul, 1975. Mao, Douglas and Rebecca L. Walkowitz. “The New Modernist Studies.” PMLA 123.3 (May 2008): 737-748. McHale, Brian. Postmodernist Fiction. New York and London: Methuen, 1987. Miller, J. Hillis. “Henry James and ‘Focalization,’ or Why James Loves Gyp.” A Companion to Narrative Theory. James Phelan and Peter J. Rabinowitz, ed. Malden, Oxford, and Carlton: Blackwell, 2005. 124-135. ---. “Lord Jim: Repetition as Subversion of Organic Form.” Conrad 439-454. ---. “Narrative Middles: A Preliminary Outline.” Genre 11 (Fall 1978): 375-387. Moore, Madeline. The Short Season Between Two Silences: The Mystical and the 328
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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
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In Transit’s musical subtitles al
Page 284 and 285: they are perched between or represe
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Page 288 and 289: the chorus describe themselves as a
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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
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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 336 and 337: Political in the Novels of Virginia
Page 338 and 339: Said, Edward. Beginnings: Intention
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