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

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observation leads immediately and indisputably to predefined narratives. To Charlotte, however, the bowl is an object with its own beauty, tied not to the general narratives she dismisses as superstitions, but to the particular relations between herself, Maggie, and Amerigo. For the Prince, we act our parts within a defined narrative—if the bowl is cracked, we do not buy it, and we know what will happen if we do. For Charlotte, we act according to our desires, our means, and our interpretation not of general signs, but of the unspoken relations between individuals. At this early transition, James is already defining contrasting and gendered concepts of narrative. These concepts of narrative, and not the characters of Maggie and Amerigo, or the archetypal figures of the Prince and Princess, are what truly define the two Books of the novel. And these Books themselves are defined by the novel’s middle, just as their theories are initially put forth in this earlier transition. There is so much packed inside of the absent middle and the chapters that surround it, that it is worth thinking about the function of each of these elements in terms of the narrative as a whole. Emma Kafalenos has produced, for her readings of The Ambassadors and Kafka’s “Before the Law,” a useful distillation of Vladimir Propp’s narrative functions, devised for an analysis of Russian fairy tales, as they apply generally to traditional narratives. In brief, Kafalenos/Propp’s functions are changes in the narrative situation, each brought about by an actant. In a sense, all functions are narrative middles, because they move us from one narrative state to another—the two states making up a beginning and an ending. For Propp, however, functions do not stand alone to make a narrative. A complete narrative sequence takes us from one state of equilibrium to another by means of several functions. Kafalenos 83
adapts a total of eleven functions; out of these eleven, six (marked by a star) are mandatory for the completion of a narrative sequence, while the middle seven are undertaking by a single character, the C-actant: *A (or a) disruptive event (or reevaluation of a situation) B request that someone alleviate A (or a) *C decision by C-actant to attempt to alleviate A (or a) *C’ C-actant’s initial act to alleviate A (or a) D C-actant is tested E C-actant responds to test F C-actant acquires empowerment G C-actant arrives at the place, or time, for H *H C-actant’s primary action to alleviate A (or a) *I (or I neg ) success (or failure) of H *K equilibrium (Kafalenos 119-120) In Kafalenos’s reading of The Ambassadors, the reader is forced to constantly reevaluate the functions of the narrative, as the primary narrative sequence evolves from one involving external action (the rescue of Chad Newsome) to one concerned with Strether’s personal growth. What emerges is a narrative that is modernist in at least two senses: it is incomplete (that is, we do not reach function K, but stop at function F), and it is inwardly focused. The result is a set of narrative actions that are “resonant in psychic impressions but utterly ineffectual in altering the external world” and thus “characteristic responses of modern man’s ironic reflections on his own 84
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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
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 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
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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
Page 246 and 247:
Instead, the middle of The Unfortun
Page 248 and 249:
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
Page 258 and 259:
epudiation of its own central moder
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narrator/rememberer. Johnson mainta
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etrospective, an attempt to think i
Page 264 and 265:
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
Page 270 and 271:
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
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not an effort to give the narrator
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Novelist 33). That is, Pat-the-narr
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primarily with classifying Pat’s
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now irrelevant, replaced by the pur
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etween reader and author. When Pat
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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
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masculinity. Its manifestations are
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to violate. In Transit’s postmode
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ontological—shifts to consider de
Page 322 and 323:
However, I would argue that we read
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Conclusion Modernism and narrative
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approximately half of the narrative
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little attention in the past, littl
Page 330 and 331:
Brophy, Brigid. Don’t Never Forge
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1989. 162-185. ---. “Periodizing
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Johnson, B. S. The Unfortunates. Ed
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Political in the Novels of Virginia
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Said, Edward. Beginnings: Intention
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