Master Narratives
Richard GravilBooks.org participates in affiliate programs including Bookshop.org and the Amazon Services LLC Associates Program. We may earn a commission from qualifying purchases made through links on this page, at no additional cost to you.
Overview
Authors whose works are discussed in this collection include Sterne, Fielding, Scott, Austen, Mary Shelley, Emily Bronte, Gaskell, Dickens, George Eliot, Stoker, Meredith, Hardy, Conrad, Woolf, and Lawrence. For the most part, each of the chapters in this collaborative book focus on a single work, among them Tristram Shandy, Wuthering Heights, Bleak House, Middlemarch, Women in Love. The authors examine aspects of narrative technique which are crucial to interpretation, and which bring something new or distinctive into fiction. The introduction asks whether narrative experimentation may be driven by challenges to society's 'master narratives'- for instance, by a desire to circumvent the reader's ideological defences-or whether, in a radical model of canon-formation, such narrative innovation may be an aspect of canonicity. Contents: Introduction; How pleasant to meet Mr. Fielding: the narrator as hero in Tom Jones, W.R. Hutchings; 'Where then lies the difference?': the (ante)-postmodernity of Tristram Shandy, Jayne Lewis; Old Mortality: editor and narrator, Mary Wedd; Mathilda - who knew too much, Frederick Burwick; 'Perswasion' in Persuasion, Jane Stabler; Wuthering Heights as bifurcated novel, Frederick Burwick; Negotiating Mary Barton, Richard Gravil; Nell, Alice, Lizzie: three sisters amid the grotesque, Alan Shelston; The androgyny of Bleak House, Richard Gravil; Middlemarch and 'The Home Epic', Nicola Trott; The ghost of doubt: writing speech and language in Lord Jim, Gerard Barrett; Liking or disliking: Woolf, Conrad, Lawrence, Michael O'Neill; Index.Synopsis
Authors whose works are discussed in this collection include Sterne, Fielding, Scott, Austen, Mary Shelley, Emily Bronte, Gaskell, Dickens, George Eliot, Stoker, Meredith, Hardy, Conrad, Woolf, and Lawrence. For the most part, each of the chapters in this collaborative book focus on a single work, among them Tristram Shandy, Wuthering Heights, Bleak House, Middlemarch, Women in Love. The authors examine aspects of narrative technique which are crucial to interpretation, and which bring something new or distinctive into fiction. The introduction asks whether narrative experimentation may be driven by challenges to society's 'master narratives'- for instance, by a desire to circumvent the reader's ideological defences-or whether, in a radical model of canon-formation, such narrative innovation may be an aspect of canonicity. Contents: Introduction; How pleasant to meet Mr. Fielding: the narrator as hero in Tom Jones, W.R. Hutchings; 'Where then lies the difference?': the (ante)-postmodernity of Tristram Shandy, Jayne Lewis; Old Mortality: editor and narrator, Mary Wedd; Mathilda - who knew too much, Frederick Burwick; 'Perswasion' in Persuasion, Jane Stabler; Wuthering Heights as bifurcated novel, Frederick Burwick; Negotiating Mary Barton, Richard Gravil; Nell, Alice, Lizzie: three sisters amid the grotesque, Alan Shelston; The androgyny of Bleak House, Richard Gravil; Middlemarch and 'The Home Epic', Nicola Trott; The ghost of doubt: writing speech and language in Lord Jim, Gerard Barrett; Liking or disliking: Woolf, Conrad, Lawrence, Michael O'Neill; Index.
Booknews
In a dozen essays, English scholars from North America and Britain offer new readings of evolutionary moments in the body of the novel, and moments in the history of conscience and consciousness. Most focus on a single novel, but some look at several works of an author or trace particular features across several authors. Among the works considered are , , , and . Annotation c. Book News, Inc., Portland, OR (booknews.com)