東華大學圖書館 |

Modernist Intimacy : = Free Indirect Style from Austen to Coetzee.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Modernist Intimacy :/
其他題名:	Free Indirect Style from Austen to Coetzee.
作者:	Whiting, Kezia.
面頁冊數:	1 online resource (276 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Contained By:	Dissertations Abstracts International83-12A.
標題:	Literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29167482click for full text (PQDT)
ISBN:	9798819394540

Modernist Intimacy : = Free Indirect Style from Austen to Coetzee.
Whiting, Kezia.

Modernist Intimacy :Free Indirect Style from Austen to Coetzee. - 1 online resource (276 pages)

Source: Dissertations Abstracts International, Volume: 83-12, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 2022.

Includes bibliographical references

As one of the founding techniques of nineteenth-century realism, free indirect style explodes many of the assumptions we make about who we are and how we should be represented in fiction. Freud's influence on modernist literature precipitates the significant difference between the technique's deployment in the nineteenth and early twentieth centuries, with modernists wielding free indirect style to respond to Freud's extraordinary writings detailing our otherness to ourselves. In engaging with Freud, modernist free indirect style dispels the myth of the subject's self-mastery by challenging the binary oppositions of subjectivity and objectivity and interiority and exteriority. Reading Beckett alongside Freud's first articulations of association not only demonstrates this debt, but re-visions Beckett as an exponent not of so-called modernist atomization and alienation, but of relation, in all its complexity. Beckett's writing aligns the ruses of thinking Freud reveals with the conventions of narrative, showing the inherent literariness of Freud's articulation of subjectivity. Each chapter explores the inextricability of narration from character, and the implications of this enmeshment for our understanding of subjectivity. Individual chapters explore the effects of free indirect style through topics such as the gaze, objects, gender, and disability. If the subject is constituted from the outside, then its engagement in social dynamics, including how it sees itself being seen, is integral to understanding modern narration. The writers I focus on-Freud, Beckett, Joyce, Bowen, Mansfield, Coetzee, and Austen-all experiment with the way style freights social issues.Free indirect style as it was practiced and developed in the early twentieth century is not simply a combination of character and narration, but the expression of the impartible relationship between the two. This enmeshment of character and narration is evident in Austen's experimentations with it as an effect of a character insistent upon propriety, even in her thoughts. In Joyce, the technique reflects the character's incorporation of social mores, calling attention to their formation and explosion of the subject. Joyce's free indirect style colludes with the protagonist, allowing their performance of self to stand even as it calls it into question. Bowen's free indirect style, like Joyce's, articulates the enmeshment of interiority and exteriority in the subject, while highlighting the persistent remains of subjectivity even through its effacement. Mansfield too uses free indirect style to allude to the performances we all make every day of and for ourselves as well as others. Coetzee's self-reflexive critique of the role of the author in forcing the character to speak uses the assumptions we make about the subjectivity of free indirect style to misdirect our attention from the impersonation of the narration and its distance from the character. And in turning back to Austen, I suggest that Mansfield Park shows the narration alternatively probing and deferring to character through free indirect style. Austen's novel thus already contains in miniature the scope of free indirect style I outline in the twentieth century: its ability to represent the ideological forces that constitute us, to collude with character's self-representations, and even to question its own representationality.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798819394540Subjects--Topical Terms:

537498
Literature.
Subjects--Index Terms:

ModernismIndex Terms--Genre/Form:

542853
Electronic books.

Modernist Intimacy : = Free Indirect Style from Austen to Coetzee.
LDR:04726nmm a2200385K 4500 001 2361685
005 20231027101254.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798819394540
035 $a (MiAaPQ)AAI29167482
035 $a AAI29167482
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Whiting, Kezia. $3 3702372
245 1 0 $a Modernist Intimacy : $b Free Indirect Style from Austen to Coetzee.
264 0 $c 2022
300 $a 1 online resource (276 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
500 $a Advisor: Valente, Joseph.
502 $a Thesis (Ph.D.)--State University of New York at Buffalo, 2022.
504 $a Includes bibliographical references
520 $a As one of the founding techniques of nineteenth-century realism, free indirect style explodes many of the assumptions we make about who we are and how we should be represented in fiction. Freud's influence on modernist literature precipitates the significant difference between the technique's deployment in the nineteenth and early twentieth centuries, with modernists wielding free indirect style to respond to Freud's extraordinary writings detailing our otherness to ourselves. In engaging with Freud, modernist free indirect style dispels the myth of the subject's self-mastery by challenging the binary oppositions of subjectivity and objectivity and interiority and exteriority. Reading Beckett alongside Freud's first articulations of association not only demonstrates this debt, but re-visions Beckett as an exponent not of so-called modernist atomization and alienation, but of relation, in all its complexity. Beckett's writing aligns the ruses of thinking Freud reveals with the conventions of narrative, showing the inherent literariness of Freud's articulation of subjectivity. Each chapter explores the inextricability of narration from character, and the implications of this enmeshment for our understanding of subjectivity. Individual chapters explore the effects of free indirect style through topics such as the gaze, objects, gender, and disability. If the subject is constituted from the outside, then its engagement in social dynamics, including how it sees itself being seen, is integral to understanding modern narration. The writers I focus on-Freud, Beckett, Joyce, Bowen, Mansfield, Coetzee, and Austen-all experiment with the way style freights social issues.Free indirect style as it was practiced and developed in the early twentieth century is not simply a combination of character and narration, but the expression of the impartible relationship between the two. This enmeshment of character and narration is evident in Austen's experimentations with it as an effect of a character insistent upon propriety, even in her thoughts. In Joyce, the technique reflects the character's incorporation of social mores, calling attention to their formation and explosion of the subject. Joyce's free indirect style colludes with the protagonist, allowing their performance of self to stand even as it calls it into question. Bowen's free indirect style, like Joyce's, articulates the enmeshment of interiority and exteriority in the subject, while highlighting the persistent remains of subjectivity even through its effacement. Mansfield too uses free indirect style to allude to the performances we all make every day of and for ourselves as well as others. Coetzee's self-reflexive critique of the role of the author in forcing the character to speak uses the assumptions we make about the subjectivity of free indirect style to misdirect our attention from the impersonation of the narration and its distance from the character. And in turning back to Austen, I suggest that Mansfield Park shows the narration alternatively probing and deferring to character through free indirect style. Austen's novel thus already contains in miniature the scope of free indirect style I outline in the twentieth century: its ability to represent the ideological forces that constitute us, to collude with character's self-representations, and even to question its own representationality.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Literature. $3 537498
650 4 $a Modern literature. $3 2122750
650 4 $a Aesthetics. $3 523036
653 $a Modernism
653 $a Free indirect style
653 $a Austen
653 $a Coetzee
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0401
690 $a 0298
690 $a 0650
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a State University of New York at Buffalo. $b English. $3 1023701
773 0 $t Dissertations Abstracts International $g 83-12A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29167482 $z click for full text (PQDT)