Novel PracticesPub Date : 2019-01-22DOI: 10.4324/9781351323284-12
Eugene Goodheart
{"title":"Counterlives: Philip Roth in Autobiography and Fiction","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-12","DOIUrl":"https://doi.org/10.4324/9781351323284-12","url":null,"abstract":"","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114353849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Novel PracticesPub Date : 2019-01-22DOI: 10.4324/9781351323284-7
Eugene Goodheart
{"title":"Censorship and Self-Censorship in the Fiction of D. H. Lawrence","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-7","DOIUrl":"https://doi.org/10.4324/9781351323284-7","url":null,"abstract":"","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129268027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Novel PracticesPub Date : 2019-01-22DOI: 10.4324/9781351323284-5
Eugene Goodheart
{"title":"What May Knew in The Beast in the Jungle","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-5","DOIUrl":"https://doi.org/10.4324/9781351323284-5","url":null,"abstract":"","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123289985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Novel PracticesPub Date : 2019-01-22DOI: 10.4324/9781351323284-9
Eugene Goodheart
{"title":"“Sex Consciousness” and the Novel: A Room of One's Own","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-9","DOIUrl":"https://doi.org/10.4324/9781351323284-9","url":null,"abstract":"","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129560827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Novel PracticesPub Date : 2019-01-22DOI: 10.4324/9781351323284-13
Eugene Goodheart
{"title":"Four Decades of Contemporary American Fiction","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-13","DOIUrl":"https://doi.org/10.4324/9781351323284-13","url":null,"abstract":"","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115911374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Novel PracticesPub Date : 1900-01-01DOI: 10.4324/9781351323284-1
Eugene Goodheart
{"title":"“The Licensed Trespasser”: The Omniscient Narrator in Middlemarch","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-1","DOIUrl":"https://doi.org/10.4324/9781351323284-1","url":null,"abstract":"IN the age of perspectivism, in which all claims to au thority are suspect, the omniscient narrator is an archaism to be patronized when it is found in the works of the past and to be scorned when it appears in contemporary work. Omniscience is no longer an entitlement of the novelist. Sartre made the case against omniscience in his attack on Fran?ois Mauriac. \"Like most of our writers, he has tried to ignore the fact that the theory of relativity applies in full to the universe of fiction, that there is no more place for a privileged observer in a real novel than in the world of Einstein.\" In the Anglo American tradition Henry James's preoccupation with \"point of view\" both in his theory and his practice unsettled the con fidence of novelists and critics in the possibility of objective narration. For Mikhail Bakhtin, currently the most influential theorist of the novel, omniscience is the tyranny of the mono logic to which he opposes the dialogic. The novelist, in his view, refuses or should refuse authority to the voice of any single character, including the narrator. The novel is a con testation of voices, producing a polyphony that tends toward discord rather than harmony. Even the voice of the individual character is a hybrid divided against itself. Sartre's critique is motivated by an atheistic hostility to presumptions to \"divine omniscience and omnipotence,\" James's by a psychological realism that depicts felt experience, and Bakhtin's by an antiauthoritarian desire to allow all voices, especially those of the repressed, to express themselves. From their different perspectives, each of the critics identifies the omniscient narrator with inauthenticity or authoritarianism. The last significant attempt to defend omniscient or objective","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131761509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Novel PracticesPub Date : 1900-01-01DOI: 10.4324/9781351323284-4
Eugene Goodheart
{"title":"The Art of Ambivalence: The Good Soldier","authors":"Eugene Goodheart","doi":"10.4324/9781351323284-4","DOIUrl":"https://doi.org/10.4324/9781351323284-4","url":null,"abstract":"IN his biography of Ford Madox Ford, Max Saunders tells us that \"apart from a passing reference to having known about?and disapproved of?The Interpretation of Dreams, there is no record of Ford's having read Freud.\" Saunders notes, however, that the influence of Freud's ideas about the Oedipus complex is probable. There is, I am sure, no evidence that Freud read Ford, so we cannot speak of influence in either direction. Whatever Ford thought of Freud or Freud might have thought of Ford, we can speak of an affinity be tween them. Many of Freud's influential ideas, more or less developed, were already circulating, in various versions, during and before the time the master came on the scene to give them their masterly formulations. Lawrence, who began writing Sons and Lovers before he knew anything of Freud, strengthened its oedipal theme when Frieda intro duced him to Freud's ideas. Ford's imaginative concerns anticipate those of Freud, as Sondra Stang has pointed out in the connection she makes between The Good Soldier and the two late essays, Beyond the Pleasure Principle and Civilization and Its Discontents, published five and fifteen years respectively after The Good Soldier (1915). Dowell, the narrator of the novel, has been contemned by critics who fault him for na?vet? and obtuseness in his mar riage and friendships. And yet how can we not be impressed with the range, incisiveness, and eloquence of his speculations about civilization and the passions? His language at times brings Freud to mind. He wonders, for instance, how it is possible that he does not know whether a remark Leonora makes is that of a harlot or a decent woman and moves im mediately to generalize his ignorance to \"one\"?that is to everyone. \"Yet, if one doesn't know that at this hour and day,","PeriodicalId":445244,"journal":{"name":"Novel Practices","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114440155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}