音像英语小说与散文阿米戈尼

Acknowledgements

Preface: the scope of the book and how to read it

1 Introduction: straightforward discourse and novel transactions

1.1 Literature and non/literature?

1.2 Prose

1.3 Narrative

1.4 Narrative in context: the novel, mimesis and poetics

1.5 The novel and prose narrative in literary/critical argument: formalism and old and new historicisms

1.6 Studying the novel and prose narrative: historicism, culture and rhetoric

1.7 The novel and prose narrative: from literature to intettextuality

1.8 The novel and prose narrative as forms of discourse

1.9 The novel and culture revisited: cukure as learning,self, culture, culture as a field of conflict

2 The elements of narrative analysis and the origins of the novel:

reading Jane Austens Emma and Samuel Richardsons Pamela

2.1 The novel and formalist criticism

2.2 Reading the form of narrative fiction: Jane Austens Emma

. Implied reader, real reader: narrator, implied author

2.4 Events: story and discourse

2.5 Character and point of view in Emma

2.6 Limitations of the formal approach: social spaces and voices

in narrative, from free indirect speech to social contexts

2.7 What happens in Richardsons Pamela.

2.8 First,person narration and the epistolary form:the aatised narrator, rhetoric and the narratee

2.9 The narratee and writing as an event in Pamela

2.10 Pamela, print culture and debates about genre: the familiar letter, criticism and the novel

2.11 The debate about the origins of the novel

2.12 The rise of the novel: Ian Watt and the tradition of formal realism

2.13 Contested fields of cultural discourse and the rise of the

novel: Lennard J. Davis and Michael McKeon

2.14 Gender and the rise of the novel: the domestic woman

and the production of subjectivities

2.15 Re,reading Emma: letters, standards and intertextual allusion

3 Bildung and belonging: studying nineteenth.century narrative and self/culture

3.1 The bildungsroman

3.2 Biography and autobiography in the nineteenth century

3.3 The viewpoint of youth: bildung in nineteenth,century history

3.4 Reading Jane Eyre: the critica rceto; romance and self, culture

3.5 Romantic autobiography and character classification in Jane Eyre

3.6 Space, time and subjectivity in Jane Eyre

3.7 Where does Jane Eyre belong.

3.8 Reading Samuel Bamfords Early Days: the common narrative strategies of autobiography and novel

3.9 Reality is always romantic, though the romantic is not always real: the truth of autobiography

3.10 Reading Elizabeth Gaskells The Life of Charlotte Bronte: the rhetoric of biography

3.11 Biography, gender and the public position of the woman writer: negotiating realism an oance

3.12 Reading George Eliots The Mill on the Floss: culture as incarnate history

3.13 Writing the history of unfashionable families: the workings of Eliots realism

3.14 Testing self, culture: eddication and the role of the reader in Eliots realism

4 Innovative stories and distinctive readers

4.1 The art of prose narrative

4.2 Charles Dickenss Bleak House: reading the estranging poetry of prose

4.3 Reading in context: journalism and fiction

4.4 Nuggets for the masses: newspaper stories

4.5 Reading the sacred nugget: distinctive narrative art in Jamess The Spoils of Poynton and its Preface

4.6 Jamess narration and the discriminating reader

4.7 Contesting The Future of the Novel: Henry Jamess delicate organism and H. G. Wellss right to roam

4.8 Reading H. G. Wellss Ann Veronica

4.9 The short story

4.10 Thomas Hardys The Withere A: the epical tale

4.11 Katherine Mansfields The Garden Party: the lyrical story

4.12 The experimental novel: reading for voice and consciousness in Virginia Woolfs Mrs Dalloway

4.13 Thenovelistic scope of Mrs Dalloway

4.14 Woolfs narrative experimentation in context

5 History, intertextuality and the carnivalised novel: postmodern conditions and postcolonial hybridities

5.1 Playful narratives

5.2 The novel as history, and the postmodern novel as metafiction

5.3 Midnights Children as postmodern historiographic metafiction: sniffy increty towards metanarratives

5.4 The novel as national fiction: postcolonial concerns

5.5 The discourse of Midnights Children in long cross,cultural

history: Laurence Sternes Tristram Shandy as eighteenth,century metafiction

5.6 Bakhtins carnivalised narrative: a second line of development for the novel

5.7 Camivalised narrative, postcolonialism and the debate about hybridity: Midnights Children revisked

5.8 Conclusion: long live postcolonial realism, the bildungsroman and leakage

Select bibliography and suggested further reading Index