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AELS - OP - Bachelor Thesis
Transcript of AELS - OP - Bachelor Thesis
mark passages that 'felt' like fictive interaction
find similarities between passages
categorize them 19th and 20th century British literature Advanced English Language Skills Many kinds of fictive interaction in narrative
Some also part of narrative construction
Still, narrator and characters do interact with fictive reader
second part of RQ: still to come Fictive interaction in narrative Postmodernism Modernism Psychological realism Pascual: introduced the term 'fictive interaction' Research in courtroom Prosecutor vs defense
both must convince jury of their version of the facts
turns are regulated
evokes fictive interaction Pascual Pascual, Esther. "Questions in Legal Monologues: Fictive Interaction as Argumentative Strategy in a Murder Trial." Stec Stec, Kashmiri. "Wait Till You Hear the Best Part: Fictive Interaction in Narrative." When text is written: reader not present
When text is read: author not present Fictive interaction in narrative "When authors address readers, they necessarily address a 'virtual one'" (Stec 6) Questions? Mrs Dalloway (1925) Virginia woolf Northanger Abbey (1818) Jane Austen Atonement (2001) Ian McEwan Atonement Mrs Dalloway Northanger Abbey Contains direct references to Virginia Woolf and her work Passage from Northanger Abbey as epigraph Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained. What have you been judging from? Remember the country and the age in which we live. Remember that we are English, that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you. Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known, in a country like this, where social and literary intercourse is on such a footing, where every man is surrounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? Dearest Miss Morland, what ideas have you been admitting?"
They had reached the end of the gallery, and with tears of shame she ran off to her own room.
(Austen 182) Whose word? Writer wants “to open a very small gap between character and author” (Wood, Narrating 7).
Happens when “a novelist wants us to inhabit a character’s confusion, but will not ‘correct’ that confusion, refuses to make clear what a state of nonconfusion would look like” (Narrating 7)
(Especially in Mrs Dalloway and Atonement) Evelyn was a good deal out of sorts, said Hugh, intimating by a kind of pout or swell of his very well-covered, manly, extremely handsome, perfectly upholstered body (he was almost too well dressed always, but presumably had to be, with his little job at Court) that his wife had some internal ailment, nothing serious, [...]
(Woolf 10) Dramatic irony When the (factive) reader knows something that a character doesn't know He was startlingly handsome, and there came back to her from years ago, when she was ten or eleven, the memory of a passion she’d had for him, a real crush that had lasted days. Then she confessed it to him one morning in the garden and immediately forgot about it.
(McEwan 302) Works Cited
Abrams, M.H., and Geoffrey Galt Harpam. A Glossary of Literary Terms. Ninth ed. Boston MA: Wadsworth, 2009. Print.
Austen, Jane. Northanger Abbey. UK: Penguin Books, 1994. Print.
Edmondson, Annalee. "Narrativizing Characters in Mrs. Dalloway." Journal of Modern Literature 36.1 (2012):
Fauconnier, Gilles. Mappings in Thought and Language. 1994.
Finney, Brian. "Briony's Stand against Oblivion: The Making of Fiction in Ian Mcewan's Atonement." Journal of
Modern Literature 27.2 (2004): 68-82. Print.
McEwan, Ian. Atonement. 2010.
Pascual, Esther. "Questions in Legal Monologues: Fictive Interaction as Argumentative Strategy in a
Murder Trial." Text & Talk-An Interdisciplinary Journal of Language, Discourse Communication Studies 26.3 (2006): 383-402. Print.
Stec, Kashmiri. "Wait „Til You Hear the Best Part: Fictive Interaction in Narrative." tesis de licenciatura,
Depto. de Lingüística,
Universidad de California en Berkeley, 2007. Print.
Wood, James. "How Fiction Works." Ed. Wood, James. Canada: Douglas&McIntyre Ltd., 2008. 7. Print.
Woolf, Virginia. Mrs Dalloway. 1925. Works to Be Cited D'Angelo, Kathleen. "" To Make a Novel": The Construction of a Critical
Readership in Ian Mcewan's Atonement." Studies in the Novel 41.1 (2009): 88-105. Print.
Fauconnier, Gilles. Mappings in Thought and Language. 1994.
Hite, Molly. "Tonal Cues and Uncertain Values: Affect and Ethics in
Mrs. Dalloway." Narrative 18.3 (2010): 249-75. Print. Questions "how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God?" (McEwan 325) Pascual studied the use of questions in the courtroom:
prosecutor asked questions in closing monologue to 'anticipate' Outline Introduction
Introduction to fictive interaction
Results so far
Fictive interaction in British literature
Questions Speaker imagines a scene where he/she was not present He had killed himself--but how?
Always her body went through it first, when she was told, suddenly, of an accident; her dress flamed, her body burnt. He had thrown himself from a window. Up had flashed the ground; through him, blundering, bruising, went the rusty spikes. There he lay with a thud, thud, thud in his brain, and then a suffocation of blackness.
(Woolf 131) Describing a word instead of saying it Finally he spoke the three simple words that no amount of bad art or bad faith can ever quite cheapen. She repeated them, with exactly the same slight emphasis on the second word, as though she had been the one to say them first.
(McEwan 125) RQ: In what ways can fictive interaction be expressed in narrative and how might fictive interaction reveal the author’s or narrator’s attitude towards the characters to the reader? First person narration And now I may dismiss my heroine to the sleepless couch, which is the true heroine's portion
omniscient point of view
“intrusive narrator […] who not only reports, but also comments on and evaluates the actions and motives of the characters, and sometimes expresses personal views about human life” (Abrams & Harpham 272)
Parts One, Two and Three: limited point of view
narrator who tells the story “in the third person, but stays inside the confines of what is perceived, thought, remembered, and felt by a single character (or at most by very few characters) within the story” (Abrams & Harpham 273) Atonement Northanger Abbey Mrs Dalloway stream-of-consciousness narration
outer perceptions only as they impinge on the continuous current of thought, memory., feelings, ands associations which constitute a particular observer’s total awareness. (Abrams and Harpham 273-4). Atonement: epilogue 'London, 1999' in first person point of view I’ve been thinking about my last novel, the one that should have been my first. The earliest version, January 1940, the latest, March 1999, and in between, half a dozen different drafts. The second draft, June 1947, the third . . . who cares
to know? My fifty-nine-year assignment is over. There was our crime—Lola’s, Marshall’s, mine—and from the second version onward, I set out to describe it. I’ve regarded it as my duty to disguise nothing—the names, the places, the exact circumstances—I put it all there as a matter of historical record. But as a matter of legal reality, so various editors have told me over the years, my forensic memoir could never be published while my fellow criminals were alive. You may only libel yourself and the dead.
(McEwan 232) Exclamations: same Reader is absent when author is writing
Author takes a kind of reader in mind: fictive reader Foreshadowing Narrator or character hints at what is going to happen