Narrative and its nonevents: the unwritten plots that shaped Victorian realism
"In Narrative and Its Nonevents, Carra Glatt argues for the central role of non-actualized or "unwritten plots" in Victorian narrative construction. Abandoning the allegorical mode, in which characters are bound by fixed identities to reach a predetermined conclusion, and turning away...
| Autor principal: | |
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| Tipo de documento: | Electrónico Libro |
| Lenguaje: | Inglés |
| Servicio de pedido Subito: | Pedir ahora. |
| Verificar disponibilidad: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado: |
Charlottesville
University of Virginia Press
2022
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| En: | Año: 2022 |
| Colección / Revista: | Victorian literature and culture series
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| Otras palabras clave: | B
Realism in literature
B Narration (Rhetoric) B English fiction B Criticism, interpretation, etc B English fiction 19th century History and criticism |
| Acceso en línea: |
Volltext (lizenzpflichtig) |
| Parallel Edition: | No electrónico
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| 490 | 0 | |a Victorian literature and culture series | |
| 500 | |a Includes bibliographical references and index | ||
| 505 | 8 | |a Seeing shadows: the romantic underplots of Victorian realism -- Raising the veil: horror by proxy in the sensational novel -- "A quite other than self": Henry James and the proxy narrative -- Fancying the delight : hypothetical realism in The Woodlanders and Mary Barton -- Epilogue: returning Dickens to the map. | |
| 520 | |a "In Narrative and Its Nonevents, Carra Glatt argues for the central role of non-actualized or "unwritten plots" in Victorian narrative construction. Abandoning the allegorical mode, in which characters are bound by fixed identities to reach a predetermined conclusion, and turning away from classical and historical plots with outcomes already known to audiences, the realist novel of the Victorian Era is designed to simulate the openness and uncertainty of ordinary human experience. We are invested in the stories of a Crusoe or Pamela or Tom Jones in part because we can't be entirely sure how those stories will end. As Glatt demonstrates, the Victorian novel is characterized by a proliferation of possibilities"-- | ||
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