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Exhuming the Narrator in 'The Buried Giant': Genre and Intertextual Inference in the Novels of Kazuo Ishiguro
No full textThis thesis takes the critical response generated by Kazuo Ishiguro’s The Buried Giant, his most recent novel, as an invitation to re-examine the overall literary ‘experiment’ of his body of work. Ishiguro’s novels, regardless of their genre, message, or cultural moment, create experiences in which the reader engages with each narrator as if they were a human being. His attention to stylistic and formal detail foregrounds our awareness of his art in each text, and much scholarship focuses on overarching discussions of memory, identity, and history; however, this all relies upon the empathy that the texts generate between the character-narrator and the reader. The commitment to mimesis over the synthetic or thematic dimensions of the text, to draw on the theoretical model of character presented by James Phelan, often remains covert throughout each novel, but character mimesis nevertheless acts as both an accessible entry point to the novels, and a consistent touchstone throughout and across the texts.
Upon the publication of The Buried Giant, Ishiguro was met with criticism and dissatisfaction from numerous reviewers and scholars, despite general public appreciation of the novel. At the heart of this dissatisfaction lies a sense that Ishiguro’s foray into fantasy lacks the affective power of his iconic artlessness. Specifically, The Buried Giant appears to lack a central, consistent, human voice to hold together the synthetic and thematic work that the text performs.
This thesis presents an argument that finds within The Buried Giant the presence of a first-person voice that, rather than diverging from each of Ishiguro’s previous narrators, takes his experimentation with the first-person voice to a new extreme. This reading allows me to locate The Buried Giant more squarely back in conversation with the rest of Ishiguro’s oeuvre, by identifying a covert but vital thread that exists beneath the shifts in genre, thematic and synthetic choices, and context of the novel. I explore the establishment of character mimesis across Ishiguro’s body of work, how this feeds into both the dissatisfaction with The Buried Giant and my reconciliation of the novel to his earlier works, and finally how The Buried Giant and its shift to both a covert narrative voice and the genre of fantasy provides an opportunity to re-examine Ishiguro’s use of non-mimetic structures and generic conventions in his first six novels around the central, mimetic narrator.
As suggested, this approach draws significantly on the theory of character presented by James Phelan, which allows for comprehensive consideration of diverse textual functions that occur both throughout a given text and across several texts of widely varying genres and perspectives. I touch on notions of unreliability, memory and subjective history, trauma, and identity performance, each of which are central to many pieces of scholarship on Ishiguro’s novels; however, the aim of this project is to swiftly push beyond readings that prioritise synthetic and thematic dimensions of the novels to reach the heart of how the voices who capture their own stories completely entrance Ishiguro’s readership
A Broadening of Prospects: Female Progression in Austen and Eliot
No full textAusten and Eliot register the turbulence and transformation of their respective historic moments in the portrayal of a young heroine on the cusp of adulthood with a number of potential paths ahead of her. The heroines, like their societies, are caught between old and new as they seek to acknowledge the ties that bind them to the past and simultaneously create a future of their own. This dilemma reveals the nineteenth-century novel’s concerns of the individual’s ability to grow while being enmeshed in a network of relationships, and the place of the past in an increasingly unstable future.
Beginning with Emma (1815) and The Mill on the Floss (1860), and concluding with a comparison of Persuasion (1817) and Middlemarch (1871), this thesis tracks Austen and Eliot’s depiction of female development which moves from a focus on the centrality of the childhood home, and in particular the heroine’s relationship with her father, to a narrative which ends on a more conscious note of ambiguity and broadening prospects. Emma and Mill both depict heroines who find their future in their past. Emma and Maggie develop and assert their own agency, but their circumstances and experiences of childhood bind them to their site of origin.
Conversely, both Austen and Eliot’s later works enact a deliberate loosening of the hold the heroine’s childhood has on her, and Anne and Dorothea end up in very different places to where they began. They both reject their position as part of the rural landed gentry to instead gain entry into a more dynamic and inclusive community. This personal transition is accompanied by a more explicit delineation of the evolving socio-political landscape, an increase in the heroine’s mobility and fluidity, and an ending that frustrates a sense of stable closure in preference for one of more open possibility. Thus, so far from being read simply as ‘marriage plots’ Austen and Eliot subversively depict the young woman’s changing position and prospects as a matter of national importance
"Where the Nightmares End and Real-Life Begins": Radical Unreliability in Sydney Bridge Upside Down
No full textThe unreliable narrator is one of the most contested concepts in narrative theory. While critical debates have been heated, they have tended to foreground that the problem of the unreliable narrator is epistemological rather than ontological: it is agreed that narrators can be unreliable in their accounts, but not how the unreliable narrator ought to be defined, nor even how readers can be expected in all certainty to find a narration unreliable. As the wider critical discourse has looked to tighten its collective understanding of what constitutes unreliability and how readers understand and negotiate unreliable narration, previously divided views have begun to be reconciled on the understanding that, rather than deferring to either an implied author or reader, textual signals themselves might be better understood as the most fundamental markers of unreliability. Consequently, taxonomies of unreliable narration based on exacting textual evidence have been developed and are now widely held as indispensable.
This thesis argues that while such taxonomies do indeed bring greater interpretive clarity to instances of unreliable narration, they also risk the assumption that with the right critical apparatus in place, even the most challenging unreliable narrators can, in the end, be reliably read. Countering the assumption are rare but telling examples of narrators whose reliability the reader might have reason to suspect, but whose unreliability cannot be reliably or precisely ascertained. With recourse to David Ballantyne’s Sydney Bridge Upside Down, this thesis proposes new terminological distinctions to account for instances of such radical unreliability: namely the ‘unsecured narrator’, whose account is therefore an ‘insecure narration’.
Ballantyne’s novel, published in 1968, has not received sustained critical attention to date, though it has been acclaimed by a small number of influential critics and writers in Ballantyne’s native New Zealand. This thesis argues that the novel’s long history of neglect is tied to the complexities of its radically unreliable narration. With social realism the dominant mode in New Zealand literature from the 1930s to the 60s, the obligation of the writer to accurately render—and critique—local conditions with mimetic accuracy was considered paramount. Even those critics to have argued the novel’s importance often maintain, largely or in part, a social realist view of the book’s significance. Doing so, however, fundamentally elides the complexity of the novel’s narrative machinery and to deeply ironic ends: for, this thesis argues, Sydney Bridge Upside Down deploys its insecure narration as a complaint against the limits of social realism practised in New Zealand. Its unsecured narrator, Harry Baird, slyly overhauls realist reference points with overtly Gothic markers and cunning temporal dislocations to thus turn social realism’s desire for social critique back on itself via radical unreliability
Regeneration of Empire
No full textThis thesis focuses on H. Rider Haggard’s fictional use of philanthropic colonisation to illustrate his vision of agriculturally regenerating the British Empire. Haggard’s panacea for poverty, unemployment, urban crowding, and tenuous control of imperial holdings relies on returning people back to the land. Retraining people to become farmers is the solution to all these issues; philanthropic colonisation is the mode through which his vision would come to fruition. Between 1896-1919, Haggard’s depictions of Empire shift from semi-stable to precarious—a sign of his public work as an agricultural reformer influencing his fiction. I argue in this thesis that focusing on three novels, The Wizard (1896), The Ghost Kings (1908), and When the World Shook (1919), written during Haggard’s work as an agricultural reformer, provides a scope in which to watch Haggard’s agrarian vision develop, climax, and fade. I analyse Haggard’s use of philanthropic colonisation to reflect the desired virtues of his agrarian vision as well as the charitable endeavours which expand or prolong the Empire’s reach.
Chapter one, “‘The Rider Haggard of the New Crusade:’ Philanthropy and Declining Civilisations,” traces the degradation of Haggard’s hopes to regenerate the Empire through philanthropic colonisation. In The Ghost Kings, Haggard uses Rachel’s charity to extend the Empire and to demonstrate the effect one individual’s virtue can make in saving or destroying a civilisation; in When the World Shook, Haggard shows the depth of imperial corruption through the decay of Christian missions. Through Arbuthnot and Oro, Haggard struggles to understand the fate of the Empire; using both characters to grasp the concept of civilisation, Haggard concludes that although the Empire has serious flaws, it is ultimately worth trying to save.
Chapter two, “Zealot, Renegade, and Reformer: Haggard’s Vision for the Empire,” uses Gerald Monsman’s idea of Haggard as a “heretic in disguise” to look at how Haggard utilises Christian missionary characters to propagate ideas of imperial regeneration. The move between zealot, renegade, and reformer character types reveals Haggard’s developing sense—from the late 1890s through to 1919—that the Empire needs to be rejuvenated.
Chapter three, “The Role of Condescension in Interracial Friendship,” explores how Haggard’s vision of a rebirth for the Empire is endangered by interracial friendships. Friendship strips away the prescribed roles given to both coloniser and native, allowing for something more intimate to develop. Thus, any interaction between a white and black person was socially scripted—language borrowed from philanthropic condescension. It is the act of condescension that enables interaction between a coloniser and native; only when deviating from prescribed roles does friendship become a possibility
Uncertain Credit: Melville's Affective Economies
No full textDespite taking place in putatively “lawless” settings, Melville’s maritime fiction maps complex economies of obligation: characters draw up contracts, extend credit, and broker promissory exchanges for goods among themselves, in spite of the absence of any state or legal authority which would enforce their agreements and thereby guarantee the speculative values they call into being. Instead of being underwritten by the law, these contractual relations are characterised by their affective conditions of possibility. In these works, transacting business with strangers in mobile and itinerant spaces requires characters to develop ways of reading the character and creditworthiness of others in order to suppress suspicion and install confidence in its place. Taking “Benito Cereno” (1855) and The Confidence-Man (1857) as its key texts, this thesis tracks these economies of obligation as they emerge in and around Melville’s maritime fictions, which solicit the credit and trust of their readers while continually revising and renegotiating the terms on which that credit is to be extended. By interpolating spurious or broken contracts between characters into the structure of their narratives, these texts foreground the unstable or even illegible terms of the contract which literary texts make with their readers
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Improbable Realism: Coincidence As Realist Technique From Fielding To Hardy
Get PDFImprobable Realism theorizes the relationship between literary realism and probability, arguing that improbable events such as coincidence frequently facilitate the representational aims of the realist project in the nineteenth century. Uniting historicist and formalist approaches to the novel, this dissertation examines how four important authors in the realist canon-Fielding, Scott, Dickens, and Hardy-harness coincidence as a narrative mechanism in their representation of particular social milieus. As statistically unlikely encounters that defy the reader's expectations of the everyday, coincidences have long been regarded by critics as antagonistic to realism. This critical disdain for coincidence, however, is unwarranted because it too readily applies Aristotelian aesthetic principles to narratives that work in fundamentally different ways from those Aristotle analyzes. Aristotle's exclusion of improbable events from well-constructed plots is grounded in his philosophical idea that accidental events are beyond knowledge, yet in modernity such events became important sites for the production of knowledge about life in the world. This importance is illustrated in the way that many early novels in the eighteenth century use coincidental events to think through problems of agency. Improbable Realism demonstrates that coincidence became an important narrative device for nineteenthcentury authors because improbable encounters generate opportunities for novels to represent complex relationships between the social base and individual agency. Chapter One uses Fielding's Tom Jones as a test case for examining the historical and theoretical issues surrounding coincidence, arguing that the narrator's rhetorical framing of coincidental events marks an important contribution to the emergence of the realist mode. Through readings of "The Two Drovers," Redgauntlet, and The Bride of Lammermoor, Chapter Two demonstrates that Scott frequently harnessed the competing interpretations that coincidences elicit in his representation of historical particularity. Chapter Three considers Dickens's treatment of coincidence, arguing that it enables him in Martin Chuzzlewit to represent and historicize selfishness as a product of the increasingly mediated nature of Victorian social relations. Chapter Four analyzes the importance of coincidence to the form of Hardy's novels, linking its function to Hardy's historicist habit of mind through readings of A Pair of Blue Eyes and The Return of the Native
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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