... Archer, The Portrait of a Lady , and the longer arc of James's career but of psychological transparency within the nineteenth-century novel more broadly and, especially, the arrangement of what Alex Woloch calls its “character-space.” Copyright © 2017 by Duke University Press 2017 novel theory...

.... First, I examine the relationship between the movements of characters and their attendant social reputations, tracking the way in which hearsay and opinion intersect narrative spaces in the novel. I then move to the level of internal, bodily registration—to the physiology and sensation of rumor—and...

... such unnecessary lives as those that populate naturalist fiction. Hardy's characters exceed any assigned social position, yet the surplus that shapes their stories is not just demographic; it is a surplus of words and meanings, a deliberate crowding of figural space that compromises the narrator's...

... Dedlock to parliamentary debates about social reform. There is “rumor,” which “persists in flitting and chattering about town” (690). There is also the space of the city itself, which links characters like Charley and Gridley by mere proxim- ity. And crucially, there are systems of kinship, the most...

...Jonathan Elmer In 1826, Mary Shelley published The Last Man and James Fenimore Cooper published The Last of the Mohicans . Cooper's novel uses the themes of mourning and extinction as a way of imagining the sequential unfolding in space-time that twenty years later would be labeled Manifest Destiny...

... public sphere as long as they forgot they had bodies. That is to say, they were allowed to appear in the public space only as ‘‘an idea which brings us to the central problem of this article: the self as an abstraction—that is, the ‘‘beautiful soul At her best, Aysel can be characterized as a stoic...

... mystery of desire and deny the satisfying conclusion of revealing its putative truth. The Female Quixote constructs a space that escapes the instrumental understanding of desire that subtends realistic writing and reminds readers and critics to think twice before interpreting desire according to its rules...

... localized in hall ways that behave like characters. The factory tools and architectural spaces populating An American Tragedy , each rendered as a form of mediation, reveal Dreiser's text to hold a more important place in the formal history of the novel and of the novel's relationship to media than it has...

... references back to conspiracy theories andtotalitarian cults even as it surpasses the organizational complexity of Ghostwritten. Cloud Atlas, a series of nested novellas linked by different textual media, travels across time and space through a series of characters with comet-shaped birthmarks from the...

... daily domestic life. Ian Watt has most forcibly articulated the equation between novel characters' “private experience” and domestic space: “[T]he two go together—we get inside their minds as well as inside their houses” ( 175 ). Is this always true? Does going inside minds always mean going inside...

... same scarce conversational space. The stark battle lines that, during the heyday of the Edinburgh literary scene, characterized journal divisions, political ones, even questions of linguistic fidelity to the Scots dialect may well have been what taught Hogg to conceptualize fiction as a site where...

... space for major characters to be presented precisely as major. To these we might add the current efflorescence of interest in so-called "it-narrativesM-an eighteenth-century fictional subgenre that attributes articulacy and thence "character" to fictional objects as much as to people. But, as...

... . Whitaker Joseph . An Almanac for the Year of Our Lord 1907 . Whitaker , 1907 . Woloch Alex . The One vs. the Many: Minor Characters and the Space of the Protagonist in the Novel . Princeton : Princeton UP , 2003 . Woolf Virginia . The Essays of Virginia Woolf . Ed. McNeillie...

... both literary studies and narrative theory. Woloch's discussion of "character-space" allows for a different histo- ry of the novel and a new definition of characterization itself. In this...

... and written from a liminal space, whereas the others were written in English and outside the liminal space of the prison, but it had a different relationship to realism. Whether they followed a linear unfolding of the plot around a central character, as in Weep Not, Child and The River Between , or...

...- tify and explain a central, unacknowledged paradox about modernist space: while there is an abundance of topographical details in so many modernist novels, these details often have the effect of disorienting readers (14). As Bulson explains: “[C]arefully placing dozens, sometimes hundreds, of...

... critics have missed the significance of character in the Ephesiaca . But that significance is there, and De Temmerman finds moral ambiguity in the characterization of the protagonists in Xenophon's novel as well as in Chariton's. Achilles Tatius was the most ironic of the Greek novelists, self...

..., characters granted less complexity—or less space and attention—are liable to seem reduced or distorted. “‘I will never desert Mr. Micawber.’ There is Mrs. Micawber,” observes E. M. Forster by way of example; “she says she won't desert Mr. Micawber, she doesn't, and there she is” ( 68 ). Such instantly...

... many of Stoker's readers "per- ceived as characterizing late-Victorian Britain" (115). But the characters who op- pose Dracula also learn new means by which to regenerate racial dominance. In an effort to explain this regeneration, my focus here is on the alliance in the novel of a construction...

... Lukasik’s more general discussion of how the perception of dis- tinction came to define the social spaces of the new republic, and the remainder of the book explores how this discursive tradition continued to shape literary production as the nineteenth century progressed. Addressing the seduction...