..., 1967 . 103 -10. Zwicker , Jonathan . “Japan, 1850-1900.” Moretti 509 -20. ———. “The Long Nineteenth Century of the Japanese Novel.” Moretti 553 -95. What Kind of History Does a Theory of the Novel Require? Jonathan Arac This polemic arises from...

... . The New Annotated Sherlock Holmes: The Novels . New York : Norton , 2006 . Proust Marcel . Du côté de chez Swann . Paris : Gallimard , 1988 . Less than Kin, More than Kind BARRY McCREA, In the Company of Strangers: Family and Narrative in Dickens, Conan Doyle...

.... Such a practice calls attention to aesthetic judgment as a kind of parapolitical space whose discursivity is not derived from what the novel says about the world but rather draws attention to the kinds of judgments that literary discourse is capable of generating as a specific and regional set of utterances...

...Michael Lucey This article is in part an attempt to demonstrate Proust's interest in the sociological functioning of talk, where talk is viewed not solely as a medium for communication but also as one in which social work of various kinds is accomplished via nonsemantic features of language...

...-world literatures in the twentieth century. Markandaya's career, with its demonstrably spectacular beginning and dismal end, helps us see the kind of nationalist postures that were tacitly or explicitly expected (by those in the western and the Indian literary, academic, and publishing worlds...

... differently. Instead of linking typicality to quantitative occurrence, this essay examines how it asserts itself through a kind of representational intensity that can shift from one mode or object to another and take different forms. This intensity comes about not so much through description, or through...

... for new kinds of stories about social conflict. North and South exploits generic dissonance to encourage creative political engagement, stressing the urgency of reform but without fixed expectations about its outcome. Gaskell makes generic relocation possible by defamiliarizing both genres, exposing...

... previously been afforded, especially as that story involves the blurry edges of the modern subject. It is precisely where the novel's naturalist concern with materiality confronts a modernist preoccupation with interiority that An American Tragedy provides a crucial glimpse into the kinds of persons...

... of corollary questions: How do the forms of attention and imagining that are fostered by the extended form of the novel correspond to the attention and temporality of everyday life? How are the materiality and mobility of the book (typically a small and portable object) bound up with the kinds of object-worlds...

...Rita Barnard If, as Benedict Anderson has argued, the realist novel has a particularly close relationship to the nation, what kind of narrative form would be best suited to transnational or even global fictions? This essay proposes a few answers to this question by looking first at what Roger Ebert...

...Scott Black This essay argues that modern, realist ways of reading fail to satisfy fully their own claims about the novel as a genre self-consciously located in history. Rather, novels cycle through the kinds of narrative named by Ian Watt and Northrop Frye and show how each is necessary...

... alternative patterns of desire in narrative or to treat them as failures in relation to desire's presumed ends and objects. The work of Gilles Deleuze and Félix Guattari can be useful in rendering alternative patterns legible as such. In this essay I focus on instances of pointless overproduction, a kind...

... to be the enabling conditions of a certain kind of literary narrative and literary form. © 2010 by Novel, Inc. 2010 Works Cited Armstrong , Nancy . “Fiction in the Age of Photography.” Narrative 7 ( 1999 ): 37 –55. ———. Fiction in the Age of Photography: The Legacy of British Realism...

...Kent Puckett Henry James's The Princess Casamassima is, among other things, a novel about becoming a terrorist. What kind of past suits one to a terrorist's work? What makes this especially interesting is the fact that the novel's main character, Hyacinth Robinson, is offered as both the most...

... is evidently distinguished by a new kind of concreteness: a devotion to what Hegel called the “unendingly particular.” Such a dialectic “without synthesis” between its abstract and concrete tendencies is the very historical condition of the novel form. Contra Lukács's own later attempt to redeem a less tragic...

... death in volume 7. Just as the accident that shatters Tristram's post chaise allows him to discover the ancient pleasures of mule travel, so the disruption of narrative is designed to awaken readers to the polymorphous pleasures of older, slower kinds of reading now facing eclipse in the age...

..., in which a citizen of the past emerges living into the present, or someone survives his or her “native” historical era to become a kind of temporal exile in the present. The gothic has been characterized as the eruption of the past into the present and the past in these narratives is indeed “undead...

... to make “mistakes” (Fielding), because it is full of “lies” (Cervantes). The deep enabling doubt behind this theory (and the practice that deploys it) is whether any kind of writing can securely represent even the mere facts of a human case, and in this sense novelists are as vulnerable as historians...

... into interpretative frameworks it explicitly rejects exemplifies precisely the kind of immodesty challenged in this work. Moving between readings of criticisms of Saturday and readings of the novel itself, the essay argues that McEwan's work promotes an ethos of modesty, challenging immodest conceptions of public...