Henry James’s late style in the House of Fiction metaphor and The Golden Bowl elicits a dual reading practice demanding both formal analysis that traces the dematerialization of objects in the fictional world and a reifying attitude that permits these objects a material presence around which scenes are constructed. At key moments, consciousness is simultaneously metaphorized as an object and theatricalized as a scene in which the conscious character interacts with the original object-metaphor. If the materiality and even figurality of these objects are unstable, it is in this phenomenal instability that these moments’ affective intensity originates.


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