Reading Novels

Notes

261 Notes Introduction 1. See Nathalie Albou and Françoise Rio, Lectures méthodiques (Paris: Ellipses, 1995). 2. Umberto Eco, Six Walks in the Fictional Woods (Cambridge, Mass.: Harvard University Press, 1994), 10. 3. See Michael McKeon, The Origins of the English Novel (1987) (London: Radius, 1988), 26–28. 4. Jacques Derrida, Limited Inc. (Paris: Galilée, 1990), 27. 5. Michael Riffaterre, Fictional Truth (Baltimore: Johns Hopkins University Press, 1990), 29. 6. See J. A. Downie, “Mary Davys’s ‘Probable Feign’d Stories,’” EighteenthCentury Fiction 12, nos. 2–3 (January 2000): 310–26. See also Dorrit Cohn, The Distinction of Fiction (Baltimore: Johns Hopkins University Press, 1999), 12. Cohn points out that the term fiction is also used to mean “lies” or “abstractions .” 7. Gérard Genette makes a useful distinction between constitutive literariness (works written as literature) and conditional literariness, which we accord certain texts, but which can always be withdrawn. Similarly, some texts are written as novels, some are conditionally called novels. See Genette’s Fiction and Diction (1991), trans. Catherine Porter (Ithaca: Cornell University Press, 1993), vii. 8. A synchronic theory looks at something (such as language or art) as it appears at one time: it provides a kind of cross-section. This can be contrasted with a diachronic theory, which is historical and looks at a thing as it changes through time. 9. Italo Calvino, If on a Winter’s Night a Traveler (1979), trans. William Weaver (San Diego: Harvest Books, 1981), 5. 10. Manfred Jahn, “Frames, Preferences and the Reading of Third-Person Narratives : Towards a Cognitive Narratology,” Poetics Today 18, no. 4 (winter 1997): 441–68. notes to pages 5–10 262 11. Oulipo Laboratory, trans. Harry Mathews and Iain White (London: Atlas Press, 1995), x. 12. See Jean Molino, “Pour une théorie sémiologique du style,” in Qu’est-ce que le style, ed. Georges Molinié and Pierre Cahneé (Paris: PUF, 1994), 215–20. 13. These are guidelines, not objective divisions. The category of “period” is often open to question, and there are many literary works whose authors are not known. 14. Michael Riffaterre, Text Production (1979), trans. Terese Lyons (New York: Columbia University Press, 1983), 2. 15. As Patrick Charaudeau points out, it can still function quite adequately within a semantics-based grammar. See Charaudeau, Grammaire du sens et de l’expression (Paris: Hachette, 1992), 4. 16. One model has been the helpful combination of stylistic and rhetorical analysis in Catherine Fromilhague and A. Sandier-Chateau, Introduction à l’analyse stylistique (Paris: Dunod, 1996). See also Fromilhague, Les Figures de style (Paris: Nathan, 1995); and Patrick Bacry, Les Figures de style (Paris: Belin, 1992). 17. Surviving: The Uncollected Writing of Henry Green, ed. Matthew York (London : Chatto and Windus, 1992), 92. 18. Helen Vendler, The Art of Shakespeare’s Sonnets (Cambridge, Mass.: Harvard University Press, 1998), xvii. 19. Gustave Flaubert, Sentimental Education (1869), trans. Robert Baldick (Harmondsworth, Middlesex, England: Penguin Books, 1964), 36, 61. 20. Ian Watt’s The Rise of the Novel (1957) is a classic statement of this view for the English novel. The same view underlies Georg Lukács’s The Theory of the Novel (1920). See Michael McKeon, “Ian Watt’s Rise of the Novel within the Tradition of the Rise of the Novel,” Eighteenth-Century Fiction 12, nos. 2–3 (January 2000): 253–76. 21. See Denis Donoghue, The Practice of Reading (New Haven: Yale University Press, 1998), 54–79. 22. Derek Attridge, “Closing Statement: Linguistics and Poetics in Retrospect,” in The Linguistics of Writing (Manchester: Manchester University Press, 1987), 25. 23. Ford Madox Ford, “Henry James, A Critical Study,” in The Ford Madox Ford Reader, ed. Sondra J. Stang (London: Grafton Books, 1987), 195. 24. James Phelan, “What Do We Owe Texts? Respect, Irreverence, or Nothing at All?” Critical Inquiry 25, no. 5 (summer 1999): 782. 25. Mieke Bal, Narratology: Introduction to the Theory of Narrative (1985), 2nd ed. (Toronto: University of Toronto Press, 1997), 13. 26. See John Sutherland, Victorian Fiction: Writers, Publishers, Readers (Basingstoke, Hampshire, England: Macmillan, 1995), ix. 27. Jorge Luis Borges, “Pierre Menard, Author of the Quixote,” in Labyrinths, ed. Donald A. Yates and James E. Irby (1964) (Harmondsworth, England: Penguin Books, 1970), 66. 28. McKeon, “Ian Watt’s Rise of the Novel within the Tradition of the Rise of the Novel,” 253. notes to pages 11–22 263 29. See Jean Ricardou, cited in Yves Reuter’s valuable and...