Narratability itself. . . demands some form of breech, some space of anxiety and desire into which to inscribe itself. Marianne Hirsch
“[t]he only effect I ardently long to produce by my writings, is that those who read them should be better able to imagine and to feel the pains and joys of those who differ from themselves in everything but the broad fact of being struggling erring human creatures” George Eliot to Charles Bray, 5 July 1859 Letters 3, 111
This course is designed as an introduction to the novel and to narrative theory in a trajectory loosely inscribed from the late 18th to the mid19th century, beginning with Richardson’s Pamela and culminating in George Eliot’s extraordinary and exemplary Middlemarch. These several novels propose both an epistemology—what we know—as well as an affective sensibility, or a structure of feeling, and we might question their purpose: to amuse, to entertain, certainly, but to educate, to compel, to convince us of a certain understanding of the world. As well, the course will look at the purchase of contemporary critical investments upon the act of reading itself or how reading is inflected through different models of critical and theoretical discourse: how narrative economies shape and determine the nature of our experience or what we can know of our experience; how narrative determines a subject "self" and how these selves are then transected by race, gender, class, and other social and political determinants; how novels “police” or form a surveillance economy; how narratives manage the less obvious and sublimated worlds of desire and the body's disruptions; how narratives negotiate the grotesque, the spectacular, and the sensational; and finally, how these variously constituted needs and desires become constructions of “textual knowledge”.
“[t]he only effect I ardently long to produce by my writings, is that those who read them should be better able to imagine and to feel the pains and joys of those who differ from themselves in everything but the broad fact of being struggling erring human creatures” George Eliot to Charles Bray, 5 July 1859 Letters 3, 111
This course is designed as an introduction to the novel and to narrative theory in a trajectory loosely inscribed from the late 18th to the mid19th century, beginning with Richardson’s Pamela and culminating in George Eliot’s extraordinary and exemplary Middlemarch. These several novels propose both an epistemology—what we know—as well as an affective sensibility, or a structure of feeling, and we might question their purpose: to amuse, to entertain, certainly, but to educate, to compel, to convince us of a certain understanding of the world. As well, the course will look at the purchase of contemporary critical investments upon the act of reading itself or how reading is inflected through different models of critical and theoretical discourse: how narrative economies shape and determine the nature of our experience or what we can know of our experience; how narrative determines a subject "self" and how these selves are then transected by race, gender, class, and other social and political determinants; how novels “police” or form a surveillance economy; how narratives manage the less obvious and sublimated worlds of desire and the body's disruptions; how narratives negotiate the grotesque, the spectacular, and the sensational; and finally, how these variously constituted needs and desires become constructions of “textual knowledge”.
- Teacher: Debora Sherman