Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Represented Perception: A Study in Narrative Style.
London and New York: Routledge.īrinton, L. The Epistolary Novel: Representations of Consciousness. Making the World Safe for Narratology: A Reply to Dorrit Cohn. Imagining the Penitentiary: Fiction and the Architecture of the Mind in Eighteenth-Century England. London and New York: Routledge.īender, J. Germanisch-Romanische Monatsschrift 4: 597–606.īanfield, A. Le Style Indirect en Français Moderne II. Germanisch-Romanische Monatsschrift 4: 549–556. Cambridge: Cambridge University Press.īally, C. Stanford: Stanford University Press.Īusten, J. Virtue’s Fault: Correspondences in Eighteenth-Century British and French Women’s Fiction. Transactions of the Philological Society 92 (1): 55–88.Īlliston, A. From Empathetic Deixis to Empathetic Narrative: Stylisation and (De-)Subjectivisation as Processes of Language Change. This process is experimental and the keywords may be updated as the learning algorithm improves.Īdamson, S. These keywords were added by machine and not by the authors. Through particular attention to Emma, Bray shows how Austen’s style challenges the existence of this figure, and the wider concept of omniscience.
This technique is introduced and defined, and the consequences of its prevalence in Austen’s fiction for the concept of the figure of ‘the omniscient narrator’ considered.
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Bray argues against those critics who have posited the existence of a single, totalising perspective in her writing, demonstrating instead that even those passages which appear to be monologic on closer inspection often contain a variety of subjective points of view, both individual and collective, through the stylistic technique known as free indirect discourse. This chapter sets out a key theme of the book: the flexibility and ambiguity of point of view in Jane Austen’s fiction.
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