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• W1489307588 abstract "Alan Palmer's cognitive narratology has already rehabilitated thought report (also called psycho-narration [Cohn]) as a sophisticated and flexible technique for the representation of fictional consciousness, including intermental thought: joint. group, shared or collective thought. Palmer argues that intermental thought, representation of communal thinking (Fictional Minds 218), possesses different powers than intramental thought, individual thinking. A key contention, that social minds work by means of thoughts visible to others (in real and fictional worlds), shifts the focus of cognitive narratology from an internalist to an externalist perspective. Thomas Hardy's fiction presents a useful test case for Palmer's theorizing because Hardy employs thought report more often than any other mode of representation of consciousness. In Hardy's major fiction, the intermental thinking of groups represents social norms distributed among minor characters, observers, nosy neighbors, and members of rural choruses. It is as hard for individual characters to keep secrets from these groups as it is for them to divulge the contents of their own minds to their closest companions. Thought report, the dominant mode for representation of consciousness in Far From the Madding Crowd is not limited to a narrator's straightforward description of characters' thoughts. In Hardy's work, it as often reports major characters' conditions of ignorance, unknowing, or failure to apprehend, as it clarifies mood states and recognized motives. Hardy shows individual, intramental thought to be blind and sometimes delusional. Bathsheba does not know her own mind as she considers the various attractions and shortcomings of her three suitors; moved by impulsive desires, she remains nescient, a favorite term of Hardy's for his unknowing characters. While Hardy's version of internal thought (the zone of introspection, private desires, and individual memory) vouches for characters' unwitting responses to the impulses of the feelings and whims of the moment, his representation of external thought posits a working intersubjectivity that embodies the public mind. The tensions and contradictions of situated identity, in Palmer's term, often lie at the heart of Hardy's ironic plotting. His communities often arrive at shared opinions, through intermental thought, but the narrator also mocks these groups for not noticing at first opportunity what they will later decide was obvious all along. Hardy's self-unknowing protagonists exist in fictional worlds where their behavior rarely stays private, and many of the coincidences in Hardy's fiction operate to reveal secrets. His pervasive imagery of figures glimpsed through windows or observed by passers-by coexists with plot devices of private miscommunication--failed disclosures and lost letters. These features of Hardy's world-making suggest a universe run along the lines of the Panopticon, but without an eye of God in the central watchtower. Hardy's Darwinian convictions and Spencerian influences show not only in his agnosticism about an all-knowing God, bur also in his persistent representation of the groups arrayed around his individuals. In the absence of a judging God, someone is still watching, choosing, judging. Hardy renders social worlds and the pressures they bring to bear on his protagonists as a consequential element of environment: the Hardy protagonist, no matter how obscure or isolated, can never entirely escape the judgments of the tribe. …" @default.
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• W1489307588 date "2011-06-22" @default.
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• W1489307588 title "Response to Alan Palmer" @default.
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