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• W244515300 abstract "Although Henry James's tales of literary life form a sufficiently precise corpus within his fictional canon, they have never received amount of critical attention usually bestowed on his longer narrative works. There is, however, one noted exception in Figure in Carpet, which has been widely discussed from many theoretical perspectives and, more specifically, from positions that could be subsumed under general heading of a poetics of literary relativism.(1) James's writer-hero narratives can be set apart from rest of his production on evidence of two different types: first, on authorial intention explicitly stated both in his notebooks and prefaces,(2) and second, on thematic features and technical options of tales themselves, that is to say, on consistent presentation of literary artist in conflict--at least metaphorically--with philistine society and on marked tendency toward relaying fictional world to reader by means of a first-person marginal narrator-witness whose capacity for tackling this task is more often than not placed in doubt (Alvarez Amoros 10). So appreciated by James in his tales and so abhorred in his novels, it is precisely technical choice of first-person narrator-witness that acts here as textual instrument of a much wider phenomenon--the relativization of fictional reality. This phenomenon can be looked upon as novelistic counterpart of a general movement toward relativism characterizing cultural context in which Modernist revolution took place at beginning of twentieth century.(3) In course of some thirty years, nineteenth-century common-sense assumptions about workings of human mind, laws of physics, mechanisms of language and actuality of surrounding world were called into question by Freudian psychology, Einsteinian physics, Saussurean linguistics and phenomenological philosophy. But it is Russian philosopher Mikhail Bakhtin who can be said to have inaugurated an era of relativism in field of humanities and, more particularly, in study of narrative genre. In line with Bakhtin's thought, relativization of fictional reality is only one aspect of' general philosophical principle according to which self is not a substantive notion but a relational one.(4) Therefore, self cannot occur in isolation: its existence is only conceivable in terms of its relation to other; or, expressed differently, it is impossible to comprehend essence of self unless we count on inevitable interposition of other.(5) This conception of self as relation and not substance is fundamental in Bakhtin's philosophy of literature and most useful to describe methods of perception and representation of reality in Modernist narrative. The emphasis on otherness does away with all solipsistic views of individuality and abolishes Newtonian principle that there is a universal flame of reference, shared by everybody, whereby we apprehend world. The indispensability of other in construction of self originates phenomena usually referred to by means of memorable Bakhtinian coinages that have been translated into English as (Holquist 30), surplus of seeing (Clark and Holquist 71), transgredience (Clark and Holquist 79) and exotopy (Todorov 99). All of them underline same basic principle: namely, that self can only be known from an external perspective, i.e., in conjunction with idea of otherness. The concept of outsideness and its generating force, dialogue between self and other, leads to formulation of law of placement, according to which everything is from a unique position and, consequently, the meaning of whatever is observed is shaped by place from which it is perceived (Holquist, Dialogism 21). This essential need for a specifically placed observer has immense repercussions on questions of narrative point of view, since it implies rejection of pantopic and panchronic perspectives in favor of those limited by a concrete field of vision. …" @default.
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• W244515300 date "1997-06-22" @default.
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• W244515300 title "Relativism and the Expression of Value Judgments in Henry James's The Next Time" @default.
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