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• W329249912 abstract "Received opinion about novel, in part at least, affirms that it grew up in response to an intense interest in lives of individuals. It was a genre of eponymic protagonists (Robinson Crusoe, Pamela, Tom Jones, Humphrey Clinker, Emma, Jane Eyre, David Copperfield ...) that, for all its rendering of intricate dynamics of social interaction, steadily evolved techniques to satisfy an ever-increasing need to know what goes on in hidden depths of singular individuals. If there are historical reasons for this narrative privileging of individual, it is also true that Elizabethan and Jacobean drama had its own eponymic repertoire (Ralph Roister Doister, Dr. Faustus, Bussy d'Ambois, Volpone, Hamlet ...), which in turn echoed Greek tragedians (Antigone, Lysystrada, Medea, Agamemnon ...) and epic poets (Odysseus, Aeneas, Beowulf). So it may well be that there is a human universal operating here, and, therefore it is unsurprising that theorists of narrative would reflect this bias. But this makes Alan Palmer's work all more valuable, since it starts from demonstrable premise that when we think about how people think, we actually think about a lot more than we think we're thinking. As limitation of our understanding has quite naturally been reflected in traditional terms and distinctions of narratology, Palmer aims to enlarge our analytical toolkit to accommodate how we actually think about characters in fiction (which would include how we think about how characters think about thinking of their fellow characters). The project of his current work is to extend revisionist approach to fictional minds initiated in his first book to include what he terms thought. This is thinking we do collectively. It is a kind of external thinking of a shared that is stored with a set of attitudes, assumptions, knowledge--what Dolezel might call its encyclopedia--that persists through time and is deployed when two or more are thinking together. If Palmer's polemical edge is somewhat muted in this second phase of his work, he is nonetheless determined to put concept of social minds and complex relationship between intra- and activity at heart of narrative theory. Whether or not we should all ultimately agree to do this, Palmer's challenge is in itself potentially very productive. In my view, key overriding question is: What kind of leverage would narrative theory gain from such an enlargement at its heart? And my response falls roughly under two headings: descriptive (what is nature and scope of a fictional social mind?) and interpretive (how does recognizing it affect determination of meaning?). I'll start with a question under descriptive heading: Is intermental mind a mind? I take term flat from Forster's famous and much disputed distinction between and round characters. I ask because this seems to be way Palmer is using term when he refers to the of Middlemarch. This is of a highly select stratum of Middlemarch society consisting of Mrs. Cadwallader, Rector's wife, and [a] small group of gentry (Eliot, cited by Palmer). As such it is indeed a mind, which can be depended on to think and feel same thoughts and feelings in same way it has always thought and always will into foreseeable future. Yet, by many signs, readers are prompted to think of Middlemarch as a town and would therefore assume, following Ryan's principle of minimal departure (48-60), that, like other towns, actual social of Middlemarch must be a ferociously busy with many overlapping sub-minds, distinguished by class or generation or profession or gender, many of which cohabit in some minds, many of which in others, and so on. Moreover, Palmer not only acknowledges this (as novel progresses, reader becomes aware that there are several different Middlemarch minds), but ably addresses its full complexity when he sets out his typology of units and minds. …" @default.
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• W329249912 date "2011-06-22" @default.
• W329249912 modified "2023-09-26" @default.
• W329249912 title "A Question of Leverage: A Response to Alan Palmer's Social Minds" @default.
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