Henry James and the poetics of duplicity by Dennis Tredy, Annick Duperray, Adrian Harding

By Dennis Tredy, Annick Duperray, Adrian Harding

Henry James and the Poetics of Duplicity goals to improve the sector of stories at the lifestyles and paintings of Henry James via totally exploring the author's use of duplicity, one of many key literary and rhetorical techniques in the author's huge and notorious arsenal of thoughts of 'ambiguity'. the gathering brings jointly essays by means of either lengthy verified and newer Jamesian students from 11 diversified international locations, the collective paintings of whom, via this booklet, extra complements our take hold of of the ever-elusive literary variety of Henry James. The prefatory component of this quantity presents a common evaluation of the myriad makes use of of 'duplicity' within the writings of Henry James. The accrued essays are then divided into 5 sections, each one delivering an in-depth research of a specific use of duplicity as a rhetorical procedure. the 1st 3 sections specialize in duplicitous units hired inside of James' works of fiction - together with the author's usually underhanded use of undisclosed literary resources ('Duplicitous Subtexts'), his staging of characters who depend on subterfuge and outright mendacity ('Duplicitous Characters'), and his construction of doubles and dopplegangers - one other key connotation of the time period 'duplicity' - either inside of a unmarried paintings and all through his literary profession ('Duplicitous Representation'). the 2 ultimate sections then concentration the poetics of duplicity hired in works of non-fiction by means of James, together with his autobiographies and his stories of alternative authors, in addition to in his own writings and correspondence. This comprises James' guileful use of duplicity in his illustration of himself, specific realization being paid to James' past due works of self-assessment ('Duplicitous Self-Representation'), in addition to in his checks of different writers in his studies or of definite locations in his shuttle writing ('Duplicitous Judgements'). Henry James and the Poetics of Duplicity could hence be a superb asset to students of James in any respect degrees, from the coed grappling with James' literary sleight of hand for the 1st time, to experts within the box of James who've lengthy studied the masterful paintings of James' literary trickery

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In this idea of a “charged consciousness,” in the inner thrust and third dimension of his characters, James constantly doubles with the Bard. As early as 1864 he had defined the psychological novelist as one who exercised “scrutiny, in fiction, of motive generally,” as the action had to rest, “not only exclusively, but what is more to the point, avowedly, upon the temperament, nature, constitution, instincts” of one’s characters (LC1 591). In “The Art of Fiction” (1884), he insisted that “A psychological reason is, to my imagination, an object adorably pictorial […].

In The Turn of the Screw, the “crisis”, “the great pinch” (TS 79) for the governess and Mrs. Grose occurred when they had to look for Flora near the pond, a search described as “a plunge into the hideous obscure” (80) concluded in the governess’s manuscript by Miles’s ambiguous ending. Whatever the similarities between the general structures of the two stories, there are in reality two main differences between them. James’s first transformation has been to leave out the father of the two orphans, and to change Florence Montgomery’s omniscient narrator for the governess’s point of view, thus bringing this frantic character to the fore with her sickly obsessions of supposed apparitions.

Baton Rouge: Louisiana State University Press, 1991. Todorov, Tzvetan. ” Introduction to Tales/Nouvelles. Paris: Bilingue Aubier Flamarion, 1969. 9-43. Wilson, James D. Walter Pater’s Influence on Modern Fiction: Henry James and James Joyce. Montréal: Concordia University Press, 1981. CHAPTER TWO SHAKESPEAREAN VOICES IN HENRY JAMES SERGIO PEROSA I. In his late story “The Birthplace” (1903), Henry James dramatizes the plight of the guardian of the house of the Bard—never mentioned, though recognizably Shakespeare: “the early home of the supreme poet, the Mecca of the English-speaking race” (CTHJ XI 405).

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