The novel

Jesse Matz

Victorian writers, it seemed, used their novels to moralize or to

idealize, when their priorities ought to have been aesthetic or more
truly realistic! Real life and ne perceptions alike evaded them. Their
narrators were(implausibly omniscient, their descriptions too dull, their
concerns too conventional) Their plors began and ended too simply
and too neatly - predictable crises giving way to easy closure, typically
in marcinge or in death. Sad, limitations, inherited by the roderas,
found them pith no way to re ect modern tires. LModerity had changed
everything. [bringing global war, urban chaos, revolurionary
technology, sexual freedom; the (hovel inherited by the moderns,
however, seemed essentially traditional € slow, staid, set, and so
unable to match the ( us;) the bewilderment, the excitement that now
de ned modern life. Therefore the moderns tried to "make it peg by
trading the novel's regular forms for «xperimental foxms of ux,
(perplexity) openness, skepticism, freedom, and horros. They replaced
omniscience with xed or fallible perspectives, broke their chapters
into fragments, made sex explicit, and dissolved their sentences into
the streams and ows of interior psychic life. Time and space
dissolved as well, as did any frich that the world's appearances could
re ect its realiries, or that "objecrive" truths exisced. Indeed, the
moderns went as far as to question reality itself. Whereas the novels of
the past had taken too much for granted, the ction of the future would
question all forms of belief, perception, and judgment. It wold open
itself always to her ways of seeing and representing the world.
The charactaristics of victorian and modem literature:
*Victorian writers:
- They write their novels to teach moral lessons or to make some thing
perfect.
- There narrator know every thing, they were unlimited.
- They are too simple as in predictable and they home easy closure typically
in marriage or in death.
Novels
-The none inherited by the victoricing seems Asst essentially traditional,
slow, unadventunes, set. asicksha blacter mertchethe ex.
- Their concéms too convintional.
colonized
-Social distances betucon men, women, Lord, servanti was a huge topic at
this time.

modern literature writers:

-open ending
-Global wa _ sexual fredom
technology revolution
- ux - > constantly changing
- confusion
- exitmont excitement
- exp experemental formof changing , buzzelling , dairing -
- freedome speaking u i bragin. life, marriage, women, men.
-every thing uns questened, rople had daunter, bout
-Horrors,> which became one of the thomes.
- Replaced the unlimited Narator with xed prespectives perspectives.
- Their chapters were Broken into fragments.
- They talk about 'sex openly no longer tabu.
- Truth is subjective depends on where you are in the word.
- The ction will question all forms of belief, perception and Jodg ment.
-open to now ways of seeing and representing the world.
- Social distances between man, women, colonized, Lord and servant
became less.
P216

Derail mean psychological derail, and Flaubert was one of the

rst writers to devote a large portion of the ctional record to
the inner life of consciousness, crafting a ctional form thar
could meld novelistic discourse with the human mind.

P18
From ..

P18
Modernity meant thange - a perpetual departure from all readition, a
fascination always with the new, a hunger for the future rather chan the
past.
P219
Rather, they take truth to be a (elative thing) contingent upon
circumstances, changing with time and place,
Truth became "subjective": relarive perspectives ruled out objective
styles of seeing and speaking, debunking the faith chat knowledge or
judgment could be free of bias, motive, or error. This shift from the
objective to the subjecrive took place most prominently in the rejection
of rhird-person omniscient harntion.
P220
In any case this subjectiviry was an aspect of the modern novel's close
attention to individual human psychology, the
"movement inward" that was perhaps its möst
symptomatic feature, "Consciousness" is the modern novel's signarure
eld of play, not only because of the modern writer's interest in
personal and subjective experi-ence, but in response to what new
discovecies in psychology had revealed abour the workings of the
human mind. Empirical asychology and nevchoanalusic found mental
life to be more chaotic, unreasonable, atavistic, and divided than
people had suspected. Whereas common sense might have had faith in
a mind ruled by reason and deliberate intentions, modern psychology
made it ever more clear that it was but a ux of sensations and
perceptions, dissolving from one occasion to the nest, and Juled (if
ruled at all) by unconscious desires not always available to conscious
aware-nesS.)

P224
(whenever technologically change causes (impatience with
traditional styles of representation and results in self-consciously
fragmented, introspective, and di cult forms of writing!