Abstract
A critical commonplace regards James's "scenic method" as a transposition of techniques from theater. In The Spoils of Poynton, this essay argues, James finds a scenic practice specific to the novel, in which scenes are structured by temporally unfolding relations rather than the spatiotemporal consistency to which theater is limited. Thus liberated, scenes in Spoils propose relations between people, places, and things not predicated on legal ownership. Dispossession enables the actions of women in the novel to achieve the purposiveness without purpose attributed to beautiful things and to suggest an aesthetics of the scene in its autonomy from narrative.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
