The status of the narrator in Modernist fiction

Violeta Sotirova

doi:10.1515/jls-2020-2021

Abstract

Abstract This article explores hitherto unexplored complexities in the positioning of the Modernist narrator. Taking as a starting point Banfield’s ‘empty centre’ technique, the article re-evaluates the difficulties posed by this phenomenon and develops a more thorough and a sounder understanding of ‘the empty centre’. Some of the evidence for a new theory of ‘empty centre’ passages comes from pragmatics and naturally occurring discourse data. In particular, an investigation of the impersonal uses of generic pronouns, which Monika Fludernik (1993. The fictions of language and the languages of fiction: The linguistic representation of speech and consciousness. London: Routledge; 1996. Towards a natural narratology. London: Routledge) had established as key to our understanding of the technique, sheds new light on the nature of the ‘empty centre’ technique and leads to a new understanding of the status of the Modernist narrator. I propose that it is most plausible that the reader will naturalise examples of ‘the empty centre’ as stemming from the narrator. I also argue that we need to construct a new understanding of the status of the Modernist narrator which takes into account some of the central tenets of the Modernist aesthetic, those concerning subjectivity and the possibility of objectivity. Thus, what emerges from the analysis is that the self, and the narratorial figure by extension, can no longer be endowed with the power of omniscience. I will develop my theoretical explanation of ‘the empty centre’ and the positioning of the narrator in Modernist fiction with reference to a variety of examples, mainly drawn from Katherine Mansfield and Virginia Woolf.

Highlights

In an essay from 1987, Banfield identifies a peculiar narrative technique which involves consciousness presentation, but exhibits some paradoxical characteristics
Because, according to Banfield, the technique represents a physical perception only, she talks about a physical subjectivity that is both implied by the narrative language and absent at the same time
According to Banfield, the ‘empty centre’ technique typically manifests in sentences containing ‘place and time deictics, here and or their equivalents; they might contain demonstratives designating sensibilia. They would not contain those subjective elements and constructions implying the mental states of a personal subject’ (Banfield, 1987: 273), because no such subjectivity is present on stage

Summary

Introduction

In an essay from 1987, Banfield identifies a peculiar narrative technique which involves consciousness presentation, but exhibits some paradoxical characteristics. While deictic orientation from the point of view of a third person character within the narrative world is relatively unproblematic, the ‘you’ in Fludernik’s examples is not a narrative internal subjectivity that is any more definable than Banfield’s ‘empty centre’, or any more legitimately theorisable than Stanzel’s reflectorised narrator.

Results

Conclusion