Theory of the Novel HKU 2021 Dashboard

Description

The novel has been one of the most important cultural forms of the past two hundred years. Yet in contrast to poetry and drama, the distinctive formal qualities of the novel have been difficult to define. What is a novel? This course will survey the ways that theorists have sought to understand the novel’s development and its unique form. We will begin with critical accounts of the novel’s rise in the eighteenth century. Why did the novel emerge at this moment, and what is its relationship to other literary and non-literary forms, like the romance and the newspaper? We will then think about the form of the novel and how theorists offer various accounts of its formal structure and its relationship to the world it represents. We will conclude the semester by looking to postcolonial approaches to the novel. This course will focus on the British novel, and we will think about these theories in relationship to the Victorian novel, George Eliot’s Middlemarch.

Galleries, Timelines, and Maps

Blog entry
Posted by Chloe Chin on Wednesday, March 17, 2021 - 05:23

‘That is a dreadful imprisonment,’ said Will, impetuously.

‘No, don’t think that,’ said Dorothea. ‘I have no longings.’

He did not speak, but she replied to some change in his expression. ‘I mean, for myself. Except that I should like not to have so much more than my share without doing anything for others. But I have a belief of my own, and it comforts me.’

‘What is that?’ said Will, rather jealous of the belief.

‘That by desiring what is perfectly good, even when we don’t quite know what it is and cannot do what we would, we are part of the divine power against evil—widening the skirts of light and making the struggle with darkness narrower.’

‘That is a beautiful mysticism—it is a—‘...

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Blog entry
Posted by Ka Chan on Tuesday, March 16, 2021 - 23:43

Passage pertaining to my discussion: 

Passage from Book Four, Chapter 42

“But the resolved submission did come; and when the house was still, and she knew that it was near the time when Mr. Casaubon habitually went to rest, she opened her door gently and stood outside in the darkness waiting for his coming up-stairs with a light in his hand. If he did not come soon she thought that she would go down and even risk incurring another pang. She would never again expect anything else. But she did hear the library door open, and slowly the light advanced up the staircase without noise from the footsteps on the carpet.” (427)

Question: How does the passage reflect the power dynamic in the Casaubon’s' marriage? 

Eliot presents the Casaubon’s marriage as a struggle, albeit a predictable one. Upon Dorothea’s disillusionment in Rome, she feels that the...

more
Blog entry
Posted by Kwong Leung on Tuesday, March 16, 2021 - 07:55

Although characters in Middlemarch have or are motivated by deep desire, they cannot satisfy it in real lives. To what extent can the opposition between desire and reality be reconciled?

 

Passage from Book 5, Chapter 47:

“Still he called himself stupid now for not foreseeing that it would be impossible for him to look towards Dorothea—nay, that she might feel his coming an impertinence. There was no delivering himself from his cage, however; and Will found his places and looked at his book as if he had been a schoolmistress, feeling that the morning service had never been so immeasurably long before, that he was utterly ridiculous, out of temper, and miserable. This was what a man got by worshipping the sight of a woman!” (472-3)

 

     Will Ladislaw goes to Lowick Church to glimpse Dorothea, who, upon seeing him, turns pale and merely bows to him. He then realises that trying to catch a glimpse of her is a grave, stupid mistake, even...

more
Blog entry
Posted by Renee Poon on Wednesday, March 3, 2021 - 11:11

“we are all of us imaginative in some form or other, for images are the brood of desire; and poor old Featherstone, who laughed much at the way in which others cajoled themselves, did not escape the fellowship of illusion. In writing the programme for his burial he certainly did not make clear to himself that his...

more
Blog entry
Posted by Jessica Valdez on Wednesday, March 3, 2021 - 02:30
By Chin Cheuk Yue Chloe
“But Dorothea was strangely quiet—not immediately indignant as she had been on a like occasion in Rome. And the cause lay deep. She was no longer struggling against the perception of facts, but adjusting herself to their clearest perception; and now when she looked steadily at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one tract where duty became tenderness.”
 
(Chapter 37)
 
What does the serial novel, Middlemarch, do to change the readers’...
more
Blog entry
Posted by Nimaya Harris on Tuesday, March 2, 2021 - 22:50

“But Dorothea was strangely quiet – not immediately indignant as she has been on a like occasion in Rome. And the cause lay deep. She was no longer struggling against the perception of facts, but adjusting herself to their clearest perception; and now when she looked at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one track where duty became tenderness.” (400) 

Both Dorothea and Casaubon are caught up in pursuing their own idealistic and ambitious goals for their lives. What does this passage suggest about Dorothea’s reckoning of her husband’s unfulfilled potential and how does this affect her perception on her own ideals?

Many of the characters in Middlemarch grapple with the shortfalls in their lives, where their expectations and perceptions of the future and self are unable to be materialised in reality. Thus leading to their disappointment and dissatisfaction due to a...

more
Blog entry
Posted by Hiu Wong on Tuesday, March 2, 2021 - 22:35

There were intervals in which she could sit perfectly still, enjoying the outer stillness and the subdued light. The red fire with its gently audible movement seemed like a solemn existence calmly independent of the petty passions, the imbecile desires, the straining after worthless uncertainties, which were daily moving her contempt. Mary was fond of her own thoughts, and could amuse herself well sitting in twilight with her hands in her lap; for, having early had strong reason to believe that things were not likely to be arranged for her peculiar satisfaction, she wasted no time in astonishment and annoyance at that fact. And she had already come to take life very much as a comedy in which she had a proud, nay, a generous resolution not to act the mean or treacherous part. (Ch32)

Question: To what extent can a character escape from the social web?

The...

more
Blog entry
Posted by Kwong Leung on Tuesday, March 2, 2021 - 09:26

Even though Middlemarch is described as a web, its residents are secretly paranoid and often do not form truly intimate connections with each other. How are we to understand Middlemarchers’ paranoia?

 

Passage from Book 4, Chapter 37:

“Poor Mr Casaubon felt (and must not we, being impartial, feel with him a little?) that no man had juster cause for disgust and suspicion than he. Young Ladislaw, he was sure, meant to defy and annoy him, meant to win Dorothea’s confidence and sow her mind with disrespect, and perhaps aversion, towards her husband” (375).

 

     The above passage describes Mr Casaubon’s discontent with Ladislaw after receiving a letter from him, in which Ladislaw declares that nothing can restrain him in his choosing where to live.

     Mr Casaubon assumes himself to be fully justified to suspect Ladislaw due to the latter’s visiting Dorothea and possibly instigating conflicts between him and Dorothea, even though Mr Casaubon...

more
Blog entry
Posted by Ho Cheung on Tuesday, February 23, 2021 - 18:45

Excerpt from Book III Chapter 28:

‘[T]here was the stifling oppression of that gentlewoman’s world, where everything was done for her and none asked for her aid ... Marriage, which was to bring guidance into worthy and imperative occupation, had not yet freed her from the gentlewoman’s oppressive liberty: it had not even filled her leisure with the ruminant joy of unchecked tenderness. Her blooming full-pulsed youth stood there in a moral imprisonment which made itself one with the chill, colorless, narrowed landscape, with the shrunken furniture, the never-read books, and the ghostly stag in a pale fantastic world that seemed to be vanishing from the daylight.’ (274)

Question: 

What does this passage suggest about Dorothea’s pre-marital expectations and subsequent disillusionment with her marriage, and how are such ideas expressed?

...

more
Blog entry
Posted by Man Lee on Tuesday, February 23, 2021 - 12:25

How does Eliot develop multiple characters at the same time within the limited narrative structure of the novel? Using Fred Vincy as an example.

The narrative structure of the novel is limited: within each chapter only so many plot events can be told and a handful of characters developed. Within the few chapters that make up this week’s reading, Eliot manages to flesh out multiple characters like Fred, Dorothea, Lydgate, Rosamond etc. How does she manage to do this, when she generally focuses on one to two main characters per chapter?

Two different kinds of narrative exist within Middlemarch, in which every character has closely-knit relations with others. The first is the 3rd person narrative from the narrator’s perspective, the second a social narrative which develops the character from interactions with society and members in it. Taking Fred Vincy for example, at the beginning of Book 3 Eliot centers on plot events related to Fred and...

more

Pages

Individual Entries

Blog entry
Posted by Chloe Chin on Wednesday, March 17, 2021 - 05:23

‘That is a dreadful imprisonment,’ said Will, impetuously.

‘No, don’t think that,’ said Dorothea. ‘I have no longings.’

He did not speak, but she replied to some change in his expression. ‘I mean, for myself. Except that I should like not to have so much more than my share without doing anything for others. But I have a belief of my own, and it comforts me.’

‘What is that?’ said Will, rather jealous of the belief.

‘That by desiring what is perfectly good, even when we don’t quite know what it is and cannot do what we would, we are part of the divine power against evil—widening the skirts of light and making the struggle with darkness narrower.’

‘That is a beautiful mysticism—it is a—‘...

more
Blog entry
Posted by Ka Chan on Tuesday, March 16, 2021 - 23:43

Passage pertaining to my discussion: 

Passage from Book Four, Chapter 42

“But the resolved submission did come; and when the house was still, and she knew that it was near the time when Mr. Casaubon habitually went to rest, she opened her door gently and stood outside in the darkness waiting for his coming up-stairs with a light in his hand. If he did not come soon she thought that she would go down and even risk incurring another pang. She would never again expect anything else. But she did hear the library door open, and slowly the light advanced up the staircase without noise from the footsteps on the carpet.” (427)

Question: How does the passage reflect the power dynamic in the Casaubon’s' marriage? 

Eliot presents the Casaubon’s marriage as a struggle, albeit a predictable one. Upon Dorothea’s disillusionment in Rome, she feels that the...

more
Blog entry
Posted by Kwong Leung on Tuesday, March 16, 2021 - 07:55

Although characters in Middlemarch have or are motivated by deep desire, they cannot satisfy it in real lives. To what extent can the opposition between desire and reality be reconciled?

 

Passage from Book 5, Chapter 47:

“Still he called himself stupid now for not foreseeing that it would be impossible for him to look towards Dorothea—nay, that she might feel his coming an impertinence. There was no delivering himself from his cage, however; and Will found his places and looked at his book as if he had been a schoolmistress, feeling that the morning service had never been so immeasurably long before, that he was utterly ridiculous, out of temper, and miserable. This was what a man got by worshipping the sight of a woman!” (472-3)

 

     Will Ladislaw goes to Lowick Church to glimpse Dorothea, who, upon seeing him, turns pale and merely bows to him. He then realises that trying to catch a glimpse of her is a grave, stupid mistake, even...

more
Blog entry
Posted by Renee Poon on Wednesday, March 3, 2021 - 11:11

“we are all of us imaginative in some form or other, for images are the brood of desire; and poor old Featherstone, who laughed much at the way in which others cajoled themselves, did not escape the fellowship of illusion. In writing the programme for his burial he certainly did not make clear to himself that his...

more
Blog entry
Posted by Jessica Valdez on Wednesday, March 3, 2021 - 02:30
By Chin Cheuk Yue Chloe
“But Dorothea was strangely quiet—not immediately indignant as she had been on a like occasion in Rome. And the cause lay deep. She was no longer struggling against the perception of facts, but adjusting herself to their clearest perception; and now when she looked steadily at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one tract where duty became tenderness.”
 
(Chapter 37)
 
What does the serial novel, Middlemarch, do to change the readers’...
more
Blog entry
Posted by Nimaya Harris on Tuesday, March 2, 2021 - 22:50

“But Dorothea was strangely quiet – not immediately indignant as she has been on a like occasion in Rome. And the cause lay deep. She was no longer struggling against the perception of facts, but adjusting herself to their clearest perception; and now when she looked at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one track where duty became tenderness.” (400) 

Both Dorothea and Casaubon are caught up in pursuing their own idealistic and ambitious goals for their lives. What does this passage suggest about Dorothea’s reckoning of her husband’s unfulfilled potential and how does this affect her perception on her own ideals?

Many of the characters in Middlemarch grapple with the shortfalls in their lives, where their expectations and perceptions of the future and self are unable to be materialised in reality. Thus leading to their disappointment and dissatisfaction due to a...

more
Blog entry
Posted by Hiu Wong on Tuesday, March 2, 2021 - 22:35

There were intervals in which she could sit perfectly still, enjoying the outer stillness and the subdued light. The red fire with its gently audible movement seemed like a solemn existence calmly independent of the petty passions, the imbecile desires, the straining after worthless uncertainties, which were daily moving her contempt. Mary was fond of her own thoughts, and could amuse herself well sitting in twilight with her hands in her lap; for, having early had strong reason to believe that things were not likely to be arranged for her peculiar satisfaction, she wasted no time in astonishment and annoyance at that fact. And she had already come to take life very much as a comedy in which she had a proud, nay, a generous resolution not to act the mean or treacherous part. (Ch32)

Question: To what extent can a character escape from the social web?

The...

more
Blog entry
Posted by Kwong Leung on Tuesday, March 2, 2021 - 09:26

Even though Middlemarch is described as a web, its residents are secretly paranoid and often do not form truly intimate connections with each other. How are we to understand Middlemarchers’ paranoia?

 

Passage from Book 4, Chapter 37:

“Poor Mr Casaubon felt (and must not we, being impartial, feel with him a little?) that no man had juster cause for disgust and suspicion than he. Young Ladislaw, he was sure, meant to defy and annoy him, meant to win Dorothea’s confidence and sow her mind with disrespect, and perhaps aversion, towards her husband” (375).

 

     The above passage describes Mr Casaubon’s discontent with Ladislaw after receiving a letter from him, in which Ladislaw declares that nothing can restrain him in his choosing where to live.

     Mr Casaubon assumes himself to be fully justified to suspect Ladislaw due to the latter’s visiting Dorothea and possibly instigating conflicts between him and Dorothea, even though Mr Casaubon...

more
Blog entry
Posted by Ho Cheung on Tuesday, February 23, 2021 - 18:45

Excerpt from Book III Chapter 28:

‘[T]here was the stifling oppression of that gentlewoman’s world, where everything was done for her and none asked for her aid ... Marriage, which was to bring guidance into worthy and imperative occupation, had not yet freed her from the gentlewoman’s oppressive liberty: it had not even filled her leisure with the ruminant joy of unchecked tenderness. Her blooming full-pulsed youth stood there in a moral imprisonment which made itself one with the chill, colorless, narrowed landscape, with the shrunken furniture, the never-read books, and the ghostly stag in a pale fantastic world that seemed to be vanishing from the daylight.’ (274)

Question: 

What does this passage suggest about Dorothea’s pre-marital expectations and subsequent disillusionment with her marriage, and how are such ideas expressed?

...

more
Blog entry
Posted by Man Lee on Tuesday, February 23, 2021 - 12:25

How does Eliot develop multiple characters at the same time within the limited narrative structure of the novel? Using Fred Vincy as an example.

The narrative structure of the novel is limited: within each chapter only so many plot events can be told and a handful of characters developed. Within the few chapters that make up this week’s reading, Eliot manages to flesh out multiple characters like Fred, Dorothea, Lydgate, Rosamond etc. How does she manage to do this, when she generally focuses on one to two main characters per chapter?

Two different kinds of narrative exist within Middlemarch, in which every character has closely-knit relations with others. The first is the 3rd person narrative from the narrator’s perspective, the second a social narrative which develops the character from interactions with society and members in it. Taking Fred Vincy for example, at the beginning of Book 3 Eliot centers on plot events related to Fred and...

more

Pages