The idea that knowledge is always perspectival, that every understanding is subjective and dependent on an observer, and that by a multiperspectival way of looking at a thing, our notion of this object, our objectivity becomes more extensive and more complex has become a common-place idea. According to the German philosopher’s, Nietzsche’s philosophical theory, termed perspectivism, “there are no immaculate perceptions”, and “knowledge from no point of view is as incoherent a notion as seeing from no particular vantage point” . As Berndt Magnus puts it, “perspectivism also denies the possibility of an all-inclusive perspective, which could contain all others and, hence, make reality available as it is in itself”. [...]
These views about the limits of human understanding and perspectivism were not developed in the field of literature, but in the field of philosophy. However, since the eighteenth century, through the development of innovative narrative forms the novel has had a very important role in making people aware of the fact that all experience, understanding and even history is bound to a person’s subjectivity. As Vera & Ansgar Nünning state in their article, the relationship between narration and perspectivity, or rather the subjectivity of experiencing reality (“Subjektabhängigkeit von Wirklichkeitserfahrung”) is especially clear in the case of multiperspectival narration, because in these narratives several versions of the same events are presented side by side, and thus in such multiperspectival narratives, the emphasis shifts from the narrated events to the mode of experiencing reality. Besides, they add that by contrasting the different descriptions and interpretations there is a constant relativization of the imperfect points of view and of the norms and values of the different individuals, from whose perspective we learn the story while reading the narrative. Therefore, in their view, multiperspectivally narrated novels are suitable to present the diversity of different social viewpoints, ideas, and social discourses.
The first study that provides a precise terminological framework for the analysis of multiperspectival narration is Vera & Ansgar Nünning’s groundbreaking work, in which they apply Manfred Pfister’s theories for the analysis of the different character perspectives in drama.
Table of Contents
- 1 Introduction
- 2 The Theory of Multiperspectival Narration
- 2.1 'Perspective' in Optics, Art, Philosophy and in Literary Studies
- 2.2 Multiperspectival Narration
- 2.2.1 The Definition of Multiperspectival Narration
- 2.2.2 Forms of Multiperspectival Narration
- 2.3 The Perspective Structure of Narrative Texts
- 2.3.1 The Individual Perspectives
- 2.3.1.1 Character-perspective
- 2.3.1.2 Narrator-perspective
- 2.3.2 The Perspective Structure
- 2.3.2.1 The Paradigmatic Dimension: Categories for the Analysis of the Selection and Arrangement of the Individual Perspectives
- 2.3.2.2 The Syntagmatic Dimension: Categories for the Analysis of the Arrangement of Individual Perspectives
- 2.3.2.3 Closed vs. Open Perspective Structures
- 2.3.2.4 Controlling Strategies Supporting or Disturbing the Synthesis of the Perspectives
- 2.4 Framing and Multiperspectivity
- 2.5 The Role of Multiperspectivity in Narrative Texts
- 3 Multiperspectival Narration in Charles Dickens' Bleak House
- 3.1 The Form of Multiperspectival Narration in Bleak House
- 3.2 Multiperspectivally Presented Subjects in Bleak House
- 3.3 The Individual Perspectives in Bleak House
- 3.3.1 Esther as the Experiencing "I"
- 3.3.2 Esther as the Narrating "I"
- 3.4 The Perspective Structure of Bleak House
- 3.4.1 The Paradigmatic Dimension of Multiperspectival Narration
- 3.4.2 The Syntagmatic Dimension of Multiperspectival Narration
- 3.4.3 The Synthesis of the Perspectives in Bleak House
- 3.5 The Illustration's Role in the Novel's Perspective Structure
- 4 Multiperspectival Narration in George Eliot's Middlemarch
- 4.1 The Form of Multiperspectival Narration in Middlemarch
- 4.2 Multiperspectivally Presented Subjects in Middlemarch
- 4.2.1 Multiperspectivally Presented Themes and Events
- 4.2.2 Multiperspectival Presentation of Characters
- 4.3 The Individual Perspectives in Middlemarch
- 4.3.1 Character-perspectives
- 4.3.2 The Narrator-perspective
- 4.4 The Perspective Structure of Middlemarch
- 4.4.1 The Paradigmatic Dimension of Multiperspectival Narration
- 4.4.2 The Syntagmatic Dimension of Multiperspectival Narration
- 4.4.3 The Synthesis of the Perspectives in Middlemarch
- 4.5 The Different Roles of Multiperspectival Narration in Middlemarch
Objectives and Key Themes
This master's thesis analyzes the perspective structures in Charles Dickens' Bleak House and George Eliot's Middlemarch. The objective is to examine how multiperspectival narration shapes the narrative and contributes to the overall meaning of each novel. The analysis utilizes a theoretical framework to understand and categorize the different types of perspectives and their arrangement.
- Multiperspectival narration in 19th-century English novels
- The theoretical framework for analyzing perspective structures
- Comparative analysis of Bleak House and Middlemarch
- The role of perspective in shaping narrative meaning
- The relationship between perspective and thematic concerns
Chapter Summaries
2 The Theory of Multiperspectival Narration: This chapter lays the theoretical groundwork for the thesis. It defines multiperspectival narration, exploring its various forms and the distinction between character and narrator perspectives. It introduces key analytical categories—paradigmatic and syntagmatic dimensions—to examine how perspectives are selected, arranged, and synthesized within a narrative. The chapter also discusses the concepts of closed and open perspective structures and strategies that either support or disrupt the overall coherence of the presented perspectives, setting the stage for the detailed analysis of the selected novels. The chapter carefully explores the concept of 'perspective' drawing parallels across diverse fields such as optics, art, philosophy, and literary studies before finally arriving at its specific definition in the context of literary analysis.
3 Multiperspectival Narration in Charles Dickens' Bleak House: This chapter analyzes the multiperspectival narration in Dickens' Bleak House. It identifies the different perspectives presented—primarily the narrator and Esther Summerson—and examines how these perspectives contribute to the novel's complex plot and themes. The analysis utilizes the theoretical framework established in Chapter 2, examining both the paradigmatic and syntagmatic dimensions of the perspective structure. The chapter investigates how the interplay between these perspectives shapes our understanding of events and characters. The significance of the novel's illustrations in relation to the overall narrative perspective is also discussed, providing a rich and multifaceted analysis of Dickens' narrative technique.
4 Multiperspectival Narration in George Eliot's Middlemarch: This chapter mirrors the analysis of Bleak House by applying the same theoretical framework to George Eliot's Middlemarch. It examines the novel's multiperspectival structure, identifying and analyzing the diverse perspectives of various characters such as Dorothea, Casaubon, Ladislaw, Lydgate, and Rosamond, alongside the narrator's perspective. It explores how these perspectives contribute to the novel's complex portrayal of social and individual lives. The analysis focuses on the paradigmatic and syntagmatic dimensions of the perspective structure and delves into the role of the prelude in shaping the novel's overall perspective. Further, it explores whether the novel presents a closed or open perspective structure and discusses strategies employed to maintain or disrupt the narrative’s synthesis of varied viewpoints. The chapter also examines the epistemological, metanarrative, normative, and ideological roles played by the multiperspectival approach in Middlemarch.
Keywords
Multiperspectival narration, perspective structure, narrative theory, Charles Dickens, Bleak House, George Eliot, Middlemarch, character perspective, narrator perspective, paradigmatic dimension, syntagmatic dimension, narrative synthesis, 19th-century English novel.
Frequently Asked Questions: Analysis of Multiperspectival Narration in Bleak House and Middlemarch
What is the main focus of this academic work?
This master's thesis analyzes the perspective structures in Charles Dickens' Bleak House and George Eliot's Middlemarch. It examines how multiperspectival narration shapes the narrative and contributes to the overall meaning of each novel. The analysis uses a theoretical framework to understand and categorize the different types of perspectives and their arrangement within the novels.
What theoretical framework is used in this analysis?
The analysis utilizes a theoretical framework that defines and categorizes multiperspectival narration. This framework distinguishes between character and narrator perspectives and introduces key analytical categories: the paradigmatic dimension (selection and arrangement of perspectives) and the syntagmatic dimension (the order and connection of perspectives). The framework also considers closed vs. open perspective structures and strategies that support or disrupt the overall coherence of presented perspectives.
What are the key themes explored in this work?
Key themes include multiperspectival narration in 19th-century English novels, the theoretical framework for analyzing perspective structures, a comparative analysis of Bleak House and Middlemarch, the role of perspective in shaping narrative meaning, and the relationship between perspective and thematic concerns.
How does the analysis of Bleak House proceed?
The analysis of Bleak House identifies the different perspectives presented (primarily the narrator and Esther Summerson). It examines how these perspectives contribute to the novel's complex plot and themes using the established theoretical framework. Both the paradigmatic and syntagmatic dimensions of the perspective structure are examined. The analysis also investigates the significance of the novel's illustrations in relation to the overall narrative perspective.
How does the analysis of Middlemarch proceed?
The analysis of Middlemarch mirrors that of Bleak House, applying the same theoretical framework. It examines the novel's multiperspectival structure, identifying and analyzing the diverse perspectives of various characters (Dorothea, Casaubon, Ladislaw, Lydgate, Rosamond, etc.) and the narrator. The analysis focuses on the paradigmatic and syntagmatic dimensions and explores the role of the prelude in shaping the overall perspective. The analysis also considers whether the novel presents a closed or open perspective structure and discusses strategies used to maintain or disrupt the narrative's synthesis of varied viewpoints. The epistemological, metanarrative, normative, and ideological roles of multiperspectival narration in Middlemarch are also explored.
What are the key distinctions between the analyses of Bleak House and Middlemarch?
While both analyses use the same theoretical framework, they highlight the unique ways in which Dickens and Eliot employ multiperspectival narration. The analysis of Bleak House pays close attention to the role of illustrations, while the Middlemarch analysis delves deeper into the epistemological, metanarrative, normative, and ideological functions of the narrative technique. Specific characters and their perspectives are examined in detail for each novel.
What are the main conclusions of this work?
The specific conclusions are not explicitly stated in the provided summary. However, the work aims to demonstrate how multiperspectival narration significantly shapes the narrative and contributes to the overall meaning in both Bleak House and Middlemarch. The analysis illuminates how different narrative strategies create unique effects and contribute to the individual thematic concerns of each novel.
What are the key terms used in this study?
Key terms include multiperspectival narration, perspective structure, narrative theory, Charles Dickens, Bleak House, George Eliot, Middlemarch, character perspective, narrator perspective, paradigmatic dimension, syntagmatic dimension, narrative synthesis, and 19th-century English novel.
- Quote paper
- Julianna Fekete Zsoldos (Author), 2008, Multiperspectival Narration: The Perspective Structure of Charles Dickens´ "Bleak House" and George Eliot´s "Middlemarch", Munich, GRIN Verlag, https://www.grin.com/document/177667
