The Novel in the Nineteenth Century - The Order of Fictions

From Angl-Am
Revision as of 22:32, 26 November 2007 by Anton Kirchhofer (Talk | contribs)

Jump to: navigation, search

Some Influential Notions about Nineteenth-Century Fiction:

  • The novel as the privileged art form of bourgeois self-reflection (The 'Triumph of Realism')
Georg Lukacs, The Theory of the Novel (1920).
  • The Epic - "gives form to the extensive totality of life". It is found in "integrated civilisations" such as that of ancient Greece. "The epic hero is, strictly speaking, never an individual" because the epic's "theme is not a personal destiny but the destiny of a community". (Lukacs 60)
  • The Novel - is about "the life of the problematic individual" (78). It is the form of narrative that corresponds to the modern world, a world of "transcendental homelessness" (61). (Later, Lukacs will relate this to bourgeois or capitalist society.)


  • The novel as the privileged medium of popular entertainment
Guinevere L. Griest, Mudie's Circulating Library and the Victorian Novel
Richard D. Altick,


  • The differentiation into subgenres
  • sentimental novel (Samuel Richardson, Henry Mackenzie -- from 1740s)
  • novel of manners (Fanny Burney, Jane Austen – from 1770s)
  • Gothic novel (Horace Walpole, Anne Radcliffe, Matthew Lewis – 1764?, then from 1790s)
  • historical novel (Walter Scott – from early 1800s)
  • industrial novel / condition of England novel (Mary Gaskell, Benjamin Disraeli - from 1840s)
  • religious novel (Charlotte Yonge – from 1850s?)
  • sensational novel (Elizabeth Braddon – from 1860s)
  • detective fiction ([Poe, Collins] Arthur Conan-Doyle – from, 1870s)
  • Utopian / dystopian fiction (William Morris, Samuel Butler, H. G. Wells – from 1880s)

But you have to bear in mind: there are many novels which do not fit into any of these genres. On the other hand, there are many which these genres are not always easy to keep apart.



Questions and second thoughts

  • are realist novels "realistic"?
  • how do the first two characteristics go together: the popular and commercial character of fiction and the art quality?
  • what drives the production of subgenres: aesthetic progress, new fashions?

A concerted view of the development of fiction in the 19th century. — "The order of fictions"

In the course of the eighteenth century, the problematic overlappings between fiction and the real world have been severely cut down.

At least from around 1780 onwards, there is an "order of fictions" which circumscribes the place of fiction in public discourse and regulates the conditions of its development and circulation.

  1. all fictions now have obvious signs, by which they are recognized as fiction (narrative techniques, "unrealistically" comprehensive knowledge of narrators [omniscience], Intertextual references to the literary tradition, connections to topics of public debate, ...)
  2. all fictions are produced for and circulate on a market which is structured by internal criteria: -- a scale: popular vs. high art -- types: subgenres with typical features...
  3. beyond this market, there is the undiscussable production of "penny dreadfuls" ...

Example: Middlemarch (construction of the narrative voice; non-imitative; marketing choices; sensational aspects, condition of England, the positivist philosophy...)

What to do with 19th century novels

  • Look for signals of fictionality...

Question/Reflection: In this new order of fictions, what is the relation between fiction and scandal?