N o t e s

1 -, Embodiment, and the Narrativizing Self

1 . Fitzgerald critiques contemporary and argues for physiological psychology as a basis for future metaphysics. 2 . key on this methodological issue include James 1884, Dewey 1886, Bain 1893, and Ladd 1913. 3 . Rick Rylance offers an excellent account of associationism in Victorian Psychology and British Culture, 1850–1880. 4 . I n Popular Fiction and Brain Science in the Late Nineteenth Century, Ann Stiles describes the biological of late-nineteenth-century neurology, particularly in relation to cerebral localization. Stiles explores how selected Gothic romances reacted to this determinism. 5 . By 1903, Ladd felt that psycho-physical parallelism had been dominant “a decade or two ago” (374). He emphasized the complexity of the stream of con- sciousness, and emphasizes a “real dynamical connexion” between “observed changes, produced by other things upon the thing-like body, [and] . . . changes in self-conscious states” (376). 6 . Others wondered in the pages of , “Is Bergson’s Monistic?” (Radhakrishnan 332). 7 . Chapter 3 of this study features and extended discussion of Joyce’s engagement with Bergson. See pages 79–80. 8 . , which became the dominant theoretical approach in American psychology, rejected (and the problem of perspectives) altogether. As a methodology, behaviorism has infamous limitations while also providing some useful . 9 . The standard analogue of this is from chemistry: when you combine carbon atoms in a certain way, you get coal; in another, diamond; in still another, graphite. In this view, the properties of coal, diamond, and graphite could not be predicted by the properties of the atom. 196 Notes

10 . That is, how does this image correspond to or differ from the accumulated generic image, and what causal might reconcile them as part of the same framework? 11 . In its implication of a hierarchical, linear developmental arc from embodi- ment into abstraction, Ward’s model is reductive of . He does not consider the implications of his that higher-level abstraction is continually influenced by the organic sensations. He does not trace out the instability implicit in his “purely formal of a or pure ego” beyond the bounds of self-consciousness. He does not link the inchoate nar- rativity implied in proliferating self-images to the precipitation of personhood, nor does he consider the agency of narrativity as a locus for a of mastery or identification. He does not link personhood to shifting social contexts. He does not consider the possibility of discordant self-images, in which one’s pre- vious self-formulation is recognized as a form of bad faith. He does not con- sider how, within of alienating or discordant self-consciousness, the correlation between primary affectivity and embodiment might lead to a renewed identification with the body (death drive). 12 . There were other perspectives that maintained the importance of self-consciousness while rejecting . S. H. Mellone, for example, advo- cates rejecting the transcendental self, and believes the empirical self should go along with it. He believes that “ self is that which is known and realized or lived in and through the actual process of conscious life” (Mellone 1901, 323). Mellone views self-consciousness as a product of the tendency of knowledge to go beyond itself, and thus holds an expansive view of the possible access to in self-consciousness. 13 . Royce views normal self-consciousness as a matrix of narrative processing, with self at the center: “the self of normal self-consciousness . . . is felt at any moment as this relatively stable group of inner states; it is also felt or conceived as the supposed spontaneous controller of the general or of the principal cur- rent of successive conscious states; it is remembered or expected as the past or future self, which is taken to be more or less precisely the same as the present self; and finally, it is viewed as having a curious collection of exterior func- tions that involve its actual , potency, prowess, reputation, or office, in its external social to other actual or ideal , e.g., to its neighbors, to humanity at large, or, in case one’s faith extends so far, to God” (438). 14 . The inward turn of is related to the methodology of introspection associated with psychology. Introspection was one approach, along with new experimental procedures. While its comparative advantage or disadvantage was often debated, it was consistently understood as what we colloquially call an “approach”—that is, a way into particular dynamics, rather than a totalizing method. The use of introspection to capture aspects of con- sciousness is not unlike the way interior monologue emerges in fiction. Inner speech crept out of quotation marks through free indirect discourse before expanded to consume the diegetic world of the story. This involved an alternating formal structure between the character viewed within experi- ence (in action) from outside and from within. As such, it involved building a Notes 197

portrait of and conduct that was multifactorial, and it was conducive to tracking continuities between the physical and mental. 15 . has described self as a particularly malleable , verging on meaninglessness, because of the multiplicity of types of self that have been asserted in philosophical writings on the subject. 16 . Siegel is describing Dieter Henrich’s and Sydney Shoemaker’s positions, rather than asserting his own. 17 . Deleuze’s model is not simplistic: he views the self’s interaction with the other as crucial to self, seeing “the Other as the expression of a possible world ” (261). For Deleuze, “the I and the Self . . . are immediately characterized by functions of development or explication: not only do they experience qualities in general as already developed in the extensity of their system, but they tend to explicate or develop the world expressed by the other, either in order to participate in it or to deny it” (260).

2 Minding the Gap: Embodiment, Narrativity, and Identification in UNDER WESTERN EYES

1 . Michael Greaney focuses on the plot level, arguing that “in a culture of sur- veillance and superstition, Razumov is a blind spot, misread by the Russian authorities, by his would-be comrades, and, inevitably, by the first- reader of the novel” (160). 2 . C o n r a d d e s c r i b e s Under Western Eyes as “the sustained psychology of a mood having its origin in a crime.” This chapter focuses upon Razumov’s individ- ual psychology and mood, rather than any collective psychology or mood. An oft-cited line from one of Conrad’s letters announces that the novel is “concerned with nothing but , to the exclusion of everything else.” This would appear to be a problem for my emphasis upon embodiment and ontol- ogy. However, given the full quote—“I am concerned with nothing but ideas, to the exclusion of everything else, with no arrière pensée of any kind”—and thinking of it along with his statement about psychology, we see Conrad here distancing himself from readings of the novel as political statements (October 20, 1911, letter to Garnett; from Critical Heritage 236). Other critics who have offered political readings tend to implicitly agree, focusing upon the operations of the political and the fundamental unreadability of the novel as a coherent political statement. For a concise summary of influential political readings of the novel, see Greaney (153–5). This chapter supplements political readings by looking at the operations of ideas as part of experience in psychological and physical terms. 3 . Edward Said notes this change: “the dramatic protocol of much of Conrad’s fiction is the swapped yarn, the historical report, the mutually exchanged leg- end, the musing recollection . . . [which] implies . . . a speaker and a hearer . . . If we go through Conrad’s major work we will find, with the notable exception 198 Notes

of Under Western Eyes , that the narrative is presented as transmitted orally” (qtd. in Greaney 3). 4 . This chapter focuses upon the materiality of in the St. Petersburg sec- tion of the novel, and the narrativity and sociality of identity in the Geneva section. While this division occurs for convenience, it also roughly tracks the emphases of each section. 5 . A note on method: my approach is to draw out how this novel creates an implicit, partial model of how consciousness works and what functions it fulfills. In pur- suing this goal, my reading of Under Western Eyes differs significantly from polit- ical and deconstructive readings of the novel. It considers dynamics, processes, and change involving identity, identification, thinking, and embodiment. 6 . By asserting this shift, I am offering a somewhat different perspective from crit- ics who emphasize epistemological problems throughout Conrad’s work. John Peters offers a useful summary of these perspectives (124) in his work Conrad and Impressionism , and he himself argues that the novels contain a “common element” of demonstrating that “the epistemological process is , and [Conrad’s] impressionism leads to human subjectivity” (123). Peters’ interest in the subjectivity of what we know is based upon factors (“physical circum- stances”) that make his interest in the “uncertainty” and character of knowl- edge complementary to my interest in how Conrad evokes the production and functionality of consciousness. 7 . That is to say, plotting involves a movement into instability followed by resolu- tion into relative order. 8 . S e e p a g e s 3 4 – 3 5 . 9 . Razumov’s delayed decision sounds a familiar note to Conrad scholars. Like Jim, Razumov arrives at consciousness of a he has made retrospectively (Jim, famously, only realizes he has jumped off the Patna , abandoning a ship full of helpless passengers, after the fact. Yet the differences are instructive in terms of Conrad’s evolution, for Jim’s realization that he jumped sets off two parallel developments: first, Jim obsessively seeks a second chance, in which he can realize the destiny he envisioned for himself; second, Marlow seeks explanation: how could a figure who appeared to embody imperial virtues do something so cowardly and inhumane? 1 0 . W o l l a e g e r ’ s Joseph Conrad and the Fictions of Skepticism provides excellent discussions of the relationships between Schopenhauer’s ideas and Conrad’s fiction. Regarding Under Western Eyes, Wollaeger “devote[s] . . . sustained attention to the ways in which skepticism enters into Conrad’s texts in the absence of a recognizable substitute for Marlow, such as the teacher of lan- guages in Under Western Eyes , and in the absence of the problematics of vision associated with Schopenhauer. The two issues I will bring into focus are epis- temological skepticism as it turns inwards toward the self, and moral skepti- cism as it exerts a reciprocal influence on narrative form and the status of character” (120). My different interest here is in fleshing out the ways mate- rial experience conditions the Schopenhauerian “world as ,” and to relate this to how reflexive , including skepticism, also shapes the “world as Notes 199

idea.” I share with Wollaeger the perspective that Conrad “resists . . . radical skepticism,” but am more focused upon how conscious experiences of imma- nence are produced out of the functioning of materially-based cognitive sys- tems (56). 11 . That is, thinking becomes reflexive when we reencounter world artifacts we previously loaded with . This becomes particularly apparent in the case of music, to which we attach particularly strong affective investments. An old song that once stood as an emblem for a particular period or experi- ence can, reheard, strike one as mawkish or nostalgic. In either case, one is not reexperiencing the old feeling so much as having a feeling about the old feeling (and one that necessarily relates to the present). 12 . Razumov’s terse observation relates to the larger human concerns of the novel. The narrator reflects at the outset of the novel, “I take it that what all men are really after is some form, or perhaps only some formula, of peace” (6). Anticipating the complex relation of language to selfhood and affect, he also muses upon “a wonderful soothing power in mere words” (6). 13 . This argument expresses the complementary, and corrective, of an embodied perspective in relation to critics who emphasize the presence of lan- guage as a political or social shaping medium in the novel. For example, a similar argument applies to Jeremy Hawthorn’s claim that in the novel “we can only learn to speak socially , and without open verbal contact with others our ability to use language to understand the world is increasingly impaired” (Joseph Conrad: Language and Fictional Self-Consciousness 119). 14 . A situational orientation leads to an interesting perspective on the relations between temporal experiences. Ricouer notes and tries to resolve our under- standing of linear, successive time (“cosmological” time, or time as a river) and phenomenological time (time as experienced as a mixture of past, present, and future). A situational orientation privileges the phenomenological; in this scenario, “cosmological” time is constructed, and constructed by the kind of “self-placing” consciousness we’ve explored earlier in this chapter. In this sce- nario, cosmological time is a fantasy support of phenomenological temporal- ity: this is the temporal character of “narrative identity.” 15 . As Eakin puts it, “autobiography’s reflexiveness” provides “a degree of per- manence and narrative solidity . . . to otherwise evanescent states of iden- tity feeling” (“What are we reading when we read autobiography?”, 129. Also, see page 42. 16 . Natalia’s faith parallels Razumov’s hopes for a “true autocrat” to redeem Russia. Both desires are ultimately revealed as forms of bad faith. Where Razumov’s is self-protective, and activated in order to preserve his own aspirations, Natalia’s represents a misplaced fidelity. Her belief in her brother’s vision, though mis- guided, is as yet undeterred. 17 . Other instances of Razumov comparing the narrator to the devil include 245, 252, and 253. 18 . Razumov has a related experience under the gaze of Sophia Antonova, an impassioned revolutionary who is at one point described in Schopenhauerian 200 Notes

terms as “the spirit of destructive revolution”: her observation feels to Razumov “like a physical contact . . . a grip” (178). 19 . Thus, identification is highly contingent. However, habituation can reduce this contingency by creating positive associations with particular forms/feel- ings of identification. 20 . This experience is comparable to Razumov’s encounter with the woman car- rying bread. In this instance, however, Razumov experiences the rich woman’s misattribution of his affect as a source of pleasure. He momentarily enjoys the way an imposed narrative identity fails to grasp the actuality of his inner experience. 21 . Michael Greaney offers an extended discussion of the operations of gossip and ideology in this novel and in Conrad’s oeuvre more generally.

3 Selfhood and the Sensorium in A PORTRAIT OF THE ARTIST AS A YOUNG MAN

1 . In hylomorphism, has a formal , where body is material. famously uses the following analogy to illustrate this relation: soul : body : : form : : : Hermes-shape : bronze. 2 . Or, at least, traditional readings of the cogito . As the introduction explains, recent scholarship on Descartes, including the work of Lilli Alanen, has com- plicated our understanding of Descartes’ model. 3 . “Stanislaus Joyce recorded that his brother’s initial conception for Portrait was to show that a man’s ‘character, like his body, develops from an embryo’ . . . for Stephen in Portrait that conception is the fundamental behind the growth of mind and soul, [and] of body (cells)” (John Gordon, Joyce and 6). 4 . Creative Evolution was available in English in 1911, and that same year Bergson delivered a series of popular lectures in England. Prominent cultural figures such as T. E. Hulme and A. R. Orage promoted Bergson’s ideas. Gillies points out that Joyce had some of Bergson’s work with him in Italy by 1914, and that he makes direct reference to Bergson in Exiles and Finnegan’s Wake (132–3). 5 . Richard Ellmann notes that Joyce scoffed at Pierre Janet, and at psychology more generally ( James Joyce 265). 6 . Gordon makes the related point that for Stephen “the world is . . . made to come approachably together through the isolation, pairing, and congruence of foregrounded similarities—through, that is, the forging of analogies” (3). He also claims that “initial are generated out of contrasts, usually figure-ground contrasts: near against far, moving against static, what mat- ters against what does not” (2). This last generator of links Joyce with Bergson, who claims that “Our perceptions give us the plan of our even- tual action on things much more than that of things themselves” (Creative Evolution 206). Notes 201

7 . Gordon argues that as soon as we hear the swish of the rector’s soutane we know that Stephen will not join the priesthood (24). I’d add that the swish is not only a sign to us , the reader, of an impending non-acceptance—to the contrary, it is itself the material effect in which Stephen’s memories of the authoritarian nature of the Jesuit order are located. That is, Stephen’s memo- ries are activated by physical manifestations. 8 . In this passage Massumi is in fact summarizing Spinoza, but does so in order to articulate the Bergson-Spinoza linkage. One might also connect this notion of impingement to Joyce’s fascination with St. . As Walter Freeman notes, one of Aquinas’s key into mind was that “the separate and immediate impacts of repeated stimuli onto receptors, and through them into the brain, do not establish in the brain either the actual forms of those stimuli or their derivatives as episodic memories. They are the individual and transient forms of matter. If the brain were to collect and save all of those impressions streaming in from all , the brain could not know anything. A significant part of the energy that brains expend is used for habituation, by which unwanted and irrelevant bombardment of the senses is attenuated” (213–14). 9 . This retreat into visuality provides one key for Stephen’s development. When we encounter him at the opening of Ulysses considering his destiny in terms of the associated with Aristotle’s theory of vision, we can trace this back to young Stephen’s self-protective instincts. In this vein, it is hardly coincidental that Stephen is unfairly pandied for breaking his glasses. 1 0 . B r i a n M a s s u m i , i n Parables for the Virtual, believes “ and affect—if affect is intensity—follow different and pertain to different orders” (27). I agree with Massumi’s analysis, yet believe Joyce is referencing a movement from one order to another. The physical sting of punishment, and the physi- cal “scalding” and “flaming” mark the circuit through which is socially mediated, through which affect is transformed into emotion. Where the impingement of pain was translated into parallel mind/body expressions, the secondary emergence of shame is experienced via the character of both orders of expression (i.e., heat). This secondary experience socializes the and reorients Stephen. 11 . Stephen’s experiences and development are shaped by a continuously aspira- tional orientation. As he puts it toward the end of the novel, “The past is con- sumed in the present and the present in living only because it brings forth the future” (273). 12 . This gesture of refusal is repeated in Stephen’s later declaration “non servium ” (I will not serve). As negative gestures of self-delineation, Stephen’s refusals mark attempts to situate self outside of convention. 13 . Here the term “feelings” seems appropriate insofar as it references both sensa- tion and emotion. The linkage of emotion and physicality is heightened with the precipitation of puberty. In Chapter 2 , the text increasingly features synes- thetic and material-ideal phrases such as “a vague dissatisfaction grew upon him,” “tasting [the] . . . mortifying flavour of images of squalor,” “tast[ing] the joy of his loneliness,” “feverish agitation of the blood,” “restlessness rise[s] to 202 Notes

fever,” “dark presence moving irresistibly upon him,” and a “flood filling him wholly with itself” (69, 70, 71, 72, 94, 106). Taken together, they testify to the prominence of emotional and bodily sensation, to synesthetic effects produced in the flooded theater of emotion and sensation, and even to a confusion (a propos of synesthesia) between sensation and emotion. 14 . Typically, analyses of ideological processes focus upon the subject coming to identify with the characteristics promoted and disseminated through the symbolic order. This is described as “imaginary identification” because it involves self-fashioning in response to given models of subjectivity, and it reflects how identification might appear to work in a society deeply invested in notions of the national character. However, what Jacques Lacan calls “sym- bolic identification” also operates within the ideological process. J. A. Miller formulates the distinction between imaginary and symbolic identification as the difference between “‘constituted’ and ‘constitutive’ identification:” imag- inary identification is identification with the image in which we appear like- able to ourselves, with the image representing “what we would like to be,” and symbolic identification, identification with the very place from where we are being observed, from where we look at ourselves so that we appear to ourselves likeable, worthy of love (Žižek paraphrasing Miller 1989, 105) (rpt. from B. Miller 2010, 17). 15 . The deflation of the heroic images Stephen creates fosters a cycle of cyni- cism. Later, Stephen finds himself “exult[ing] to defile with patience whatever image had attracted his eyes” (105). This private agency occurs, to Stephen, as a monstrous form of bad faith, but also as the position in which he feels most grounded. Otherwise, he “move[s] among distorted images of the outer world” (105). 1 6 . T h e w o r d sluggish is used repeatedly in the novel to describe materiality (see 97–100). 17 . Doherty comments upon the development of Stephen’s soul in related terms: “the soul’s movement is driven by that living labyrinth inside, by its drive to ramify endlessly by assimilating ever more of the outer environment.” 18 . I read “stultified” as “rendered mute,” rather than “rendered stupid” or “made to speak stupidly,” because of the “keen” nature they retain—though the idea of senses speaking to the self is intriguing. 1 9 . T h i s a s s o c i a t i o n o f t h e name of Dublin with sluggish, self-defeating mate- riality anticipates the ideological nets Stephen will later hope to fly. That is, “ideology” is in fact embedded in somatosensory experience, built into Stephen’s desires and habits of vision, hearing, taste, touch, and even smell. (On this last, consider Stephen’s repeated of his affinities for “peasant” smells). 20 . “Psycho-physical parallelism,” according to Young, is the theory that “men- tal and physical events occur in parallel, without calling for interaction or a doctrine of mind-body ” (“The Mind-Body Problem”). Interestingly, Young describes Sigmund Freud as a psychophysical parallelist. The legacy of this doctrine is long and multinational, though significant credit is given Notes 203

to Friedrich Albert Lange’s history of as a source that brought attention to the idea. 21 . The fragment (“The serpent, . . . ”) in the middle of the passage and the naïve pleas of “why . . . O why” reference Stephen’s penis in comic terms. Stephen’s confusion about the agency and consciousness of his sexual physiology send up both church teachings and Stephen’s naïve romanticism while still record- ing the embeddedness of consciousness in automatic perceptual and libidinal processes. 22 . Tyrrell was a central figure in the modernist movement in Catholicism in Britain. Dublin-born to an Anglo-Irish family, his controversial article led to a kind of virtual exile, in which he was “rusticated” and banned from publishing in most of the prominent Catholic journals of the day. Nevertheless, he was a prolific writer, publishing under his own name and anonymously in a tireless attempt to “postulate a new relationship between the Church and the world, whereby Catholicism would be ‘more open’ to modern society and current intellectual speculation” (Rafferty 2). 23 . Louis has a similar fantasy in The Waves . See pp. 148–149 for commentary upon Louis. 24 . Leopold Bloom’s masturbatory fantasy about Gertie MacDowell on the beach seems, in these terms, like a send-up of Stephen’s epiphany. 25 . One might attribute this difference to a doubling of Stephen’s reaction—he experiences an aesthetic , and simultaneously experiences exultation at being initiated into the realm of aesthetic intuition. Nevertheless, I believe Joyce emphasizes how even a fully developed aesthetic faculty is subject to limitation by the demands of embodiment. 26 . The appearance of the word “soul” in narrative discourse that can be inter- preted as emanating from Stephen’s consciousness is worth noting: of the 88 appearances of the word in the novel, the first of this sort occurs 65 pages in, and the vast majority are clustered in the second half of the book. 27 . This dynamic runs counter to how ideological hailing is often imagined. It reflects the complexity introduced by symbolic identification. In consistently seeking to validate a detached, observing perspective, Stephen identifies with identities that embody this. 28 . In passing, it is worth noting the similarities between this image and one offered by Bernard in Virginia Woolf’s The Waves. See page 148 for commen- tary on this image. 29 . The mind’s development of is responsible for tuning perception in this manner: “the same movement by which the mind is brought to form itself into intellect, that is to say, into distinct , brings matter to break itself up into objects excluding one another” ( Creative Evolution 207). 30 . The moment of poetic inspiration unites the biological body with the poetic mind. Borrowing (as Stephen has contemplated throughout the novel) Shelley’s line about the poetic mind as a “fading coal,” Stephen combines it with Galvanti’s observation of an “enchantment of the heart”—in which the heart stops via electrical stimulation. The “instant” provides, then, a 204 Notes

material-spiritual moment in which the transcendent imagination and the embodied memory find a moment of productive congress. 31 . Conversely, his Satanic declaration, “I will not serve,” also is framed in physi- ological terms. Explaining his refusal to accede to his mother’s dying wish, he claims to “feel . . . the chemical action which would be set up in my soul by a symbol behind which are massed twenty centuries of authority and venera- tion” (265). 32 . This passage shares imagery from Stephen’s horrified on his penis in the wake of Father Arnall’s sermons. Then, he describes his member as a “torpid snaky life feeding itself out of the tender marrow of his life and fat- tening upon the slime of lust” (151). The image of the swans—an example of “tender . . . life”—and slime suggests an externalization and aestheticization of his earlier horror.

4 Removing the Serpent’s Tail from Its Mouth: D. H. Lawrence’s Vision of Embodied Consciousness

1 . This essay is also known as “The Future of the Novel.” 2 . The differences are also explained in part by the context. Here Lawrence is writing against the vapid sensualism of the Jazz Age, where in the earlier pas- sages he was focused upon the excesses he saw in modernist writing. 3 . For more on pluralism in relation to the themes of this book, see page 20. 4 . Becket notes that “Lawrence . . . would view Freud as a type of unreconstructed Cartesian” (31). 5 . Becket offers thorough readings of these works, and considers Deleuze and Guattari’s influential treatment of Lawrence as well. My reading attempts to supplement Becket’s by emphasizing the dynamics of experiential dualism within Lawrence’s avowed pluralism. 6 . A n n e F e r n a l d a r g u e s t h a t Fantasia demonstrates an affinity with the formal aims of other British modernists: “in Fantasia of the Unconscious . . . [Lawrence] is trying, in a belligerently anti-academic way, to combine ancient human myths with modern . In this, Lawrence shares an interest with Eliot, Woolf, H. D., and other modernists: anthropology and psychology in the first decades of this century seemed to offer hope for recovering ‘the old wisdom,’ even if only ‘its half-forgotten symbolic form [ . . . ] as ritual, gesture, and myth-story’ (13)” (188). 7 . This singularity is not a substance, nor a of the being; it is the being itself, but articulated into mental consciousness. 8 . In “The Crown,” Lawrence sarcastically invokes a “procession of heroes,” which refers to the “Panathenic procession held every year by the Athenians in honor of their patron, Athena, goddess of wisdom” (Herbert 418). The jibe is consonant with Lawrence’s criticism of the Platonic motto, “Know Thyself” (see page 117). Notes 205

9 . Lawrence’s criticism of the self-conscious novel is that its overwhelming datum of consciousness constitutes an implicit . Yet the fundamental ambi- tion of the novel of self-consciousness is to demonstrate the lack of autonomy of consciousness through the conditions of emergence and succession of these datum themselves. 10 . Clifford’s reaction demonstrates a key difference between Lawrence’s por- trait of embodied consciousness and the other examples treated in this study. Where the other authors focus upon how embodiment stimulates thought and conditions the and temporality of self-consciousness, here Lawrence focuses upon the human capacity, through symbolic behavior, to corrupt these very circuits. 11 . Lessing, in her introduction to a recent edition of Lady Chatterley’s Lover , reflects that “I remember reading it and thinking—Yes, that’s my father (and it was my mother too, but I was years off seeing that). I was a young woman, and here was this novel with all its scandalous fame at last in my hands. It had come across the U-boat haunted sea, from the London bookshops. The expurgated edition, of course. I was soon besotted with the lovers, in their little hut, with scenes like Connie crouching to hold the baby pheasants on her palm, while Mellors bends over her to help; her tears; the wonderful scenes of spring beginning in the woods where she walks; the invocations to tender- ness; the great theme of two against the world” (http://www.guardian.co.uk/ books/2006/jul/15/classics.dhlawrence/print). Lessing, in contrast to this chapter, reads Lady Chatterley’s Novel as an important antiwar novel.

5 Narrative Identity, Embodied Consciousness, and THE WAVES

1 . Mark Hussey and numerous other critics have pointed out that The Waves fulfilled Woolf’s old desire, expressed in “Modern Fiction,” to have no plot. Famously, in a letter to Ethyl Smith she writes of composing The Waves to “a rhythm and not to a plot.” 2 . In so situating self-consciousness, Woolf illustrates a fundamental point made by Slavoj Žižek in his review of neurobiological models of consciousness (and referred to in the first chapter): “There is no consciousness proper without self-consciousness: not only does the ‘I’ emerge as the self-relating interaction between the present and my own past; what we call ‘Self’ is the elementary form of escaping the ‘control of solid earth’ through self-relating. As such, it underlies all other forms” ( Parallax 213). 3 . Massumi would describe the felt sense of physical separation as part of the “open-endedly social” field of emergence he describes, blurring the nature-culture continuum (9). 4 . “Iterative meta-representational self-consciousness,” an idea propounded by Newen and Vogeley (2003), identifies “the act of constructing mental models 206 Notes

of others’ models about oneself” (Morin, Alain, “Levels of Consciousness and Self-Awareness: A Comparison and Integration of Various Neurocognitive Views,” Consciousness and 15 (2006) 358–71: 363). For Morin, “this last level most probably encompasses meta- self-awareness” (363). 5 . Woolf’s project here has evolved from earlier in her career. Where she had advocated representing consciousness affected by a “shower of atoms” that left impressions, as upon exposed film, but did not shape the structure of the mind, now the “shower” is a shaper of consciousness. 6 . Woolf’s obsession with “shocks” goes to its most elaborate development here. In earlier works, shocks were related to the presence of an other who has power over the self. Here shock comes from the presence of an other whose power consists in authoring the self. 7 . This type of response to a “violent rupture of organic homeostasis,” accord- ing to Žižek, involves “the formation of a new, culturally created homeostasis which imposes itself as our ‘second nature’” (210). For Damasio, and presum- ably Eakin, this “second nature” is simply the autobiographical self. But Žižek attributes far more power to the self’s emergence into symbolic action—what we see in this secondary development, represented in Bernard’s new analogi- cal narrative-making, is “the rise of [a symbolic] order through the capacity of naming . . . [whose] homeostasis is the human substitute for the loss of natural homeostasis” (210). For Žižek, this substitution entails the emergence of a self that “not only integrates disturbances, it creates them” (210). 8 . These experiences demonstrate, further, that the narrativity of identity is sub- ject to developmental stages. This suggests two important corollaries to Eakin’s and Damasio’s modeling of a “teller effect.” First, the teller is a phenomenon with a life history. Second, the “teller effect” entails what Žižek calls a “short circuit,” or an unmanageable relating between two levels in the psyche: the “teller” is implicated in narrative identity and impossible to square with a nar- rativized version of the self. This paradox points to a fundamental instability at the heart of identification. As Žižek puts it in a critique of Damasio’s model, “I do not relate to (interact with) only an ; I relate to this relating ‘as such.’ This is why consciousness is always also self-consciousness: when I know, I simultaneously know (‘feel’) that it is I who knows, because I am nothing outside this knowledge—I am my knowledge of myself” (Parallax 225). This dependence upon reflexivity for identity means that at the heart of identity there is a kind of void, pure self-reflexivity, as it were. In such a context, iden- tity can only be established temporarily, and via processes of identification. 9 . Note the similarities between the precipitation of Bernard’s self and Stephen Dedalus’s description of the birth of the soul. See page 94. 10 . Note that this manifests, in a new way, the enfolded dualisms described in the introduction, pages 2–3. 11 . In this, Woolf’s “experiential dualism” operates as the inverse of epiphenome- nalism (see page 143). Simply, rather than the self being “epiphenomenal”—an emergent ideality out of the physical—instead consciousness is felt as primary and continuous, and identification with embodiment is “epiphenomenal.” Notes 207

Consider Maurice Merleau-Ponty’s famous experiment of putting his hands together and simultaneously trying to feel with and feel one of his hands. In this context, the event of the experiment itself is a recognition of, and identi- fication with, embodiment. The act of considering this reveals, however fleet- ingly, the subtractive nature of consciousness. 12 . This structure partly accounts for “situational” temporal experience, episodic memory, and the experience of iterative, multiple selves. 13 . Novel sensory experiences appear to have a persistent power to renew the subject’s optimism. In terms of neuro-environmental consonance, the purely sensory realm functions (for Woolf) as a domain for renewal, and possibly of recalibration.

6 Scriptive Consciousness and Embodied Empathy in THE GOLDEN NOTEBOOK

1 . These quotations are the closing lines of T.S. Eliot’s “The Wasteland,” Virginia Woolf’s Mrs. Dalloway , and James Joyce’s Ulysses , respectively. 2 . Additionally, critics often cite The Golden Notebook as an avatar or early exam- ple of postmodern fiction. Rubenstein notes that Anna’s “relentless microscopic analysis of her multiply divided ‘self’ . . . marks a shift from the humanist ideal of wholeness to the poststructuralist/postmodernist view of the self as a fiction in which parts or fragments do not necessarily cohere” (17). 3 . However, this sense of confusion in the readerly experience of the form was clearly one of Lessing’s aims. As she says in the preface, “The book is only alive and potent and fructifying and able to promote thought and discussion only when its plan and shape and are not understood” (xxvii). In a 1980 interview with Michael Dean, Lessing commented that “ The Golden Notebook was a failure in a formal sense, because as usual I take on too much. It was so ambitious, it couldn’t help but fail” (Conversations 90). 4 . R u b e n s t e i n d e s c r i b e s The Golden Notebook as having a “Möbius-strip-like metafictional structure [through which] the novel brilliantly represents the opposition between aesthetic grace and emotional authenticity” (15). 5 . Epstein, Pacini, Denes-Raj and Heier note that the notion of two systems of thinking has been proposed using different terminologies: “Psychologists from various persuasions have proposed two fundamentally different modes of processing : one that has been variously referred to as intuitive (Jung, 1964/1968), natural (Tversky & Kahneman, 1983), automatic (Bargh, 1989; Higgins, 1989), heuristic (Chaiken, 1980; Fiske & Taylor, 1991; Tversky & Kahneman, 1983), schematic (Leventhal, 1984), prototypical (Rosch, 1983), narrative (Bruner, 1986), implicit (Weinberger & McClelland, 1991), imagistic-nonverbal (Bucci, 1985; Paivio, 1986), experiential (Epstein, 1983), mythos (Labouvie-Vief, 1990), and first-signal system (Pavlov, cited in Luria, 1961) and the other as thinking-conceptual-logical (Buck, 1985; Leventhal, 208 Notes

1984; Jung, 1964/1968), analytical-rational (Epstein, 1983), deliberative- effortful-intentional-systematic (Bargh, 1989; Chaiken, 1980; Higgins, 1989), explicit (Weinberger & McClelland, 1991), extensional (Tversky & Kahneman, 1983), verbal (Bucci, 1985; Paivio, 1986), logos (Labouvie-Vief, 1990), and second-signal system (Pavlov, cited in Luria, 1961)” (390). 6 . The Germanic inflection, and the analyst herself call to mind Melanie Klein, Anna Freud, and even Sigmund Freud, all prominent figures in the develop- ment of psychoanalysis in Britain in the twentieth century. 7 . A number of critics have associated Saul’s “I, I, I” with phallocentrism. Tonya Krouse compares this depiction of individual male subjectivity to Virginia’s image of an I-shaped bar blocking women’s writing in A Room of One’s Own (“Anon,” 48). In addition, the rhetoric closely parallels one of Mrs. Ramsey’s reflections upon Mr. Ramsey in To the Lighthouse: “No need to be always say- ing I-I-I-I,” she thinks (108). Krouse argues, moreover, that “the limitations of gendered subjectivity for both male and female writers are of greater concern than just the critique of the deleterious effects of an aggressive masculine sub- jctivity” (49). The perspective advanced in this chapter is that subjectivity is limiting—partial, temporary, situational—sui generis. 8 . Lessing alludes to similar human experiences in her 1969 interview with Studs Terkel: a “capacity that a lot of people have is they see pictures inside their eyelids . . . when they’re ill, tired, under great strain, or before they go to sleep. There’s a word for that: hypnogogic” (27). Also, she refers to research on “eidetic” memory, or what is more commonly known as photographic mem- ory. In The Golden Notebook , the image processing that occurs in subconscious states can itself enter consciousness. That is, the mind can experience the illu- sion of a Cartesian theater (see Dennett 2005). 9 . In her 1980 interview with Christopher Bigsby, Lessing offers a related, but different perspective on sociology, the individual, and the group: some “sociological ideas . . . are quite shattering in their implications. And they should be taught to children . . . there is this whole business about thinking and acting as an individual instead of as a member of a group because we now know that very, very few people, a negligible number, are prepared to stand up against a group they are a part of” ( Conversations 77). I’d argue that this is a development of, rather than a rejection of, her earlier posi- tions. Lessing here notes illusions about the power of individual agency most of us possess; again, group dynamics are about power rather than belonging. 10 . Lessing has described herself as being “preoccupied with the relation- ship between an individual and political groups [while writing The Golden Notebook ] . . . [because] this whole problem of the individual and the group was very strong at that time” ( Conversations 76). Lessing’s interests may be linked to her association with members of the New Left (she marched with the CND, and reportedly socialized with many members of the New Left), which focused upon experiences of alienation and anomie, questioning the relationship between individuality and political action. This interest persisted and developed. Her 1985 lectures for the Canadian Broadcasting Corporation, Notes 209

collected as Prisons We Choose to Live Inside (1987), explore these themes in detail. 11 . In an interview with Jonah Raskin, Lessing notes that her own psychotherapist “was somewhat like Mrs. Marks . . . Roman Catholic, Jungian, and conserva- tive. I couldn’t stand her terminology, but she was a marvelous person. She was one of those rare who know how to help others” ( Conversations 14). Lessing’s experiences, I argue, are different from Anna’s. 12 . The dwarf resonates as a symbol in Jungian and some mystical . In Jungian psychology, the dwarf can represent phenomena inaccessible to con- sciousness, and can be a guardian of the unconscious. In Hindu , a dwarf serves as a symbol of ignorance upon whom Shiva dances to destroy an exhausted world and prepare the way for a new one. 13 . Lessing regularly records the contents of her dreams, and has repeatedly described a desire to write an autobiography of her dreams. 14 . Lessing’s antipathy towards Western led to an ongoing explora- tion of Sufi and Hindu cosmologies. The image resonates with the Hindu concept of Nataraja, in which Shiva assumes the role of a dancer whose performance destroys the world in preparation for a . A number of critics have written about Lessing’s interest in non-Judeo-Christian spiri- tual and mystical traditions, including Shadia Fahim, in a monograph titled Doris Lessing: Sufi Equilibrium and the Form of the Novel (1994). Fahim argues that over her career Lessing increasingly emphasizes the individual’s need for “a descent into the unconscious and a complementary ascent to spiritual dimensions of reality to achieve an equilibrium . . . she expands the inner realm to counterbalance the outer mode of consciousness” (17). Phyllis Perrakis edited an excellent collection of essays under the title Spiritual Exploration in the Works of Doris Lessing (1999), but the essays do not focus upon The Golden Notebook. In interviews, Doris Lessing has indi- cated that the experience of writing The Golden Notebook generated interest in spiritual and mystical traditions. Specifically, she claims that writing the novel turned her away from rationalism toward Idries Shah’s The Searchers (Conversations 66). 15 . The passage continues “ . . . I anchored myself, clutching out . . . to the thought that what I was experiencing was not my thought at all. I was experiencing, imaginatively, . . . the of a homosexual. For the first time the homo- sexual literature of disgust made sense to me” (584). Anna’s prejudice against homosexuality is based upon the rather strained cliché that homosexual men are disgusted by female bodies. 16 . Several philosophers, including recently Lili Alanen in Descartes’s Concept of Mind (2003), have challenged this characterization of Descartes’ philosophy. 17 . Krouse links this “impersonal” strategy to Virginia Woolf’s privileging of “Anon” in A Room of One’s Own . I believe we should view Lessing’s aesthetic as developing toward this impersonality over the course of her career. As Lessing put the matter in a 1980 interview with Michael Dean, “Only I could have written The Golden Notebook, but I think Anon wrote” Marriages Between Zones Three, Four, and Five (1980). 210 Notes

C o n c l u s i o n

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a e s t h e t i c i s m , 9 8 – 1 0 1 , 1 0 5 – 1 2 , Creative Evolution , 7 9 , 8 2 , 1 0 0 – 1 , 1 0 5 , 1 2 6 , 1 2 9 , 1 3 4 – 5 , 1 4 4 , 1 9 1 1 0 7 – 8 , 2 0 0 n 4 , 2 0 0 n 6 , 2 0 3 n 2 9 a f f e c t i v e s y s t e m s , 3 7 , 1 0 6 , 1 1 9 – 2 0 . d u r é e , 7 9 – 8 0 , 8 2 , 9 0 , 1 0 4 See also Damasio, Antonio h u m a n i s m , 2 7 a f f e c t i v e t u r n , 1 1 i n t u i t i o n , 1 0 0 – 5 A l a n e n , L i l l i , 2 0 0 n 2 , 2 0 9 n 1 6 l a n g u a g e , 8 2 , 8 4 – 5 A l e x a n d e r , S a m u e l , 2 7 p e r c e p t i o n , 9 3 , 1 0 4 – 5 A l l e n , W o o d y , 3 9 s e l f h o o d , 1 6 a n t i m o d e r n i s m , 1 2 4 – 6 t i m e , 4 , 2 0 , 2 2 , 2 7 , 8 2 A q u i n a s , T h o m a s , 9 8 , 1 0 5 – 6 , v i t a l i s m , 2 0 108 , 201n8 B i g s b y , C h r i s t o p h e r , 1 6 9 , 2 0 8 n 9 A r i s t o t l e , 7 6 – 7 , 9 8 , 1 0 8 , bildungsroman , 5 , 8 – 9 , 4 5 , 1 3 3 , 2 0 1 n 9 138–9 , 190 a r t i s t i c c r e a t i o n , 8 8 , 9 4 , 1 6 5 Bloomsbury, 126 a r t i s t i c i n t u i t i o n , 1 1 0 B o s a n q u e t , B e r n a r d , 2 5 – 6 associationism, 17–18 Boulton, James T., 114 , 134 B r a d b u r y , M a l c o l m , 1 6 5 – 6 a u t h o r i t y , 4 8 , 5 7 B r a d l e y , F . H . , 1 9 , 2 6 g a p i n , 4 8 , 5 1 , 5 3 , 5 8 , 6 2 , 6 5 – 6 B r o a d , C . D . , 2 2 a u t o b i o g r a p h y , 4 , 1 1 Burnet, John, 117 B y r o n , G e o r g e G o r d o n , 8 9, 1 4 9 , 1 5 4 B a i n , A l e x a n d e r , 1 8 , 2 3 – 4 . See also MIND Campbell, Gordon, 114 B a k h t i n , M i k h a i l , 6 2 , 6 5 , 1 7 5 C a s t l e , G r e g o r y , 8 – 9 B a k h t i n i a n d i a l o g i s m , 1 6 , 5 9 – 6 0 c a t h a r s i s , 7 0 Barth, John, 189 C a t h o l i c i s m . See religion Barthes, Roland, 186 C a v e , T e r e n c e , 6 4 b e a u t y , 9 8 , 1 0 2 , 1 0 5 , 1 0 8 , 1 1 1 C h a l m e r s , D a v i d , 1 9 4 B e c k e t , F i o n a , 1 1 6 , 1 2 1 , C l a r k , A n d y , 3 4 204n4 , 204n5 C l a r k , M a t t h e w , 4 b e h a v i o r i s m , 1 9 5 n 8 C l i f f o r d , W . K . , 1 9 B e r g s o n , H e n r i , 7 , 7 9 – 8 5 , 9 3 – 4 , Cognitive Experiential Self-Theory 1 0 5 – 8 , 1 2 4 , 1 9 5 n 6 , 2 0 0 n 4 ( C E S T ) , 1 3 , 1 6 7 – 8 , 1 7 2 a e s t h e t i c s , 7 9 , 1 0 1 , 1 0 5 – 6 C o l l i n g s , E r n e s t , 1 1 3 – 1 4 242 Index

C o l l i n g w o o d , R . G . , 1 9 d u a l i s m s , 2 , 2 1 – 2 , 3 3 , 4 9 , c o m m o d i f i c a t i o n , 1 7 0 – 1 7 0 , 8 7 , 1 5 3 , 1 7 1 , 1 8 1 c o m m u n i s m , 1 7 7 – 9 C a r t e s i a n , 7 – 8 , 1 9 – 2 0 , 2 6 , 3 3 , c o m p a r t m e n t a l i z a t i o n , 1 6 7 – 8 , 1 7 0 – 2 , 1 1 5 – 1 6 , 1 2 2 , 1 8 6 , 1 9 0 1 8 2 . S ee also unity c o n c r e s c e n c e , 2 7 egress/ingress, 153 Conrad, Joseph, 12, Ch. 2 , 120 , 191 embedded, 129 Lord Jim , 5 6 , 1 9 8 n 9 e x p e r i e n t i a l , 2 – 3 , 5 5 , 6 7 , 1 1 4 – 1 5 , Nostromo , 6 1 1 2 1 – 4 , 1 2 6 , 1 3 3 , 2 0 4 n 5 , Under Western Eyes, 12, Ch. 2: 2 0 6 – 7 n 1 1 Antonova, Sophia, 69 , 74–5 , I / m e , 1 9 – 2 0 , 3 1 , 1 9 7 n 1 7 199–200n18; Haldin, 53–4 , i n t u i t i v e , 6 , 1 0 – 1 1 , 1 1 5 , 1 4 1 , 1 5 7 56–7 , 63 , 66–75; Ivanovitch, k n o w i n g / b e i n g , 2 1 Peter, 65–6 , 75; Mikulin, 64 , light/darkness, 122–3 72–3; Natalia, 62–3 , 69–70 , 75 , l i v i n g / t h i n k i n g , 1 2 5 199n16; Prince K., 57–8 , 60 , m a t e r i a l / s p i r i t u a l , 9 3 69; Razumov, 8, Ch. 2 , 197n1 , m e n t a l / p h y s i c a l , 1 8 , 2 1 , 5 3 , 9 5 197n2 , 198n9 , 199n12 , 199n16 , m i n d / b o d y , 3 , 1 1 , 1 1 3 – 1 6 , 1 1 9 , 199–200n18 , 200n20 1 2 2 – 3 , 1 5 3 , 1 8 6 consciousness m i n d / b r a i n , 1 6 , 5 3 c o r e , 1 1 9 – 2 0 observer/actor, 173 d y n a m i c , 1 2 7 – 8 o r d i n a r y / m e t a p h y s i c a l , 1 2 2 C u n n i n g h a m , G . W . , 2 6 s e l f / w o r l d , 5 3 s e n s a t i o n / e m o t i o n , 8 1 D a m a s i o , A n t o n i o , 5 , 1 0 , 3 7 – 8 , s o u l / b o d y , 7 7 – 9 , 9 5 4 2 – 4 , 8 4 – 5 , 1 4 8 , 2 0 6 n 7 , s p a c e / t i m e , 2 7 206n8 s u b j e c t / o b j e c t , 2 3 , 2 7 , 6 5 D a m e s , N i c h o l a s , 1 8 D u j a r d i n s , Ė d o u a r d , 8 0 D a r w i n i s m , 2 0 – 1 , 8 0 , 1 0 5 , D u m a s , A l e x a n d r e , 8 7 1 2 1 , 1 6 1 d u ré e . See Bergson, Henri Deacon, Terrence, 193 D e a n , M i c h a e l , 2 0 9 n 1 7 E a k i n , P a u l J o h n , 4 , 6 1 , 1 9 9 n 1 5 , D e l e u z e , G i l l e s , 3 8 – 9 , 1 0 7 , 1 9 7 n 1 7 , 2 0 6 n 7 204n5 Living Autobiographically , 4 , D e n n e t t , D a n i e l , 3 4 – 6 , 3 8 , 5 2 4 2 – 4 D e s c a r t e s , 2 0 0 n 2 E d e l , L e o n , 8 0 d e t e r m i n i s m , 1 5 8 , 1 7 7 e g o , 3 6 – 7 , 1 2 3 – 4 , 1 7 5 , D e w e y , J o h n , 1 8 – 2 0 , 2 5 1 8 4 , 1 8 7 d i d a c t i c i s m , 1 1 4 , 1 2 1 , 1 2 5 – 6 , “ e g o t u n n e l , ” 3 6 – 7 134–5 E l i a n , N a o m i , 3 5 d i s s o c i a t i v e . See unity Eliot, George, 165–6 D o h e r t y , G e r a l d , 2 0 2 n 1 7 Eliot, T.S., 207n1 D o s t o e v s k y , F y o d o r , 6 2 E l l m a n n , M a u d , 9 1 – 2 Index 243

E l l m a n n , R i c h a r d , 2 0 0 n 5 G a s s , W i l l i a m , 6 e m b o d i e d a c t i o n , 2 9 , 3 2 G h i s e l i n , B r e w s t e r , 1 1 3 – 1 4 e m b o d i e d c o g n i t i o n , 6 – 7 , 2 1 , 3 2 – 6 , G i l l i e s , M a r y A n n , 4 – 5 , 8 0 , 1 0 5 – 8 7 6 , 7 8 , 1 1 0 , 1 2 5 , 1 9 1 G o r d o n , J o h n , 8 0 , 2 0 0 n 3 , 2 0 0 n 6 , 2 0 1 n 7 e m b o d i e d c o n s c i o u s n e s s , 7 , 1 0 , 1 2 , Gothic romances, 195n4 52 , 78–9, Ch. 4, Ch. 5 , 191 , G r e a n e y , M i c h a e l , 6 4 , 1 9 7 n 1 , 2 0 5 n 1 0 1 9 7 n 2 , 2 0 0 n 2 1 embodied empathy, Ch. 6 , 191 G r e e n , T . H . , 1 9 , 2 5 e m b o d i e d e x p e r i e n c e , 7 , 9 , 2 4 , 3 6 – 7 , G u a t t a r i , F e l i x , 2 0 4 n 5 5 2 , 6 7 , 8 6 , 1 2 6 – 7 e m p i r i c i s m , 1 6 – 1 9 , 2 1 h a p p i n e s s , 5 8 – 6 0 Encyclopedia Britannica , 2 3 – 5 Hardy, Thomas, 124 E n l i g h t e n m e n t , 8 , 1 6 8 – 9 H a w t h o r n e , J e r e m y , 4 8 , 1 9 9 n 1 3 E p s t e i n , S e y m o u r . See Cognitive H a y , E l o i s e K n a p p , 4 7 – 8 Experiential Self-Theory (CEST) H e g e l i a n i s m , 1 9 , 2 5 e q u i l i b r i u m , 2 8 , 3 7 , 4 9 , 1 1 8 – 2 0 , 1 9 1 . H e n r i c h , D i e t e r , 1 9 7 n 1 6 See also homeostasis H e r b e r t , M i c h a e l , 1 2 3 E r d i n a s t - V u l c a n , D a p h n a , 5 9 – 6 0 , H e r m a n , D a v i d , 3 3 6 4 – 5 H i n d u i s m , 2 0 9 n 1 4 e v o l u t i o n , 2 2 , 8 0 , 1 4 4 , 1 6 9 . H i t e , M o l l y , 1 3 8 See also Darwinism h o m e o s t a s i s , 6 , 3 7 – 8 , 4 3 , 4 9 , 6 0 – 1 , e x c e p t i o n a l i s m , 2 2 – 3 7 1 , 2 0 6 n 7 . S ee also equilibrium e x p e r i e n t i a l c o n s c i o u s n e s s , 1 0 h u m a n i s m , 2 6 – 7 , 3 3 e x p e r i m e n t a l p s y c h o l o g y , 1 8 H u m e , D a v i d , 2 3 – 4 H u s s e r l , E d m u n d , 3 5 F a h i m , S h a d i a , 2 0 9 n 1 4 Hussey, Mark, 205n1 f a n t a s y , 7 9 , 8 2 – 3 , 8 6 – 8 , 9 1 – 3 , H u t c h e o n , L i n d a , 1 6 8 108 , 175 h y l o m o r p h i s m , 7 6 – 7 , 2 0 0 n 1 F a w c e t t , E d w a r d D o u g l a s , 2 0 f e a r . S ee happiness “ I , ” 4 2 – 4 , 1 1 9 – 2 0 , 1 2 3 – 5 , 1 2 9 , 1 3 1 – 2 , F e c h n e r , G u s t a v e , 2 8 1 4 9 – 5 0 , 1 8 3 – 4 , 2 0 8 n 7 Feinberg, Todd, 193 i d e a l i s m , 1 8 – 1 9 , 2 5 , 1 1 8 , 1 2 4 , Fernald, Anne, 204n6 196n12 Fitzgerald, P.F., 16–17 Platonic, 129 F l a u b e r t , G u s t a v , 1 6 R o m a n t i c , 8 7 – 9 5 Ford, Ford Maddox, 49 i d e n t i t y c o n s t r u c t i o n , 2 9 , 4 9 F r e e m a n , M a r k , 4 1 i l l u s i o n s , 2 , 3 3 – 5 , 4 2 , 9 1 , 1 5 7 – 6 1 Freeman, Walter, 107 , 201n8 f o u n d a t i o n a l , 9 2 F r e u d , S i g m u n d , 1 6 , 2 8 , 5 3 , 1 1 5 , f u n c t i o n a l , 4 1 , 4 3 , 7 9 , 9 3 , 1 2 3 – 4 , 1 9 1 – 2 , 2 0 2 – 3 n 2 0 . 123 , 190 See also psychoanalysis p e r p e t u a l , 5 8 S c h o p e n h a u e r i a n , 5 5 – 9 G a r n e t t , E d w a r d , 5 1 , 1 9 7 n 2 See also s e l f 244 Index

i m p r e s s i o n i s m , 2 , 6 – 7 K i r s c h n e r , P a u l , 5 8 i n d i v i d u a t i o n , 2 6 , 1 1 4 , 1 1 8 – 2 1 , Kotowicz, Zbigniew, 179 1 4 4 – 5 0 , 1 5 3 , 1 8 1 Kripke, Saul, 141 i n t e l l e c t i o n , 2 , 2 0 , 2 6 , 1 2 1 , K r o u s e , T o n y a , 1 8 6 , 2 0 8 n 7 , 2 0 9 n 1 7 1 2 5 , 1 8 5 , 1 8 7 kunstlerroman , 8 , 7 8 , 1 6 7 , 1 9 0 i n t e l l i g e n c e , 2 3 , 8 2 , 8 5 , 1 0 4 – 8 , 1 7 5 , 180 L a c a n , J a c q u e s , 8 9 , 1 4 7 – 8 , 2 0 2 n 1 4 . ipse / idem , 4 0 – 1 . S ee also narrativizing See also psychoanalysis i r o n y , 1 0 5 – 1 2 Ladd, George Trumbull, 18 , 195n5 Laing, R.D., 179 J a m e s , H e n r y , 4 7 L a i r d , J o h n , 2 6 J a m e s , W i l l i a m , 2 , 6 , 1 2 , 1 6 , 1 9 – 2 0 , Lange, Friedrich Albert, 202–3n20 2 4 , 2 7 , 3 1 , 8 0 , 1 4 1 – 5 l a n g u a g e , 8 1 – 5 , 9 5 – 7 , 9 9 – 1 0 0 Essays in Radical Empiricism , 2 1 c r i t i q u e o f , 1 2 6 , 1 3 4 – 5 , 1 8 6 The Pluralistic Universe , 2 0 a n d i n t e l l i g e n c e , 2 4 , 3 5 , 5 1 Psychology , 2 0 . r e p r e s e n t a t i o n o f s e l f , 7 9 , 8 7 , 9 2 , See also p r a g m a t i s m ; r a d i c a l 1 3 1 , 1 4 1 , 1 4 6 – 7 empiricism s p o k e n , 3 2 , 5 7 J a m e s - L a n g e t h e o r y , 1 8 Lawrence, D. H., 2 , 12, Ch. 4 , 185 , J a m e s o n , F r e d r i c , 1 6 8 1 9 1 Janet, Pierre, 200n5 “ b e l i e f i n b l o o d , ” 1 1 4 , 1 1 6 J o h n s o n , B r u c e , 5 4 “ T h e C r o w n , ” 1 2 2 – 3 , 1 2 9 , 2 0 4 n 8 J o h n s o n , G e o r g e , 4 – 5, 1 6 Fantasia of the Unconscious , 1 2 , J o y c e , J a m e s , 1 0 , 1 2 , 3 0 , C h . 3 , 1 2 0 , 1 1 6 – 1 7 , 1 2 6 , 1 3 1 – 2 , 2 0 4 n 6 1 2 4 – 5 , 1 9 1 , 2 0 0 n 4 , 2 0 1 n 8 “The Fox,” 134 Exiles , 200n4 “Him with his Tail in His Mouth,” Finnegan’s Wake , 1 1 1 , 2 0 0 n 4 124 A Portrait of the Artist as As A Young “ T h e H o r s e D e a l e r ’ s D a u g h t e r , ” 1 3 4 Man , 1 2 , 3 0 , C h . 3 , 1 4 9 , 1 9 1 : Lady Chatterley’s Lover , 1 2 , 1 2 5 – 3 5 , Clongowes, 81–2 , 85; Cranly, 1 6 7 , 1 9 1 , 2 0 5 n 1 1 : Chatterley, 110; Daedalus, Stephen, 8, Ch. 3 , Cliff ord, 8 , 126–35 , 205n10; 149–50 , 191 , 200–4notes , 206n9; Chatterley, Connie, 8 , 126–35 , Father Arnall, 95–6; Father 191; Dukes, Tommy, 127–8; Dolan, 83; Heron, 89 , 104; Hilda, 134 ; Mellors, 131–4; Lynch, 105 , 110–11; Mercedes, Michaelis, 128 ; Wragby, 126 87–8 , 93 , 97 ; quidditas , 105 , 108 “… …Love Was Once a Little Boy,” Ulysses, 7 7 , 1 1 2 , 1 2 4 , 2 0 1 n 9 , 117 207n1 The Plumed Serpent , 125 , 134–5 Joyce, Stanislaus, 200n3 “A Propos Lady Chatterley’s Lover , ” J u n g , C a r l , 1 7 8 . See also 1 3 0 , 1 3 3 – 4 psychoanalysis “The Prussian Officer,” 134–5 K a n t , I m m a n u e l , 5 4 – 5 Psychoanalysis and the Unconscious , K e r n , S t e p h e n , 7 116 Index 245

The Rainbow , 125 , 134–5 M c C a r t h y , J o a n , 4 0 – 1 Reflections on the Death of a M c D o u g a l l , W i l l i a m , 1 6 Porcupine , 117 , 123–4 M c H a l e , B r i a n , 1 9 2 “ S n a k e , ” 1 1 7 – 1 8 M e a d , G e o r g e H e r b e r t , 2 9 , 4 1 “Surgery for the Novel? Or a M e i s e l , P e r r y , 2 8 B o m b ? , ” 1 2 , 1 1 4 , 1 2 4 – 5 M e l l o n e , S . H . , 2 3 , 1 9 6 n 1 2 “Why the Novel Matters,” 2 , 116 , M e r l e a u - P o n t y , M a u r i c e , 2 0 6 – 7 n 1 1 125 m e t a f i c t i o n , 6 1 – 2 , 1 6 8 – 9 , 1 7 6 – 7 , 1 9 2 u n i c o r n / l i o n , 1 2 9 . See also d u a l i s m s M e t z i n g e r , T h o m a s , 3 6 – 7 , 5 0 – 2 , 8 4 L e h a n , R i c h a r d , 2 0 M i l l e r , J . A . , 2 0 2 n 1 4 L e h r e r , J o h a h , 3 m i m e s i s , 3 0 L e s s i n g , D o r i s , 1 3 , 1 3 5 , C h . 6 , 1 9 1 – 2 , MIND , 16–22 , 195n6 2 0 5 n 1 1 Moore, Thomas, 108 The Golden Notebook , 13, Ch. 6 , M o s e s , 1 2 4 1 9 1 ; Ella, 180 , 184–5; George, Mü n s t e r b e r g , H u g o , 1 8 185; Green, Saul, 166 , 173–6 , 181–4; Janet, 183–4; Marion, n a r r a t i v e f r a m e s , 6 2 , 6 4 , 6 7 , 7 2 173; Mr. Mathlong, 172; Nelson, n a r r a t i v e i d e n t i t y , 1 0 – 1 1 , 1 5 – 1 6 , 181; Paul, 179; Wulf, Anna, 8 , 4 0 – 5 , 5 9 – 7 6 , 9 8 , 1 3 4 , C h . 5 13, Ch. 6 , 191 n a r r a t i v e i d e n t i t y h y p o t h e s i s , 5 8 , 6 4 , L e w i s , M i c h a e l , 1 9 3 190 L o d g e , D a v i d , 3 – 4 n a r r a t i v e s . See storytelling L o g o s , 1 2 4 – 6 , 1 3 3 n a r r a t i v i z i n g , C h . 1 , 6 4 – 5 , 6 7 , L o r d B y r o n . See Byron, George 1 3 3 – 4 , 1 3 9 , 1 4 1 , 1 5 0 – 1 , Gordon 189–91 L u ká cs, Georg, 7 Nashe, Thomas, 109 N a u t a , W a l l e , 1 9 3 M a c K e n z i e , J . S . , 2 6 n e u t r a l m o n i s m , 1 5 , 2 0 , 2 1 – 2 Maclean, Paul, 193 n e w r e a l i s m , 3 , 1 9 , 2 1 , 1 4 5 – 6 M a i e s e , M i c h e l l e , 6 – 7 , 3 3 N i e t z s c h e , F r i e d r i c h , 1 , 2 , 6 , 3 0 , 5 4 – 5 , M a r s d e n , D o r a , 3 1 – 2 1 3 0 , 1 5 1 The Egoist , 3 1 n i h i l i s m , 1 3 5 , 1 6 1 The Freewoman, 3 1 N oë , Alva, 47 The New Freewoman , 3 1 M a r s h a l l , H e n r y R u t g e r s , 2 6 O ’ D o n o v a n - A n d e r s e n , M i c h a e l , 3 3 M a r x i s m , 1 6 6 , 1 6 8 – 9 , 1 7 6 – 9 O r a g e , A . R . , 3 0 M a s s u m i , B r i a n , 8 3 – 4 , 1 0 7 , 1 4 0 , 1 5 4 , 2 0 1 n 8 , 2 0 5 n 3 P a n k s e p p , J a n , 1 9 3 Parables for the Virtual , 9 0 , 9 3 – 4 , P a r s o n s , D e b o r a h , 9 1 0 7 , 2 0 1 n 1 0 P e r r a k i s , P h y l l i s , 2 0 9 n 1 4 m a t e r i a l i s m , 9 , 1 8 – 1 9 , 2 1 , 4 3 , 1 7 6 Perry, Ralph Barton, 21 m a t e r i a l i t y , 5 1 – 4 , 9 9 – 1 0 2 Peters, John, 198n6 M a t z , J e s s e , 6 phallocentrism, 208n7 246 Index

p h e n o m e n a l s e l f m o d e l ( P S M ) , 3 6 – 7 , R y a n , J u d i t h , 1 6 5 0 – 1 . S ee also Metzinger, Thomas Rylance, Rick, 195n3 physiological psychology, 18–19 Pierce, Charles Saunders, 20 Said, Edward, 197–8n3 P l a t o , 1 1 7 , 1 2 4 , 1 3 3 , 2 0 4 n 8 S a r t r e , J e a n - P a u l , 1 8 6 p l u r a l i s m , 1 9 – 2 0 , 1 1 4 – 1 5 , 1 2 1 , 2 0 4 n 5 S c h i l l e r , F . C . , 1 8 , 2 7 , 1 0 6 – 7 . p o s t m o d e r n i s m , 1 9 1 – 2 See also pragmatism p r a g m a t i s m , 7 , 1 2 , 1 9 , 3 3 , 1 0 6 – 7 S c h o p e n h a u e r , A r t h u r , 2 0 , 5 1 , 5 4 – 9 , Proust, Marcel, 124 7 5 , 1 3 0 , 1 9 8 – 9 n 1 0 , 1 9 9 – 2 0 0 n 1 8 P r y s e , W i l l i a m , 1 1 5 Searle, John, 194 p s y c h o a n a l y s i s , 1 6 6 , 1 6 9 , 1 7 6 – 8 s e l f F r e u d i a n , 1 5 a u t o b i o g r a p h i c a l , 4 , 1 1 , 3 8 , 4 2 – 3 , J u n g i a n , 1 8 3 , 2 0 9 n 1 2 6 1 , 1 4 8 , 2 0 6 n 7 L a c a n i a n , 1 4 7 – 8 c o n s t r u c t i o n o f , 6 8 p s y c h o l o g i c a l n o v e l , 5 – 6 , 9 , 1 1 , 1 5 , d i a l o g i c , 5 9 3 3 , 1 9 2 e v a n e s c e n t , 1 6 , 2 4 p s y c h o l o g y , 2 3 , 1 2 9 – 3 1 . i l l u s i o n o f , 3 3 , 1 5 3 – 5 S e e a l s o specific treatments and i m a g e o f , 3 6 theories impalpable, 87–95 k n o w l e d g e o f , 5 1 qualia , 142–5 n a r r a t i n g o f , 1 1 non-material, 2 r a d i c a l e m p i r i c i s m , 6 , 1 4 1 – 5 p r e s e r v a t i o n o f , 9 2 R a p p o p o r t , A n g e l o , 3 0 – 1 s y n t h e s i s o f , 2 5 Raschke, Carl, 192 t r a n s c e n d e n c e o f , 2 5 – 6 , 7 8 – 9 , 9 7 , R a s k i n , J o h n , 2 0 9 n 1 1 1 3 4 , 1 4 2 , 1 5 9 , 1 6 1 R a s m u s s e n , D a v i d , 4 0 t r a n s f o r m a t i v e , 9 8 , 1 0 0 , 1 0 2 , 1 1 0 r a t i o n a l i s m , 1 7 2 s e l f h o o d , 1 6 , 3 6 – 4 0 , 6 1 , 1 1 7 r e a d e r r e s p o n s e c r i t i c i s m , 4 e m e r g e n t , 1 4 0 , 1 5 0 – 3 r e a l i s m , 2 8 , 3 3 , 1 1 4 , 1 3 5 i d e a l i z e d , 8 8 r e f l e x a c t i o n h y p o t h e s i s , 1 8 p a s s i v e , 9 8 , 1 0 2 R e i d , L o u i s , 2 8 r e f l e x i v e , 1 1 7 R e i s s , T i m o t h y , 1 6 7 – 8 s e l f - r e a l i z a t i o n , 8 8 r e l i g i o n , 7 8 , 9 4 – 9 , 1 0 5 , 1 2 0 , 1 3 4 , s e l f - t a l k , 1 3 8 – 9 2 0 3 n 2 2 SENSE-THINK-ACT circuit (in R e n o u v i e r , C h a r l e s , 2 0 c o g n i t i o n ) , 3 4 R i c h a r d s o n , D o r o t h y , 3 0, 1 2 4 s e x u a l i t y , 9 4 , 1 0 9 – 1 0 , 1 2 1 , 1 2 7 – 8 , R i c o u e r , P a u l , 4 0 – 1 , 1 9 9 n 1 4 1 3 1 – 5 , 1 4 4 , 1 8 5 R i t c h i e , A . D . , 2 8 – 9 s h a m e , 8 6 , 9 2 Roska-Hardy, Louise, 19–20 Shand, Alexander F., 27 R o y c e , J o s i a h , 2 7 , 1 9 6 n 1 3 S h a p i r o , L e o n a r d , 3 4 R u b e n s t e i n , R o b e r t a , 1 7 0 , 2 0 7 n 2 , Sheehan, Paul, 8 , 190 207n4 S h o e m a k e r , S y d n e y , 1 9 7 n 1 6 R u s s e l l , B e r t r a n d , 2 , 2 1 – 2 S i e g e l , J e r r o l d , 3 7 , 5 5 , 1 9 7 n 1 6 Index 247

S i n c l a i r , M a y , 3 0 u n i t y , 1 0 1 , 1 5 3 , 1 6 6 , 1 7 1 , 1 8 0 , 1 8 5 s k e p t i c i s m , 5 4 , 6 7 , 1 9 8 – 9 n 1 0 Smith, Ernest, 115 V e l l e m a n , D a v i d , 3 8 – 4 0, 4 5 S m i t h , E t h y l , 2 0 5 n 1 s o c i a l c o n s c i o u s n e s s , 3 7 Wallace, Miriam, 140 s o c i a l c o n s t r u c t i o n i s m , 5 , 4 2 , 5 5 , W a r d , J a m e s , 2 3 – 5 , 1 9 5 n 1 1 5 9 – 6 0 , 1 3 9 – 4 0 , 1 5 8 , 1 8 6 , 1 8 9 Waugh, Patricia, 192 s o c i a l i t y , 2 9 , 4 9 , 6 9 , 7 1 , 1 5 5 , 1 7 2 W a t t , I a n , 3 3 s o l i p s i s m , 1 2 0 – 1 , 1 2 6 – 8 , 1 3 3 , 2 0 5 n 9 W e x l e r , B r u c e , 1 4 0 , 1 4 6 , 1 5 6 , 1 9 3 S o l o m o n , J . , 2 9 W h i t e , M e l i s s a , 1 1 S o r l e y , W i l l i a m , 1 7 , 2 1 . W h i t e h e a d , A l f r e d N o r t h , 2 7 See also MIND W i l d e , O s c a r , 1 3 1 s o u l , 7 8 – 9 , 9 4 – 6 , 9 7 – 8 , 1 0 0 , W o l l a e g e r , M a r k , 5 4 – 5 , 1 9 8 – 9 n 1 0 1 0 2 , 1 1 8 – 1 9 , 1 2 3 , 2 0 3 n 2 6 . W o o d , J a m e s , 3 See also dualisms W o o l f , V i r g i n i a , 1 2 , 1 2 0 , 1 3 5 , 1 6 6 , S p e n c e r , H e r b e r t , 2 3 1 9 1 S p i n o z a , B a r u c h , 8 3 , 2 0 1 n 8 Jacob’s Room , 137 S t i l e s , A n n , 1 9 5 n 4 Mrs. Dalloway , 1 3 7 , 1 6 2 , 2 0 7 n 1 S t o n e b r i d g e , L y n d s e y , 4 – 5, 1 8 6 Orlando , 138 s t o r y t e l l i n g , 1 3 9 , 1 4 6 – 8 , 1 5 0 – 1 , 1 5 9 , Room of One’s Own , 1 4 7 , 2 0 8 n 7 , 1 7 4 , 1 8 7 , 1 9 1 2 0 9 n 1 7 S t a w s o n , G a l e n , 1 9 7 n 1 5 To the Lighthouse , 1 3 7 – 8 , 1 4 7 , 1 6 2 , s t r e a m o f c o n s c i o u s n e s s , 7 , 1 0 – 1 2 , 6 1 , 208n7 8 0 , 1 2 4 , 1 4 4 , 1 5 8 , 1 9 5 n 5 The Waves , 1 , 1 2 , 1 3 5 , C h . 5 , 1 9 1 , stream of consciousness novels, 2 , 9 , 2 0 3 n 2 3 , 2 0 3 n 2 8 : Bernard, 1 , 2 , 3 0 8, Ch. 5 , 206n9; Elvedon, 147; s t r e a m o f l i f e , 8 0 Louis, 148–9 , 162; Neville, 147 , s u b j e c t i v i s m , 2 1 150 , 154 , 156 , 162; Rhoda, 156 , S u f i s m , 2 0 9 n 1 4 161–2 W o r t h i n g t o n , K i m , 4 1 – 2 Tabbi, Joseph, 4 W r i g h t , C h a u n c e y , 2 2 – 3 T a y l o r , A . E . , 1 9 Wundt, Wilhelm, 18–19 “ t e l l e r e f f e c t , ” 4 2 , 2 0 6 n 8 T e r k e l , S t u d s , 1 6 9 , 2 0 8 n 8 Y o u n g , K a y , 5 T h o b y , S t e p h e n , 1 2 6 Y o u n g , R o b e r t , 9 5 , 2 0 2 – 3 n 2 0 T h o m p s o n , E v a n , 3 5 Yeats, W.B., 103–4 T o r r e n t s , N i s s a , 1 7 1 t r a n s g r e d i e n c e , 6 5 , 6 7 Z a h a v i , D a n , 3 5 Trilling, Lionel, 186 Ž iž e k , S l a v o j , 4 2 – 4 , 5 3 , 2 0 2 n 1 4 , T r o p p , S a n d r a , 8 0 2 0 6 n 7 T u l v i n g , E n d e l , 1 9 3 Parallax View , 4 2 – 3 , 8 5 , 1 4 8 , T y r r e l l , G e o r g e , 9 6 – 7 , 1 0 6 , 2 0 3 n 2 2 205n2 Tarrying , 4 4 U h l m a n n , A n t h o n y , 1 0 , 1 8 9 Z u n s h i n e , L i s a , 4