acknowledgements
preface: the scope of the book and how to read it
1 introduction: straightforward discourse and novel transactions
1.1 literature and non/literature?
��1.2 prose
��1.3 narrative
��1.4 narrative in context: the novel, mimesis and poetics
��1.5 the novel and prose narrative in literary/critical argument: formalism and old and new historicisms
��1.6 studying the novel and prose narrative: historicism, culture and rhetoric
��1.7 the novel and prose narrative: from 'literature' to 'intettextuality'
��1.8 the novel and prose narrative as 'forms of discourse'
��1.9 the novel and 'culture' revisited: 'cukure' as learning,'self, culture', 'culture' as a field of conflict
2 the elements of narrative analysis and the origins of the novel: reading jane austen's emma and samuel richardson's pamela
��2.1 the novel and formalist criticism
��2.2 reading the form of narrative fiction: jane austen's emma
��2.3 implied reader, real reader: narrator, implied author
��2.4 events: story and discourse
��2.5 character and point of view in emma
��2.6 limitations of the formal approach: social spaces and voices in narrative, from free indirect speech to social contexts
��2.7 what happens in richardson's pamela'.
��2.8 first,person narration and the epistolary form:the dramatised narrator, rhetoric and the narratee
��2.9 the narratee and writing as an 'event' in pamela
��2.10 pamela, print culture and debates about genre: the familiar letter, criticism and 'the novel'
��2.11 the debate about the origins of the novel
��2.12 the rise of the novel: ian watt and the tradition of formal realism
��2.13 contested fields of cultural discourse and the rise of the novel: lennard j. davis and michael mckeon
��2.14 gender and the rise of the novel: the domestic woman and the production of subjectivities
��2.15 re,reading emma: letters, standards and intertextual allusion
3 bildung and belonging: studying nineteenth.century narrative and 'self/culture'
��3.1 the bildungsroman
��3.2 biography and autobiography in the nineteenth century
��3.3 the viewpoint of youth: bildung in nineteenth,century history
��3.4 reading jane eyre: the critical reception; romance and 'self, culture'
��3.5 romantic autobiography and character classification in jane eyre
��3.6 space, time and subjectivity in jane eyre
��3.7 where does jane eyre belong.
��3.8 reading samuel bamford's early days: the common narrative strategies of autobiography and novel
��3.9 'reality is always romantic, though the romantic is not always real': the truth of autobiography
��3.10 reading elizabeth gaskell's the life of charlotte bronte: the rhetoric of biography
��3.11 biography, gender and the public position of the woman writer: negotiating 'realism' and 'romance'
��3.12 reading george eliot's the mill on the floss: culture as 'incarnate history'
��3.13 'writing the history of unfashionable families': the workings of eliot's 'realism'
��3.14 testing 'self, culture': 'eddication' and the role of the reader in eliot's realism
4 innovative stories and distinctive readers
��4.1 the art of prose narrative
��4.2 charles dickens's bleak house: reading the estranging poetry of prose
��4.3 'reading' in context: journalism and fiction
��4.4 nuggets for the masses: newspaper stories
��4.5 reading the 'sacred nugget': distinctive narrative art in james's the spoils of poynton and its 'preface'
��4.6 james's narration and the discriminating reader
��4.7 contesting 'the future of the novel': henry james's 'delicate organism' and h. g. wells's 'right to roam'
��4.8 reading h. g. wells's ann veronica
��4.9 the short story
��4.10 thomas hardy's 'the withered arm': the epical tale
��4.11 katherine mansfield's 'the garden party': the lyrical story
��4.12 the experimental novel: reading for voice and consciousness in virginia woolf's mrs dalloway
��4.13 thenovelistic scope of mrs dalloway
��4.14 woolf's narrative experimentation in context
5 history, intertextuality and the carnivalised novel: postmodern conditions and postcolonial hybridities
��5.1 playful narratives
��5.2 the novel as history, and the postmodern novel as metafiction
��5.3 midnight's children as postmodern 'historiographic metafiction': sniffy incredulity towards metanarratives
��5.4 the novel as national fiction: postcolonial concerns
��5.5 the discourse of midnight's children in 'long' cross,cultural history: laurence sterne's tristram shandy as eighteenth,century metafiction
��5.6 bakhtin's 'carnivalised' narrative: a 'second line of development' for the novel
��5.7 camivalised narrative, postcolonialism and the debate about 'hybridity': midnight's children revisked
��5.8 conclusion: long live postcolonial realism, the bildungsroman and leakage
select bibliography and suggested further reading index