By Maya Higashi Wakana
Targeting James' final 3 accomplished novels - "The Ambassadors", "The Wings of the Dove", and "The Golden Bowl" - Maya Higashi Wakana indicates how a microsociological method of James' novels extensively revises the frequent culture of placing James' characters into historic and cultural contexts. Wakana starts off with the basis that daily dwelling is inherently theatrical and hence duplicitous, and is going directly to express that James' paintings is predicated considerably on his robust experience of the agonizing or even risky problems of mundane face-to-face rituals that pervade his paintings. Centrally knowledgeable by way of social thinkers similar to G.H. Mead and Erving Goffman, Wakana's examine discloses the richness, complexity, and singularity of the interpersonal connections depicted in James' past due novels. Persuasively argued, and wealthy in unique shut readings, her ebook makes a major contribution to James' reports and to theories of social interplay.
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Performing the Everyday in Henry James's Late Novels
Targeting James' final 3 accomplished novels - "The Ambassadors", "The Wings of the Dove", and "The Golden Bowl" - Maya Higashi Wakana indicates how a microsociological method of James' novels noticeably revises the common culture of placing James' characters into old and cultural contexts.
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Additional resources for Performing the Everyday in Henry James's Late Novels
Newsome’s irreproachable, sadly irrefutable, and, from Strether’s point of view, overbearing beneficence. Strether’s complaint, however, is “a subject for silence” (I: 28). It is, in other words, furtive. Strether cannot openly identify and therefore deal with the oppressive sense of seeming very much like Mrs. Newsome’s incompetent, perhaps pleasant, but nonetheless found man because doing so would not only be highly unpleasant but also interfere with his ingrained urge to be right. Strether is genuinely indebted to Mrs.
Newsome’s son, when they discuss Chad’s relationship with Madame de Vionnet. This reminds us of Erich Fromm’s theory that for a given society to “function well,” its participants “must acquire the kind of character which makes them want to act in the way they have to act as members of the society or of a special class within it,” and are required to “desire what objectively is necessary for them to do,” so that “[o]uter force is to be replaced by inner compulsion, and by the particular kind of human energy which is channeled into character traits” (381).
To be sure, Strether yearns to be “up and up … on a level that he found himself at the end of another moment rejoicing to think he might reach,” the realm of “perched privacy … of the only domicile, the only fireside, in the great ironic city” (I: 98). What requires emphasis here, however, is that the image of the fireside is strongly suggestive of comfort and security more so than of height, privacy, and clarity of vision. In other words, the perched position that Strether so yearns for is one that guarantees a secure sense of being in self-possession, a safe haven from exposure to self-doubt and uncomfortable self-consciousness, which, to be sure, comes with clarity of vision but signifies other, equally significant properties, such as the ability to remain calm, constant, confident, and in control of one’s own feelings and emotions at all times.