About Time: Narrative, Fiction and the Philosophy of Time by Mark Currie

By Mark Currie

Approximately Time brings jointly principles approximately time from narrative concept and philosophy. It argues that literary feedback and narratology have approached narrative essentially as a kind of retrospect, and demonstrates via a sequence of arguments and readings that anticipation and different kinds of projection into the long run provide new analytical views to narrative feedback and theory.

The ebook deals an account of 'prolepsis' or 'flashforward' within the modern novel which retrieves it from the area of experimentation and locations it on the middle of a modern mode of being, either own and collective, which reports the current because the item of a destiny reminiscence. on the subject of probably the most vital contemporary advancements within the philosophy of time, it goals to outline a collection of questions about stressful and temporal reference in narrative which give the chance to re-examine the functionality of news in modern tradition. It additionally reopens conventional questions on the adaptation among literature and philosophy when it comes to wisdom of time. within the context of those questions, the e-book deals analyses of a number of modern fiction by means of writers corresponding to Ali Smith, Ian McEwan, Martin Amis and Graham rapid.

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Extra resources for About Time: Narrative, Fiction and the Philosophy of Time (The Frontiers of Theory)

Sample text

Chronologically we have a line, but phenomenologically we have a loop. Though the reader may be located years, centuries or even millennia after the narrated time of a given narrative, Prolepsis 1 will project that reader forward through narrated time to a future which, in chronological terms, is located in the distant past. Or to put it another way, in the act of reading, the reader’s present will have embedded in it another present which is the decoded preterite of fictional narrative. The description of narrative temporality has a tendency, like the description of tense in general, to hurtle towards an absurd complexity.

Second, there is the question of the extent to which the divided presence of the narrative now has become an issue in the contemporary novel itself, that is to say, the extent to which the novel has come to understand itself as the discourse in which the trace-structure of moments can be most adequately explored. To this problem we might attach the claim that there is in contemporary fiction a prevalence of the analeptic and proleptic excursion, which enacts the trace-structure of moments in the refusal of linearity, as well as the claim that prolepsis has come to dominate over analepsis among the interests that narrative fiction has taken in its own temporal logic.

The tradition of thinking about time which runs from Augustine to Husserl is one in which Augustine’s theistic conception of untensed eternity gives way to an entirely tensed phenomenology of internal time-consciousness. In Husserl’s account of the melody, as in subsequent phenomenological accounts of reading, the past, the present and the future exist strictly as a unity in human consciousness. In Lucas’s view, which I am using to represent a broadly Anglo-American philosophical approach to the question of the future, the mind is free to roam in time, but the body is stuck.

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