By Daniel Frank Chamberlain

Half one concludes with an exam of up to date definitions of narrative viewpoint and with the presentation of an alternate method of its research. the second one half bargains a interpreting of 2 texts, every one of which in actual fact offers the foremost concerns dealing with this inquiry.

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The experience of a thing and the sharing of an experience 'is not to coincide with it, nor fully embrace it in thought' (325). As noted above in Gadamer's experience of another language, it is 'without relinquishing his place and his point of view ... [that the perceiving subject must] reach out towards things to which he has, in advance, no key, and for which he nevertheless carries within himself the project, and open himself to an absolute Other which he is making ready in the depths of his being' (325-6).

It is 'always only a fold in the immense fabric of language' (1964^ 42; emphasis added). Language, body, and culture are interpenetrating: It is my body which gives significance not only to the natural object, but also to cultural objects like words. If a word is shown to a subject for too short a time for him to be able to read it, the word 'warm/ for example, induces a 22 Narrative Perspective in Fiction kind of experience of warmth which surrounds him with something in the nature of a meaningful halo.

The difference is one of degree, not exclusion: 'Already our existence as seers (that is, we said, as beings who turn the world back upon itself and who pass over to the other side ... ) and especially our ex- 36 Narrative Perspective in Fiction istence as sonorous beings for others and for ourselves contain everything required for there to be speech from the one to the other, speech about the world. And, in a sense, to understand a phrase is nothing else than to welcome it in its sonorous being' (1968, 155).

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