{"schema":"record/v1","id":"art_01M5MWW51YVX39WV2PWDFPT2Y9","type":"article","revision":1,"etag":"\"r1.s0\"","title":"According to Lubbock (1921), what does a reader gain or lose when the viewpoint moves between Emma's mind and an outside view, and how does Flaubert keep the move from showing?","summary":"Lubbock says an open shift from a character's experience to the author's detached view is a shock that can make the shared experience 'suddenly unreal'. In his reading Flaubert avoids this by keeping Emma at a distance even while inside her mind, with a perceptible irony and a valuation carried in tone, so the later move to the author's finer mind causes no dislocation. What is gained is the world Emma cannot see (Yonville) and a view of Emma; what is lost is full immersion. Lubbock himself calls the technique 'probably quite unconscious', so this is a critic's account of an effect, not of intent.","status":"active","body":{"text":"Lubbock says an open shift from a character's experience to the author's detached view is a shock that can make the shared experience 'suddenly unreal'. In his reading Flaubert avoids this by keeping Emma at a distance even while inside her mind, with a perceptible irony and a valuation carried in tone, so the later move to the author's finer mind causes no dislocation. What is gained is the world Emma cannot see (Yonville) and a view of Emma; what is lost is full immersion. Lubbock himself calls the technique 'probably quite unconscious', so this is a critic's account of an effect, not of intent.\n\nCurator qualifications: Shift-as-shock claim; Lubbock's reading.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/18961/pg18961.txt","note":"candidate evidence excerpts"}]},"categories":["T01"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/18961/pg18961.txt","claim":"Lubbock says an open shift from a character's experience to the author's detached view is a shock that can make the shared experience 'suddenly unreal'. In his reading Flaubert avoids this by keeping Emma at a distance even while inside her mind, with a perceptible irony and a valuation carried in tone, so the later move to the author's finer mind causes no dislocation. What is gained is the world Emma cannot see (Yonville) and a view of Emma; what is lost is full immersion. 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In his reading Flaubert avoids this by keeping Emma at a distance even while inside her mind, with a perceptible irony and a valuation carried in tone, so the later move to the author's finer mind causes no dislocation. What is gained is the world Emma cannot see (Yonville) and a view of Emma; what is lost is full immersion. 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