Victorian identities and cultures attempt to resist the spread of this pattern, albeit to no avail. These rhythms are in turn projected onto different fictional levels, so much so that the novel reads like an organic spread of the patterns of nature into the very structure of the narrative. This resonates with the “elemental rhythms” of nature the novel overtly identifies as constitutive of the natural space. Time can be read as a synthesis, a contraction of differences in repetition.
The article probes into Deleuze’s idea of the first synthesis of time in the novel.
The present article offers a Deleuzian reading of Picnic at Hanging Rock (Joan Lindsay, 1967) that does not start by analysing binary oppositions, but rather construes the space and, more specifically, its synthesis in and through time as processes of “differen t/ciation” and “becoming”.
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