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E-grāmata: Free Indirect Style in Modernism: Representations of consciousness

(Pontifical Catholic University of Chile)
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Free Indirect Style in Modernism: Representations of consciousnessPalielināt
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Free Indirect Style (FIS) is a linguistic technique that defies the logic of human subjectivity by enabling readers to directly observe the subjective experiences of third-person characters. This book consolidates the existing literary-linguistic scholarship on FIS into a theory that is based around one of its most important effects: consciousness representation. Modernist narratives exhibit intensified formal experimentation and a heightened concern with characters’ conscious experience, and this provides an ideal context for exploring FIS and its implications for character consciousness. This book focuses on three novels that are central to the Modernist canon: Virginia Woolf’s To the Lighthouse, D.H. Lawrence’s The Rainbow and James Joyce’s Ulysses. It applies the revised theory of FIS in close semantic analyses of the language in these narratives and combines stylistics with literary criticism, linking interpretations with linguistic features in distinct manifestations of the style.
Acknowledgements ix
Key to acronyms xi
Introduction xiii
Chapter 1 Free Indirect Style and a consciousness category approach
1(64)
1.1 FIT and the representation of thought
1(26)
1.1a Thought and language
7(6)
1.1b Non-verbal thought and FIT
13(8)
1.1c Mimetic diegesis and representation
21(6)
1.2 Beyond thought: FIT to FIS
27(18)
1.2a Free Indirect Perception and the was-now paradox
29(6)
1.2b Free Indirect Psycho-narration and the Consciousness Category Approach
35(5)
1.2c The parameters of FIS
40(5)
1.3 The problem of the narrator and the possibility of dual subjectivities in FIS
45(9)
1.3a The original dual voice theory
46(2)
1.3b The communication model vs. no-narrator theory
48(4)
1.3c Dual subjectivity
52(2)
1.4 Modernist fiction, FIS and consciousness
54(11)
1.4a Summary and overview
61(4)
Chapter 2 A consciousness category approach to To the Lighthouse
65(32)
2.1 Background
66(5)
2.1a The cognitive turn away from the consciousness categories
66(3)
2.1b Woolf's Modernist objectives
69(2)
2.2 The linguistic representation of Mrs Ramsay's consciousness
71(13)
2.2a On the threshold of verbalisation
73(5)
2.2b Other aspects of Mrs Ramsay's consciousness
78(6)
2.3 Adapting `mind-style' to a stream of consciousness analysis
84(6)
2.4 Consciousness-representation and transparent fictional minds
90(7)
Chapter 3 FIS and the voice of the Other in The Rainbow
97(34)
3.1 Background: The perception of an authorial narrator in Lawrence's fiction
98(4)
3.2 Establishing the presence of an authorial narrator
102(7)
3.2a Brief intrusions
106(3)
3.3 A summative perspective within FIS
109(4)
3.4 Expressing the unconscious in FIS
113(10)
3.4a Implicating the unconscious with rhetorical devices
114(4)
3.4b Metaphors, stylistic expressivity and authorial voice
118(5)
3.5 The voice of the Other and the ambiguous `I'
123(8)
Chapter 4 Caught between figural subjectivity and narratorial exuberance in "Scylla and Charybdis"
131(42)
4.1 Background: The narratological dilemma of agency in Ulysses
133(3)
4.2 Overview of the "Scylla" narrative and style
136(11)
4.2a Initial analysis
138(7)
4.2b The possibility of a narratorial reading
145(2)
4.3 Evidence for the FIS representation of Stephens consciousness
147(17)
4.3a Evidence of FIP
150(3)
4.3b Stylistic deviation as FIS
153(3)
4.3c Narratological perspectives on Stephens subjectivity
156(3)
4.3d Non-reflective consciousness and parallel processing
159(5)
4.4 Ambiguous FIS as dual subjectivity
164(9)
4.4a Metafiction in "Scylla"
166(7)
Chapter 5 Conclusions
173(10)
5.1 General findings
173(3)
5.2 Analytical findings
176(3)
5.3 A defence of `representationalism' and future research directions
179(4)
References 183(12)
Index 195
Biežāk uzdotie jautājumi par e-grāmatām Biežāk uzdotie jautājumi par e-grāmatām
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