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Free indirect style in modernism : representations of consciousness /
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...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Philadelphia :
John Benjamins Publishing Company,
[2017]
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| Colección: | Linguistic approaches to literature ;
v. 29. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Free Indirect Style in Modernism; Editorial page; Title page; LCC data; Dedication page; Table of Contents; Acknowledgements; Key to acronyms; Introduction; 1. Free Indirect Style and a consciousness category approach; 1.1 FIT and the representation of thought; 1.1a Thought and language; 1.1b Non-verbal thought and FIT; 1.1c Mimetic diegesis and representation; 1.2 Beyond thought FIT to FIS; 1.2a Free Indirect Perception and the was-now paradox; 1.2b Free Indirect Psycho-narration and the Consciousness Category Approach; 1.2c The parameters of FIS.
- 1.3 The problem of the narrator and the possibility of dual subjectivities in FIS1.3a The original dual voice theory; 1.3b The communication model vs. no-narrator theory; 1.3c Dual subjectivity; 1.4 Modernist fiction, FIS and consciousness; 1.4a Summary and overview; 2. A consciousness category approach to To the Lighthouse; 2.1 Background; 2.1a The cognitive turn away from the consciousness categories; 2.1b Woolfâ#x80;#x99;s Modernist objectives; Anchor 53; 2.2a On the threshold of verbalisation; 2.2b Other aspects of Mrs Ramsayâ#x80;#x99;s consciousness.
- 2.3 Adapting â#x80;#x98;mind-styleâ#x80;#x99; to a stream of consciousness analysis2.4 Consciousness-representation and transparent fictional minds; 3. FIS and the voice of the Other in The Rainbow; Anchor 50; 3.2 Establishing the presence of an authorial narrator; 3.2a Brief intrusions; 3.3 A summative perspective within FIS; 3.4 Expressing the unconscious in FIS; 3.4a Implicating the unconscious with rhetorical devices; 3.4b Metaphors, stylistic expressivity and authorial voice; 3.5 The voice of the Other and the ambiguous â#x80;#x98;Iâ#x80;#x99.
- 4. Caught between figural subjectivity and narratorial exuberance in â#x80;#x9C;Scylla and Charybdisâ#x80;#x9D;4.1 Background: The narratological dilemma of agency in Ulysses; 4.2 Overview of the â#x80;#x9C;Scyllaâ#x80;#x9D; narrative and style; 4.2a Initial analysis; 4.2b The possibility of a narratorial reading; 4.3 Evidence for the FIS representation of Stephenâ#x80;#x99;s consciousness; 4.3a Evidence of FIP; 4.3b Stylistic deviation as FIS; 4.3c Narratological perspectives on Stephenâ#x80;#x99;s subjectivity; 4.3d Non-reflective consciousness and parallel processing; 4.4 Ambiguous FIS as dual subjectivity.
- 4.4a Metafiction in â#x80;#x9C;Scyllaâ#x80;#x9D;5. Conclusions; 5.1 General findings; 5.2 Analytical findings; 5.3 A defence of â#x80;#x98;representationalismâ#x80;#x99; and future research directions; References.