By V. Sotirova
This stylistic research of attention within the Modernist novel explores shifts throughout varied viewpoints and the options during which they're dialogically interconnected. The dialogic resonances within the presentation of personality attention are analysed utilizing linguistic proof and proof drawn from daily conversational practices.
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Additional resources for Consciousness in Modernist Fiction: A Stylistic Study
Example text
G. ‘thought’, ‘felt’, ‘hoped’, ‘soul’, ‘mind’. It is clear from the features that distinguish psychonarration that it is a technique widely used for the presentation of consciousness in the novel in general. H. Lawrence questions the requisite presence of the narrator in such sentences. Cohn’s category ‘narrated monologue’, is equivalent to free indirect style because ‘like psycho-narration it maintains the third-person reference and the tense of narration, but like the quoted monologue it reproduces verbatim the character’s own mental language’ (1978: 14).
He could scarcely bear to think of her face. He moved within the knowledge of her, in the world that was beyond reality. The feeling that they had exchanged recognition possessed him like a madness, like a torment. How could he be sure, what confirmation had he? The doubt was like a sense of infinite space, a nothingness, annihilating. He kept within his breast the will to surety. They had exchanged recognition. (Lawrence, The Rainbow, 29–30) The passage, for its most part, records the internal state of the character not by transcribing his verbalised thoughts, but by expressing, often through metaphor, his feelings which are perhaps not fully The Novel of Consciousness 37 articulated within his conscious mind.
Mansfield, ‘Mr. and Mrs. Dove’, 273) The immersion into the consciousness of the character, whether resisted or willingly accepted by the reader, is executed from the beginning of Mansfield’s story with opening sentences marked by the subjectivity of a protagonist we know nothing about, thinking about another protagonist we know nothing about. Both of these protagonists are referred to with third-person pronouns (he knew, her father) r which indicate familiarity on the part of the thinking character but give the reader no indication as to the identity of these protagonists.