By V. Sotirova
This stylistic learn of awareness within the Modernist novel explores shifts throughout assorted viewpoints and the recommendations by which they're dialogically interconnected. The dialogic resonances within the presentation of personality cognizance are analysed utilizing linguistic facts and facts drawn from daily conversational practices.
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Additional info for Consciousness in Modernist Fiction: A Stylistic Study
Even if James’ preoccupation with the consciousness of characters is thematically elevated to a central position, it is hard to find the linguistic basis for placing the dividing line in the development of the novel of consciousness with him. The parallel between these two authors’ techniques is aptly captured by Lodge: The most remarkable formal feature of Emma is that the story is told almost entirely from her point of view – there are just a couple of scenes at which she is not present but during most of the action she is mistaken about the true state of affairs, so that on first reading, the reader shares at least some of her misapprehensions, and the shock of discovery.
It is typically Henry James who has, in the English-language canon, been considered to be among the first authors to inhabit this new tradition. Matz says about Henry James that what he did in order to ‘transform’ the novel ‘from a familiar form of entertainment into a forum for new realities’ was to ‘enrich the “consciousness” of the novel’ and he goes as far as to suggest that ‘[n]ever before had a novelist ventured so far into the heads of characters, and never had a novelist so much to report about the complexity, subtlety, and limitlessness of what he found there’ (2004: 16).
This last area is the one with which almost all psychological fiction is concerned. Stream-of-consciousness fiction differs from all other psychological fiction precisely in that it is concerned with those levels that are more inchoate than rational verbalization – those levels on the margin of attention. (Humphrey, 1954: 2–3) Free indirect style, then, provides access to a character’s consciousness, but in its classic form it depicts only fully verbalised thought. Humphrey’s revised definition of stream-of-consciousness novels works well towards explaining that only novels ‘in which the basic emphasis is placed on exploration of the prespeech levels of consciousness for the purpose, primarily, of revealing the psychic being of characters’ (1954: 4) should be included into this category.