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By V. Sotirova

This stylistic learn of awareness within the Modernist novel explores shifts throughout various viewpoints and the thoughts during which they're dialogically interconnected. The dialogic resonances within the presentation of personality awareness are analysed utilizing linguistic proof and proof drawn from daily conversational practices.

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Extra resources for Consciousness in Modernist Fiction: A Stylistic Study

Example text

But such close inspection also reveals the basic similarity between Ulysses and the earlier third-person novels that use the quoted monologue. e. the lack of inquitt formulas and quotation marks] tends to make one forget that the most telling grammatical signals for distinguishing between report and monologue are common to Joyce and to earlier novelists: the change in basic tense (from past to present) and person (from third to first). (1978: 62–3) Cohn supports her claim with an example of Bloom’s interior monologue where, she argues, the ‘experimental addition of quotation marks and introductory tags goes a long way toward giving the Ulysses passage a traditional look’ and then she adds: ‘It goes a long way, but not all the way’ (1978: 63).

Its frequent coupling with the present-time adverb ‘now’ strengthens the illusion of immediacy. The experiencing consciousness of the old man is thus at the centre of the actions which are not simply recorded by an impartial narrator as having taken place in the past, but are transcribed through the viewpoint of the old man as taking place in the present moment of the narrative world, as his current experience. Unlike the use of the past simple to denote action as experienced by the character in Woolf’s passage, here it is structurally appropriate to use the progressive because at a moment of heightened tension, such as this one, the character’s experience of each action would be more acute and extended in time.

He could not bear to think or to speak, nor make any sound or sign, nor change his fixed motion. 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.

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