By V. Sotirova
This stylistic research of realization within the Modernist novel explores shifts throughout diversified viewpoints and the suggestions wherein they're dialogically interconnected. The dialogic resonances within the presentation of personality awareness are analysed utilizing linguistic proof and facts drawn from daily conversational practices.
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Additional resources for Consciousness in Modernist Fiction: A Stylistic Study
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.
There are a number of sentences of this type in the passage: 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; t He kept within his breast the will to surety, all of them making reference to the character’s feelings and internal knowledge either through the use of a mental verb or through the use of an abstract noun, but without necessarily presupposing that these feelings are verbalised inside the character’s mind.
1978: 14) 42 Consciousness in Modernist Fiction Cohn’s category psychonarration should correspond to Humphrey’s omniscient description of a character’s mind, but she is more precise in outlining its linguistic characteristics. 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.