https://el.rub.de/wiki/Brit-Cult/api.php?action=feedcontributions&feedformat=atom&user=Inga+M. 2026-05-11T20:12:19Z User contributions MediaWiki 1.43.0 https://el.rub.de/wiki/Brit-Cult/index.php?title=A_Portrait_of_the_Artist_as_a_Young_Man&diff=7421 2012-01-06T13:00:26Z

<p>Inga M.: </p> <hr /> <div>A highly biographical novel by James Joyce published in 1916, which describes the process of growing up of Stephen Dedalus, Joyce`s Alter Ego in his literary works. It deals with the politics and religion of the early 20th century Ireland, especially the Independence movement and the decline of the politician Charles Steward Parnell, the catholic faith and the importance of the family, sexuality and women, art and spiritual experience. It is a novel of education describing the protagonist`s struggle from childhood to maturity. While his life is at first tremendously influenced by the voices of authority, he later starts a rebellion against them and becomes a free individual.<br /> <br /> '''Summary'''<br /> <br /> The novel starts with the description of the earliest childhood memories of Stephen Dedalus, the beginning of his identification with the world of language and the confrontation with the restrictions imposed by the external world.<br /> <br /> Stephen is send to Clongowes Wood College, a conservative Jesuit school. He is portrayed as small, weak, isolated, sensitive and different from the other boys living there. He is faced with strict rules and unjust punishment at school and is often mocked by his classmates for his unusual name.<br /> <br /> When he returns home for Christmas, he is for the first time in his life allowed to have the Christmas dinner at the table with the adults: his parents Mary and Simon Dedalus, John Casey (a friend of Simon’s), his great-uncle Charles and the nurse Dante Riordan. The adults discuss the political situation of Ireland, having an argument about the role of the Catholic Church in politics and about the downfall of the Irish nationalist Parnell, who has had a love affair with a married woman and is called a sinner by the Church. Stephen learns that this is the end of a political career which had seemed to promise Home Rule for Ireland.<br /> <br /> As he grows older, Stephen feels increasingly alienated from his family and social environment and has his first romantic experience with a prostitute. Afterwards he is horrified by the sermon he listens to in Church, in which Father Arnall condemns sexual desires as religious sins and portrays the torments of Hell. Stephen confesses his sins to a priest and tries to live a religious life. Due to his striving for power and pride, he is momentarily tempted by the prospect to become a priest.<br /> <br /> But then he realizes that it is his vocation to become an artist. This vocation is revealed in form of an epiphany of a young, bird-like woman on the beach, whom he associates with spiritual freedom. Only in a state of freedom can he become a writer. He eventually escapes from Ireland and leaves behind the constraints imposed on him by his family, the school, the Church and the country.<br /> <br /> '''Biographical background'''<br /> <br /> There are numerous parallels to be found with regard to the life of James Joyce and his Alter Ego Stephen Dedalus. They include the pride both take in their country and ancestry, the schools they attend and the financial problems of the families, which result in the removal of their son from school. The decline of the family seems to coincide with the downfall of Parnell, president of the Irish National Land League and a man highly admired by Dedalus (and Joyce). <br /> <br /> Furthermore, many characters are based on Joyce`s actual friends and relatives, as concerns John Kelly, Mrs. “Dante”, Uncle Charles and Lynch. Joyce`s father was engaged in politics and always eager to maintain the family`s reputation.<br /> <br /> Like Stephen, Joyce had his first sexual experience with a prostitute and afterwards suffered from feelings of guilt and shame. In his manifesto The Day of the Rabblement, James proclaims the necessity of personal freedom in order to become an artist, an idea mirrored by the thoughts of the main character. <br /> <br /> The novel conveys Joyce`s political and religious attitudes and reflects both his love and hate for Ireland. He admits to be a product of his race and religion, but writes against Irish nationalism and abandoned Catholicism. He emphasizes Stephen`s refusal to serve those forces, that are in conflict with his artistic spirit. <br /> <br /> '''Language'''<br /> <br /> Characters, structures, perspective as well as the style used in the novel only serve to shape the development of the protagonist. Joyce uses different styles in each chapter to point out the stages of the protagonist`s development. There is an evolution in the technique and style of language according to Stephen`s age, state of maturity and the degree of his interest in language.<br /> <br /> The childhood is characterized by a limited speaking level while the following chapters introduce the ability to judge and describe. The change of language reflects the contrast between the outer and inner world, which Stephen becomes more and more aware of during his adolescence. On the one hand, he adopts certain styles in different social situations. On the other hand, his personal thoughts contain aesthetic elements that Joyce later developed further into the stream of consciousness technique. Stephen begins to use the complex grown-up language and especially the moments of artistic creation underline his growing sensitivity for words. In the diary sequence at the end of the novel, the protagonist takes over the part of the narrator. Nevertheless, he has not gained the stylistic maturity of an Artist yet.<br /> <br /> '''Sources'''<br /> <br /> Blades, John. James Joyce: A Portrait of the Artist as a Young Man. Harmondsworth: Penguin Press, 1991, pp. 1-15 and 140-153.<br /> <br /> Joyce, James. A Portrait of the Artist as a Young Man – Edited with an introduction and notes by Seamus Deane. London: Penguin Books, 1992. <br /> <br /> Sucksmith, Harvey P. James Joyce, A Portrait of the Artist as a Young Man. London: Arnold Press, 1976, pp. 8-19.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=A_Portrait_of_the_Artist_as_a_Young_Man&diff=7418 2012-01-05T15:56:52Z

<p>Inga M.: Created page with &#039;A highly biographical novel by James Joyce published in 1916, which describes the process of growing up of the protagonist Stephen Dedalus, who is considered Joyce`s Alter Ego in…&#039;</p> <hr /> <div>A highly biographical novel by James Joyce published in 1916, which describes the process of growing up of the protagonist Stephen Dedalus, who is considered Joyce`s Alter Ego in his literary works.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7179 2011-12-07T15:19:11Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue: “The technique used in fiction for representing the psychic content and processes of character, partly or entirely unuttered, just as these processes exist at various levels of conscious control before they are formulated for deliberate speech” (Humphrey, 24). There is no author invention in terms of commentaries or explanations and no audience, which the thoughts are being addressed to.<br /> <br /> 2. The indirect interior monologue: Shows the same characteristics as the direct interior monologue, with the difference “that indirect monologue gives to the reader a sense of the author´s continuous presence” (Humphrey, 29).<br /> <br /> 3. Omniscient description: Was used in fiction before, but gained new importance in the 20th century through its psychological approach of the characters. This description ensures that “the reader is always within the mind of the character” (Humphrey, 35)<br /> <br /> 4. Soliloquy: “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed” (Humphrey, 36)<br /> <br /> <br /> '''Analogy with music'''<br /> <br /> All of the above-mentioned techniques contain an evocative and detailed use of language. The experimentation with styles, musicality, sound patterns and symbolic imagery mirror the ambition of the Modernist writers to create something new. The resemblance to music is achieved by the varying use of tenses (Friedman 25). One example for musicality in Modernist literature is the chapter ''Sirens'' in James Joyce`s ''Ulysses'': the “musical puns, references to songs of all sorts, overlapping phrases, and frequent harmonic touches all conspire to (…) give the impression that we are confronted with a musical form in literary pastiche” (Friedman 133).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7176 2011-12-07T15:02:40Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue: “The technique used in fiction for representing the psychic content and processes of character, partly or entirely unuttered, just as these processes exist at various levels of conscious control before they are formulated for deliberate speech” (Humphrey, 24). There is no author invention in terms of commentaries or explanations and no audience, which the thoughts are being addressed to.<br /> <br /> 2. The indirect interior monologue: Shows the same characteristics as the direct interior monologue, with the difference “that indirect monologue gives to the reader a sense of the author´s continuous presence” (Humphrey, 29).<br /> <br /> 3. Omniscient description: Was used in fiction before, but gained new importance in the 20th century through its psychological approach of the characters. This description ensures that “the reader is always within the mind of the character”(Humphrey, 35)<br /> <br /> 4. Soliloquy: “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed”(Humphrey, 36)<br /> <br /> <br /> '''Analogy with music'''<br /> <br /> All of the above-mentioned techniques contain an evocative and detailed use of language. The experimentation with styles, musicality, sound patterns and symbolic imagery mirror the ambition of the Modernist writers to create something new. The resemblance to music is achieved by the varying use of tenses (Friedman, 25). One example for musicality in Modernist literature is the chapter Sirens in James Joyce`s Ulysses: the “musical puns, references to songs of all sorts, overlapping phrases, and frequent harmonic touches all conspire to (…) give the impression that we are confronted with a musical form in literary pastiche” (Friedman, 133).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7175 2011-12-07T15:01:49Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue: “The technique used in fiction for representing the psychic content and processes of character, partly or entirely unuttered, just as these processes exist at various levels of conscious control before they are formulated for deliberate speech” (Humphrey, 24). There is no author invention in terms of commentaries or explanations and no audience, which the thoughts are being addressed to.<br /> <br /> 2. The indirect interior monologue: Shows the same characteristics as the direct interior monologue, with the difference “that indirect monologue gives to the reader a sense of the author´s continuous presence” (Humphrey, 29).<br /> <br /> 3. Omniscient description: Was used in fiction before, but gained new importance in the 20th century through its psychological approach of the characters. This description ensures that “the reader is always within the mind of the character”(Humphrey, 35)<br /> <br /> 4. Soliloquy: “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed”(Humphrey, 36)<br /> <br /> <br /> '''The analogy with music'''<br /> <br /> All of the above-mentioned techniques contain an evocative and detailed use of language. The experimentation with styles, musicality, sound patterns and symbolic imagery mirror the ambition of the Modernist writers to create something new. The resemblance to music is achieved by the varying use of tenses (Friedman, 25). One example for musicality in Modernist literature is the chapter Sirens in James Joyce`s Ulysses: the “musical puns, references to songs of all sorts, overlapping phrases, and frequent harmonic touches all conspire to (…) give the impression that we are confronted with a musical form in literary pastiche” (Friedman, 133).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7174 2011-12-07T15:01:31Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue: “The technique used in fiction for representing the psychic content and processes of character, partly or entirely unuttered, just as these processes exist at various levels of conscious control before they are formulated for deliberate speech” (Humphrey, 24). There is no author invention in terms of commentaries or explanations and no audience, which the thoughts are being addressed to.<br /> <br /> 2. The indirect interior monologue: Shows the same characteristics as the direct interior monologue, with the difference “that indirect monologue gives to the reader a sense of the author´s continuous presence” (Humphrey, 29).<br /> <br /> 3. Omniscient description: Was used in fiction before, but gained new importance in the 20th century through its psychological approach of the characters. This description ensures that “the reader is always within the mind of the character”(Humphrey, 35)<br /> <br /> 4. Soliloquy: “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed”(Humphrey, 36)<br /> <br /> '''The analogy with music'''<br /> <br /> All of the above-mentioned techniques contain an evocative and detailed use of language. The experimentation with styles, musicality, sound patterns and symbolic imagery mirror the ambition of the Modernist writers to create something new. The resemblance to music is achieved by the varying use of tenses (Friedman, 25). One example for musicality in Modernist literature is the chapter Sirens in James Joyce`s Ulysses: the “musical puns, references to songs of all sorts, overlapping phrases, and frequent harmonic touches all conspire to (…) give the impression that we are confronted with a musical form in literary pastiche” (Friedman, 133).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7171 2011-12-07T14:53:02Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue: “The technique used in fiction for representing the psychic content and processes of character, partly or entirely unuttered, just as these processes exist at various levels of conscious control before they are formulated for deliberate speech” (Humphrey, 24). There is no author invention in terms of commentaries or explanations and no audience, which the thoughts are being addressed to.<br /> <br /> 2. The indirect interior monologue: Shows the same characteristics as the direct interior monologue, with the difference “that indirect monologue gives to the reader a sense of the author´s continuous presence” (Humphrey, 29).<br /> <br /> 3. Omniscient description: Was used in fiction before, but gained a new importance in the 20th century through its psychological approach of the characters. This description ensures that “the reader is always within the mind of the character”(Humphrey, 35)<br /> <br /> 4. Soliloquy: “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed”(Humphrey, 36)<br /> <br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7170 2011-12-07T14:47:59Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue:<br /> - No author invention in terms of commentaries or explanations<br /> - No audience, that the thoughts are addressed to<br /> - Use of the first-person pronoun<br /> - Unconventional syntax and absence of tags like “he said”<br /> - No connection between thoughts and plot<br /> - Shifting of tenses(Humphrey, 25-27;33)<br /> <br /> 2. The indirect interior monologue:<br /> - Presence of the author<br /> - Is addressed to an audience<br /> - Use of third- or second-person pronoun(Humphrey, 29)<br /> <br /> 3. Omniscient description:<br /> - Was used in fiction before, but gained a new importance in the 20th century through its psychological approach of the characters<br /> - Description ensures that “the reader is always within the mind of the character”(Humphrey, 35)<br /> <br /> 4. Soliloquy:<br /> - “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed”(Humphrey, 36)<br /> <br /> <br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7169 2011-12-07T14:47:09Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue:<br /> - No author invention in terms of commentaries or explanations<br /> - No audience, that the thoughts are addressed to<br /> - Use of the first-person pronoun<br /> - Unconventional syntax and absence of tags like “he said”<br /> - No connection between thoughts and plot<br /> - Shifting of tenses<br /> (Humphrey, 25-27;33)<br /> <br /> 2. The indirect interior monologue:<br /> - Presence of the author<br /> - Is addressed to an audience<br /> - Use of third- or second-person pronoun <br /> (Humphrey, 29)<br /> <br /> 3. Omniscient description:<br /> - Was used in fiction before, but gained a new importance in the 20th century through its psychological approach of the characters<br /> - Description ensures that “the reader is always within the mind of the character”<br /> (Humphrey, 35)<br /> <br /> 4. Soliloquy:<br /> - “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed”(Humphrey, 36)<br /> <br /> <br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7168 2011-12-07T14:45:07Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> '''Techniques'''<br /> <br /> The stream of consciousness constitutes a departure from traditional conventions not only with regard to time and content, but also with regard to literary technical devices. The following are the four basic techniques used to present stream of consciousness (Humphrey 23). <br /> <br /> 1. The direct interior monologue:<br /> - No author invention in terms of commentaries or explanations<br /> - No audience, that the thoughts are addressed to<br /> - Use of the first-person pronoun<br /> - Unconventional syntax and absence of tags like “he said”<br /> - No connection between thoughts and plot<br /> - Shifting of tenses<br /> (Humphrey, 25-27;33)<br /> <br /> 2. The indirect interior monologue:<br /> - Presence of the author<br /> - Is addressed to an audience<br /> - Use of third- or second-person pronoun <br /> (Humphrey, 29)<br /> <br /> 3. Omniscient description:<br /> - Was used in fiction before, but gained a new importance in the 20th century through its psychological approach of the characters<br /> - Description ensures that “the reader is always within the mind of the character” (Humphrey, 35)<br /> <br /> 4. Soliloquy:<br /> - “The technique of representing the psychic content and processes of a character directly from character to reader without the presence of an author, but with an audience tacitly assumed” (Humphrey, 36)<br /> <br /> <br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7167 2011-12-07T14:37:05Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ ''Principles of Psychology'' (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel ''A la recherche du temps perdu'' (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7166 2011-12-07T14:35:08Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was changing constantly. The stream of consciousness therefore describes the Modernists' anxiety towards this world. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ Principles of Psychology (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel A la recherche du temps perdu (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7165 2011-12-07T14:33:55Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was in a constant state of change. The stream of consciousness therefore describes the modernists' anxiety towards this world of uncertainty. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ Principles of Psychology (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel A la recherche du temps perdu (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7164 2011-12-07T14:32:30Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2-3).<br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was in a constant state of change. The stream of consciousness therefore describes the modernists' anxiety towards this world of uncertainty. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ Principles of Psychology (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel A la recherche du temps perdu (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7163 2011-12-07T14:31:42Z

<p>Inga M.: </p> <hr /> <div>Literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). It was coined by psychologist William James (the brother of Henry). May Sinclair transposed the psychological term to the analysis of narrative. Novelist [[Dorothy Richardson]] started to experiment with it in her series ''Pilgrimage''. The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2/3).<br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterised by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was in a constant state of change. The stream of consciousness therefore describes the modernists' anxiety towards this world of uncertainty. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream-of-consciousness fiction.<br /> <br /> '''Historical influences'''<br /> <br /> The psycho-analytical school of Sigmund Freud and its interest in the irrational workings of the human psyche and free association of ideas led to a discussion of psychology also in literature. Freud`s theories of “the preconscious and unconscious became the legitimate domain of fiction” (Friedman 7).<br /> <br /> Furthermore, the stream of consciousness was especially influenced by the new psychology of Henri Bergson and William James. Bergson´s concept of durational flux is regarded as the “creative impulse behind the new mode of portraying character as a ceaseless stream of becoming” (Kumar Preface). William James´ Principles of Psychology (1890) first highlighted “the conception of thought as a stream and the idea of the `compounding of consciousness´ (Friedman 2) and turned the stream from a psychological into a literary concept. <br /> <br /> The stream of consciousness is said to have aspects in common with impressionistic painting, Symbolism and cinematic techniques. It is similar to impressionism respecting the new perception of the real world. Common features of Modernist and Symbolist writings are “their use of a complicated association of ideas (and) their insistence upon inventing a special language to express individual personality”. The stream displays cinematic techniques such as motion, montage and flashbacks (Kumar 5-6).<br /> <br /> Marcel Proust's novel A la recherche du temps perdu (1913–27) emphasized the importance of psychological time, because it was the first to show the merging of human sensory impressions and memories (Kumar 10).<br /> <br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. ''Stream of Consciousness – a Study in Literary Method''. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. ''Stream of Consciousness in the Modern Novel''. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. ''Bergson and the Stream of Consciousness Novel''. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=7000 2011-12-04T19:18:24Z

<p>Inga M.: </p> <hr /> <div>Stream of consciousness is a literary term that describes a “mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations” (Abrams 299). The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2/3).<br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterized by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was in a constant state of change. The stream of consciousness therefore describes the modernist’s anxiety towards this world of uncertainty. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar, 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream of consciousness fiction.<br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. Stream of consciousness – a study in literary method. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. Stream of consciousness in the modern novel. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. Bergson and the stream of consciousness novel. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=6999 2011-12-04T19:17:13Z

<p>Inga M.: </p> <hr /> <div>A &quot;mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations&quot; (Abrams 299). The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> '''Definition'''<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2/3).<br /> <br /> '''Subject matter'''<br /> <br /> With regard to the content, the stream of consciousness novel is characterized by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was in a constant state of change. The stream of consciousness therefore describes the modernist’s anxiety towards this world of uncertainty. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar, 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream of consciousness fiction.<br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. Stream of consciousness – a study in literary method. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. Stream of consciousness in the modern novel. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. Bergson and the stream of consciousness novel. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M. https://el.rub.de/wiki/Brit-Cult/index.php?title=Stream_of_consciousness&diff=6998 2011-12-04T19:16:44Z

<p>Inga M.: </p> <hr /> <div>A &quot;mode of narration that undertakes to reproduce, without a narrator's intervention, the full spectrum and continuous flow of a character's mental process, in which sense perceptions mingle with conscious and half-conscious thoughts, memories, expectations, feelings, and random associations&quot; (Abrams 299). The technique was refined in the 1920s and is a hallmark of Modernist classics such as [[James Joyce]]'s ''[[Ulysses]]'' (1922) or [[Virginia Woolf]]'s ''[[Mrs Dalloway]]'' (1925).<br /> <br /> Definition<br /> <br /> Due to its vagueness, the term has been used either as an equivalent of the interior monologue, as an umbrella term for various different stylistic techniques, which aim to express the subject matter of human consciousness, or as the designation of a type of novel (Friedman 2/3).<br /> <br /> Subject matter<br /> <br /> With regard to the content, the stream of consciousness novel is characterized by the “the expression of an inner awareness” (Humphrey 5). Modernist writers encouraged their readers to turn to their inner world and draw their attention exclusively to the individual reality. It was believed that one could not trust anymore in the external world of the new Age, since it was in a constant state of change. The stream of consciousness therefore describes the modernist’s anxiety towards this world of uncertainty. The fictional characters display feelings such as alienation, disillusionment, anger or fear and the “preoccupation with the ultimate nature of reality” (Kumar, 3). Identity and the self, isolation and the failure to communicate as well as the importance to live in the moment are, amongst others, the predominant themes expressed in stream of consciousness fiction.<br /> <br /> <br /> == Sources ==<br /> * Abrams, M. H. ''A Glossary of Literary Terms''. 7th Edition. Orlando: Harcourt Brace, 1999.<br /> * Friedman, Melvin. Stream of consciousness – a study in literary method. Folcroft, PA: Folcroft Press, 1970.<br /> * Humphrey, Robert. Stream of consciousness in the modern novel. 8th Edition. Berkeley: University of California Press, 1972.<br /> * Kumar, Shiv K. Bergson and the stream of consciousness novel. 2nd Edition. New York: New York University Press, 1963.</div>

Inga M.