Titlebook: Consciousness in Modernist Fiction; A Stylistic Study Violeta Sotirova Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Lim

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书目名称Consciousness in Modernist Fiction影响因子(影响力)




书目名称Consciousness in Modernist Fiction影响因子(影响力)学科排名




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书目名称Consciousness in Modernist Fiction网络公开度学科排名




书目名称Consciousness in Modernist Fiction被引频次




书目名称Consciousness in Modernist Fiction被引频次学科排名




书目名称Consciousness in Modernist Fiction年度引用




书目名称Consciousness in Modernist Fiction年度引用学科排名




书目名称Consciousness in Modernist Fiction读者反馈




书目名称Consciousness in Modernist Fiction读者反馈学科排名

植物群

,Virginia Woolf’s Transparent Selves,o knowing, is only possible after exposure to communality, and thus ‘a core of impenetrable privacy is ultimately reached, “cleared of chatter” (., 170), inaccessible to any intruder’ (Banfield, 2000: 180).

ARY

https://doi.org/10.1007/978-1-349-25438-5ase ‘smell of burn’ in Bloom’s .s, recur in a character’s stream of consciousness, it is feasible to naturalise such examples as a form of recollection (1991: 18). The recurrent element may appear at moments which are far apart in the progression of the narrative or in the movement of ‘real’ time, a

下垂

conformity

,D.H. Lawrence’s Dialogic Consciousness,rences in their thinking in response to the outside world. In . the simultaneous presentation of different viewpoints is complicated, so that the characters seem to respond subliminally to each other’s feelings and emotions:

canvass

ey are dialogically interconnected. The dialogic resonances in the presentation of character consciousness are analysed using linguistic evidence and evidence drawn from everyday conversational practices.978-1-349-35773-4978-1-137-30725-5

canvass

Social and Developmental Influencesrences in their thinking in response to the outside world. In . the simultaneous presentation of different viewpoints is complicated, so that the characters seem to respond subliminally to each other’s feelings and emotions:

不规则

ODIUM

,James Joyce’s Extratextual Dialogicity,with shifts across different characters’ viewpoints. The different episodes of . are typically filtered through the consciousness of one character. Joyce himself describes the composition of the episodes pretty much in these terms: ‘Each adventure is so to say one person although it is composed of p

Cupping

,Virginia Woolf’s Transparent Selves,itially, blocks access to its geometry. To reach it one must leave behind the dinner table and the streets, “escape... from the common sitting-room” (., 118)’. (Banfield, 2000: 179). For Woolf, as for the mathematical philosopher Russell, it would appear, human contact is part of the sensible world