Free Indirect Style in Modernism: Representations of Consciousness

Acknowledgements......Page 9
Key to acronyms......Page 11
Introduction......Page 13
1.1 FIT and the representation of thought......Page 19
1.1a Thought and language......Page 25
1.1b Non-verbal thought and FIT......Page 31
1.1c Mimetic diegesis and representation......Page 39
1.2 Beyond thought FIT to FIS......Page 45
1.2a Free Indirect Perception and the was-now paradox......Page 47
1.2b Free Indirect Psycho-narration and the Consciousness Category Approach......Page 53
1.2c The parameters of FIS......Page 58
1.3 The problem of the narrator and the possibility of dual subjectivities in FIS......Page 63
1.3a The original dual voice theory......Page 64
1.3b The communication model vs. no-narrator theory......Page 66
1.3c Dual subjectivity......Page 70
1.4 Modernist fiction, FIS and consciousness......Page 72
1.4a Summary and overview......Page 79
A consciousness category approach to 
To the Lighthouse......Page 83
2.1a The cognitive turn away from the consciousness categories......Page 84
2.1b Woolf’s Modernist objectives......Page 87
Anchor 53......Page 89
2.2a On the threshold of verbalisation......Page 91
2.2b Other aspects of Mrs Ramsay’s consciousness......Page 96
2.3 Adapting ‘mind-style’ to a stream of consciousness analysis......Page 102
2.4 Consciousness-representation and transparent fictional minds......Page 108
FIS and the voice of the Other in The Rainbow......Page 115
Anchor 50......Page 116
3.2 Establishing the presence of an authorial narrator......Page 120
3.2a Brief intrusions......Page 124
3.3 A summative perspective within FIS......Page 127
3.4 Expressing the unconscious in FIS......Page 131
3.4a Implicating the unconscious with rhetorical devices......Page 132
3.4b Metaphors, stylistic expressivity and authorial voice......Page 136
3.5 The voice of the Other and the ambiguous ‘I’......Page 141
Caught between figural subjectivity and narratorial exuberance in “Scylla and Charybdis”......Page 149
4.1 Background: The narratological dilemma of agency in Ulysses......Page 151
4.2 Overview of the “Scylla” narrative and style......Page 154
4.2a Initial analysis......Page 156
4.2b The possibility of a narratorial reading......Page 162
4.3 Evidence for the FIS representation of Stephen’s consciousness......Page 165
4.3a Evidence of FIP......Page 168
4.3b Stylistic deviation as FIS......Page 171
4.3c Narratological perspectives on Stephen’s subjectivity......Page 174
4.3d Non-reflective consciousness and parallel processing......Page 177
4.4 Ambiguous FIS as dual subjectivity......Page 182
4.4a Metafiction in “Scylla”......Page 184
5.1 General findings......Page 191
5.2 Analytical findings......Page 194
5.3 A defence of ‘representationalism’ and future research directions......Page 197
References......Page 201
4.2b The possibility of a narratorial reading......Page 163