Relevant bibliographies by topics / Hindi Stream of consciousness fiction

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Academic literature on the topic 'Hindi Stream of consciousness fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Hindi Stream of consciousness fiction"

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Raizis, Marios Byron. "The Stream of Consciousness in Greek Fiction." World Literature Today 60, no. 3 (1986): 421. http://dx.doi.org/10.2307/40142209.

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Sartika, Yustin. "Stream of Consciousness Style in Kincaid's What I've Been Doing Lately." LEKSEMA: Jurnal Bahasa dan Sastra 1, no. 2 (December 15, 2016): 89. http://dx.doi.org/10.22515/ljbs.v1i2.174.

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Stream of consciousness is used by writers of fiction to presenting characters thought and feeling. It allows the readers to experience the characters emotion thought from inside a characters head. This article aimed to find out the use of Stream of Consciousness in What Ive Been Doing Lately short story by Jamaica Kincaid.Kimcaid successfully reflects characters mental experiencestrough interior monologue.Some literary devices are used to strengthen the power of stream of consciousness.She uses foreshadowing and repetition to illustrate pessimistic thought of the character.
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Guo, Hua. "Free Indirect Thought in Stream-of-Consciousness Fiction: A Textural Cohesive Perspective." International Journal of English Linguistics 7, no. 6 (September 16, 2017): 38. http://dx.doi.org/10.5539/ijel.v7n6p38.

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Free indirect thought (FIT) is an important linguistic device to portray characters in stream-of-consciousness fiction. Most studies are concerned with its linguistic manifestations that align the text with the character’s point of view, and not much attention is given to the implicit coherence underlying FIT’s seemingly disconnected and disorganized structures. Using cohesion theory (Halliday & Hasan, 1985), this article analyzes FIT extracts of the two major characters in Mrs. Dalloway. The analysis is conducted to examine the non-structural cohesive devices and the cohesive chains these devices form and explore their unique contribution to the depiction of characters’ thought processes and distinctive personalities.
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Tilney, Martin. "Covert modernist techniques in Australian fiction." Language, Context and Text 1, no. 2 (July 22, 2019): 313–40. http://dx.doi.org/10.1075/langct.00013.til.

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Abstract Peter Carey’s short story American dreams (Carey 1994 [1974]) presents a recalibration of consciousness as a small Australian town gradually becomes Americanized. The text foregrounds epistemological concerns by demonstrating a clear tendency toward delayed understanding. For this reason, I argue that the story is an instance of modernist fiction: a label not previously applied to Carey’s stories. In contrast with popular modernist techniques such as free indirect discourse and stream of consciousness, the techniques presented in the text appear to be covert, which may at least partially explain why the story has managed to avoid being labelled modernist by literary critics until now. Using analytical tools grounded in systemic functional grammar and appraisal categories, I demonstrate how linguistic analysis can lay bare the covert modernist techniques at work in the story, indicating that such an approach can be a useful complement to non-linguistic literary criticism.
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Zagidullina, D. F. "“Stream of Consciousness” as an Indicator of the Growth and Transformation of Fiction." KAZAN LINGUISTIC JOURNAL 4, no. 2 (2021): 179–90. http://dx.doi.org/10.26907/2658-3321.2021.4.2.179-190.

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Chan, Leo Tak-Hung. "First Imitate, then Translate: Histories of the Introduction of Stream-of-Consciousness Fiction to China1." Meta 49, no. 3 (November 25, 2004): 681–91. http://dx.doi.org/10.7202/009386ar.

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Abstract In China, stream-of-consciousness (SOC) fiction had for some time been thought of as untranslatable. By contrast, SOC imitations appeared in abundance through the twentieth century, attempted by several Chinese writers who consciously used the technique in their own novels, first in the thirties, then in the sixties, and finally in the eighties. It was not until the nineties, however, that the “difficult” novels by James Joyce and Virginia Woolf, among others, were translated. How can we understand the phenomenon of translations following imitations in the history of SOC fiction as introduced to China?
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Schneiderman, Leo. "Virginia Woolf: Twentieth Century Psychology and Modern Fiction." Imagination, Cognition and Personality 22, no. 2 (October 2002): 181–200. http://dx.doi.org/10.2190/njx9-vj0y-drrg-47l8.

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The present study attempts to trace parallel developments between early twentieth century psychology and the evolution of modern fiction. I have chosen the work of Virginia Woolf to illustrate the emergence of an emphasis in modern fiction on depicting the contents of consciousness. This focus on sensibility and intersubjectivity goes well beyond the limitations imposed by the realistic novel, with its concern for larger contextual factors such as social structure and historical change. Woolf and other modernists such as Proust, Joyce, D. H. Lawrence, Kafka, Faulkner, and Beckett directed their attention to capturing the “stream of consciousness” at the same time that Titchener and the structuralists, Wertheimer and the Gestaltists, and Freud and his followers began to use introspective methods. These movements differed profoundly from Watson's behaviorism because of their embrace of radical subjectivity, but shared with behaviorism a tendency to view behavior in a cultural vacuum. It is my thesis that these tendencies, though not necessarily linked causally, reflect a broad current in modern art and contemporary psychology that has endeavored to view the individual in light of the “immediate data of consciousness” and in terms of “culture-free” universals. I try to provide an explanation for these phenomena by pointing to well-known social changes associated with the breakdown of tradition and the consequent weakening of the person's sense of being situated in a special place or rooted in a familiar tradition.
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Altorki, Soraya. "Layla al-Jihni's fiction: conceits and deceits*." Contemporary Arab Affairs 3, no. 2 (April 1, 2010): 207–17. http://dx.doi.org/10.1080/17550911003737745.

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Layla al-Jihni is one of several Saudi women novelists whose work has risen to prominence since the 1990s. She writes in a surrealistic, stream-of-consciousness style that features interior monologues and psychological introspection. Her work is published abroad, but on the basis of interviews I conducted with Saudi women, it is accessible in-country. Although al-Jihni is not an activist, and her works do not directly engage matters of policy, her reasons for writing are more than aesthetic and transcend the ‘art for art';s sake’ ethic. Discourse is a source of power and influence, and al-Jihni';s fiction contributes to this discourse in ways calculated to broaden the scope of choice for women in Saudi Arabian society.
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Ngom, Ousmane. "Conjuring Trauma with (Self)Derision: The African and African-American Epistolary Fiction." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 1. http://dx.doi.org/10.19044/esj.2018.v14n2p1.

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All the female narrators of the three stories examined here – So Long a Letter, The Color Purple, and Letters from France – suffer serious traumas attributable to their male counterparts. Thus as a healing process, letter-writing is an exercise in trust that traverses the distances between the addresser and the addressee. Blurring the lines in such a way results in an intimate narration of trauma that reads as a stream of consciousness, devoid of fear of judgment or retribution. This paper studies the literary device of derision coupled with a psycho-feminist analysis to retrace the thorny, cathartic journey of trauma victims from self-hate to self-acceptance and self-agency.
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Khaleel(M.A), Intisar Rashid. "Time Travel in Kurt Vonnegut's Slaughterhouse- Five." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (March 1, 2018): 89–100. http://dx.doi.org/10.36473/ujhss.v224i1.250.

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For many years, time travel was the stuff of science fiction. This was all just part of the world's imagination until recently. Science authors, among them, Kurt Vonnegut (1922-2007) post-modern American writer, believe that one can travel through time forward or backward asking his memories and stream of consciousness to give sensory impressions of his thoughts and actions, that what Billy did in Vonnegut's Slaughter house- Five (1969). The protagonist Billy Pilgrim finds himself "unstuck in time" jumping between several periods of his life. Travelling between his experiences as a prisoner of war in World War II to his family life in 1950s, and 1960s and his time on Tralfmadorian Planet, Billy has the freedom and ability to travel; he has no control over these transitions. The present study falls into three sections plus a conclusion. The first section deals with the concept of time travel in literature and fiction. Section two presents historical and literary context to Vonnegut's novel. The treatment of time travel concept will be discussed in the third section. Then, the conclusions which sum up the findings of the research.
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Dissertations / Theses on the topic "Hindi Stream of consciousness fiction"

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Saeed, Alan Ali. "'Liberties and licences' : gender, stream of consciousness and the philosophy of Henri Bergson and William James in selected female modernist fiction 1914-1929." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/13582.

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This thesis reconsiders in detail the connections between a selection of innovative female modernist writers who experimented variously with stream-of-consciousness techniques, May Sinclair, Dorothy Richardson, Katherine Mansfield and Virginia Woolf. It describes in this context the impact of the philosophy and thoughts of both William James and Henri Bergson upon these women writers’ literary work. It also argues for a fundamental revision of existing understandings of this interconnection by considering the feminist context of such work and recognising that the work of these four female writers in effect incorporates a ‘gendered’ reading of James and Bergson (encountered both directly and indirectly through the cultural and intellectual zeitgeist). In establishing a feminist perspective as key elements of their aesthetic the thesis explores the vital influence of existing tradition of female autobiography upon their reception and usage of both James and Bergson. The latter’s impact on such women writers were so distinctive and powerful as the work of these philosophers seemed to speak directly to contemporary feminist concerns and in that context to represent a way of thinking about society and culture. This echoes and has parallels with existing attempts at revisions of patriarchal society and creating new spaces for female independence. In the above context the thesis reviews existing research on the impact of James and Bergson on these four writers and offers new insights into how each of them made use of these two seminal thinkers by analysing the relationship between theories, selected literary and philosophical texts. Stream-of-consciousness ought to be seen as a distinctive, specific tradition connected with feminist concerns and as a way of writing the inner and hidden self, rather than just a narrow formal feature of literary texts; it offers women a continuing, creative exploration of its possibilities as fictional practice. The female modernists included in this account represent the celebrated: Virginia Woolf and Katherine Mansfield, together with writers largely and unjustly forgotten in subsequent periods: Dorothy Richardson and May Sinclair. However, the thesis demonstrates that such female modernist writers gained much from being part of a range of informal networks, being almost within a tradition in which they learnt, borrowed and reacted to each other; an interconnection that requires new critical recognition.
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Thomson, Tara S. ""Behind the cotton wool": Everyday Life and the Gendered Experience of Modernity in Modernist Women's Fiction." Thesis, 2014. http://hdl.handle.net/1828/5388.

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This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives.
Graduate
2015-04-16
0593
tarastar@gmail.com
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Books on the topic "Hindi Stream of consciousness fiction"

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Kapūra, Mohana Lāla. Hindī upanyāsa meṃ cetanā-pravāha paddhati. Dillī: Sāketa Samīra Prakāśana, 1988.

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Jeratha, Aśoka. Cetanāpravāha dhārā kā Hindī kathā-sāhitya para prabhāva. Jammū Tavī: Sāhtiya Saṅgama Pablikeśans, 1986.

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Kapūra, Mohana Lāla. Hindī upanyāsa meṃ cetanā-pravāha paddhati. Dillī: Sāketa Samīra Prakāśana, 1988.

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Ugrešić, Dubravka. Fording the stream of consciousness. Evanston, Ill: Northwestern University Press, 1993.

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Ugrešić, Dubravka. Fording the stream of consciousness. London: Virago, 1991.

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Dowling, David. Mrs. Dalloway: Mapping streams of consciousness. Boston: Twayne Publishers, 1991.

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1939-, Nayak P. M., ed. The voyage inward: Stream of consciousness in Indian English fiction. New Delhi: Bahri Publications, 1999.

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Mrs. Dalloway: Mapping streams of consciousness. Boston: Twayne Publishers, 1991.

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Rāmakr̥ṣṇārāvu, Vai. Ādhunikāndhra sāhityaṃlō caitanyasravanti =: Stream of consciousness in modern Telugu literature. Haidarābādu: Pratulaku, Vēdika Sāhitī Sāṃskr̥tika Saṃstha, 1987.

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Chauhan, H. G. S. Stream of consciousness and beyond in the novels of Dorthy M. Richardson. New Delhi: Harman Pub. House, 1990.

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Book chapters on the topic "Hindi Stream of consciousness fiction"

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Diaz, Ella. "The Art of Afro-Latina Consciousness-Raising in Shadowshaper." In Nerds, Goths, Geeks, and Freaks, 88–102. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827456.003.0007.

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Drawing on popular trends of zombies, magic, and superheroes in young adult fiction and blockbuster film franchises, author Daniel José Older presents Sierra Santiago, an Afro-Latina hero in Shadowshaper (2015) who combats local forces of cultural appropriation and gentrification in her Bedford-Stuyvesant neighborhood of Brooklyn, New York. This chapter focuses on the critical role of street art in her analysis of Shadowshaper and, specifically, the community muralists that, in the late twentieth century, established urban spaces as Latina/o and Chicana/o barrios. By positioning Sierra at the center of community muralism, Older disrupts the absence of Latina/o artists and, particularly female artists, by foregrounding moments of artistic processes throughout the novel, including descriptions of Sierra’s stream of consciousness as she makes art that reflects Afro-Latinidad.
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Blackwood, Sarah. "Mind/Brain." In The Portrait's Subject, 107–36. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652597.003.0005.

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This chapter explores Henry James’s career-long fascination with portraiture as foundational to his fiction’s ability to imagine new forms of inner life. His portrait fiction dramatizes shifting ideas about human psychology at the turn of the century, especially as those ideas found expression in the debates surrounding materialism, physiological psychology, and the “stream” of consciousness. James’s fiction is more attuned to the body as a cognitive system than most critics acknowledge. James’s portrait fiction plays a central part in the larger reimagination of human subjectivity, psychology, and inner life taking place at the turn of the century, as the physiological psychologies of the nineteenth century gave way to a return of the metaphysical in the form of psychoanalysis.
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Nichols, John. "Writing into Modernity." In American Literary History and the Turn toward Modernity, 77–96. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056043.003.0003.

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Chapter 3 situates Edith Wharton’s guidebook The Writing of Fiction within a culture of advice that traverses the nineteenth and early twentieth centuries. The essay argues that Wharton’s text formulates relational, comparative aesthetics that place contemporary modernist experimentation (such as stream of consciousness narration) within novelistic traditions developed the nineteenth century. Additionally, The Writing of Fiction emphasizes twentieth-century novelistic investigation of character subjectivity that challenges nineteenth-century novels’ portrayals of characters in relation to their historical conditions. While Wharton’s guidebook has often been read as a reflection upon her own writing practices, this essay submits that within a genre of advice about writing, Wharton’s guidebook addresses a wider conceptual field: the novel’s exploration of character identity within modernity.
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Morris, Wright. "“William Faulkner”." In The Dixie Limited. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0035.

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This chapter comments on William Faulkner's use of grotesque humor and comical violence in his fiction. It begins with the novel The Sound and the Fury, in which Faulkner employs the stream of consciousness as a narrative technique, followed by a discussion of the short story “Spotted Horses” and its “exuberant redundancy of words in their extravagant application to capture a bizarre, outrageous hallucination.” It also considers the novel Light in August, in which the character Lena Grove makes her way like a sleepwalker through a gothic crackling of passions, radiant in a cloak of impenetrable sentiment. Here Faulkner's accumulating rage is kept in bounds—within the scope of the rhetoric—by his humor. The chapter also reviews the short stories “Red Leaves” and “A Rose for Emily”.
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Frattarola, Angela. "Music and the Prosody of Voice." In Modernist Soundscapes, 37–65. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056074.003.0003.

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Chapter 2 connects Dorothy Richardson’s film column for the magazine Close Up, where she criticizes the talkie for its unnatural speech and argues for the importance of the musical accompaniment of silent film, with her fiction, where she pays explicit attention to the prosody of voice and bonding qualities of music. For Richardson, the musical accompaniment of silent film is essential for connecting a viewer with the film while allowing for private meditation; conversely, the awkward enunciation of the speech of the early talkies ruined the aesthetic experience of film for Richardson. Although film viewing is not represented in Pilgrimage (1915–1967), a multivolume work that follows the life of Miriam Henderson through free indirect discourse and stream of consciousness, Richardson repeatedly uses moments of listening to music to grant her characters a reprieve in their self-conscious inner speech, prompting them to relax and become more receptive to others. Similarly, the musical quality, or prosody, of voice creates intimacy among Richardson’s characters, allowing them to transcend their selfish concerns and connect with one another.
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Malcolm, William K. "Legacy." In Lewis Grassic Gibbon, 127–40. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.003.0008.

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The final chapter reviews the development of Mitchell’s literary legacy following his death up to the present. Translations of his best work to different genres, including radio, drama and film dramatisations, have had variable success while generically reflecting the growing popular esteem with which the Gibbon fiction is held. Critical appreciation has found a prominent place for A Scots Quair within the history of campaigning working-class writing and within the Scottish tradition in literature. Gibbon’s achievement with narrative focalisation and stream of consciousness combined with the epic grandeur of the trilogy working through Scottish subject matter to address vibrant universal themes has secured his place within the growing body of global criticism as one of the pre-eminent modernist novelists of the twentieth century. While his reputation within the British literary canon has been deemed to have suffered from his subliminal association with a marginalised culture, however, the author’s profound humanitarian principles manifested in his championing of the rights of the individual, irrespective of class, gender, religion and race, together with his prowess as a supreme proponent of ecofiction have a timeless appeal.
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