scholarly journals Parentheticals and point of view in free indirect style

2009 ◽  
Vol 18 (2) ◽  
pp. 129-153 ◽  
Author(s):  
Diane Blakemore
Keyword(s):  
Virginia Woolf ◽  
Point Of View ◽  
Katherine Mansfield ◽  
Malcolm Lowry ◽  
Free Indirect Style

This article explores the functions of parentheticals in Free Indirect Style (FIS), and in particular their role in enabling the author to represent thoughts from a variety of perspectives — including his own. I argue that while there is a sense in which a FIS text can achieve relevance by creating a sense of mutuality that is unmediated by the presence of the author, there are also features which allow the author to signal his own attitudes towards the characters whose thoughts he is representing. Indeed, as Dillon and Kirchhoff (1976) and Fludernik (1993) have shown, an author is able to communicate a sense of ironic distance even if he does not necessarily explicitly comment on his characters. Using examples from Katherine Mansfield, Malcolm Lowry and Virginia Woolf, I show that parentheticals play a role both in establishing a sense of affective mutuality between reader and character and in establishing a sense of irony by placing represented thoughts in a ludicrous light.

Katherine Mansfield and Literary Influence

2015 ◽  
Keyword(s):  
Cultural Differences ◽  
Virginia Woolf ◽  
Katherine Mansfield ◽  
Anton Chekhov ◽  
Evelyn Waugh ◽  
Literary Influence ◽  
Artistic Production ◽  
Key Issues ◽  
John Middleton Murry

Katherine Mansfield and Literary Influence seeks to understand influence, a powerful yet mysterious and undertheorised impetus for artistic production, by exploring Katherine Mansfield’s wide net of literary associations. Mansfield’s case proves that influence is careless of chronologies, spatial limits, artistic movements and cultural differences. Expanding upon theories of influence that focus on anxiety and coteries, this book demonstrates that it is as often unconscious as it is conscious, and can register as satire, yearning, copying, homage and resentment. This book maps the ecologies of Mansfield’s influences beyond her modernist and postcolonial contexts, observing that it roams wildly over six centuries, across three continents and beyond cultural and linguistic boundaries. Katherine Mansfield and Literary Influence identifies Mansfield’s involvement in six modes of literary influence - Ambivalence, Exchange, Identification, Imitation, Enchantment and Legacy. In so doing, it revisits key issues in Mansfield studies, including her relationships with Virginia Woolf, John Middleton Murry and S. S. Koteliansky, as well as the famous plagiarism case regarding Anton Chekhov. It also charts new territories for exploration, expanding the terrain of Mansfield's influence to include writers as diverse as Colette, Evelyn Waugh, Nettie Palmer, Eve Langley and Frank Sargeson.

Kate O'Brien and Virginia Woolf: Common Ground

2018 ◽  
Vol 48 (1) ◽  
pp. 127-142
Author(s):  
Aintzane Legarreta Mentxaka
Keyword(s):  
Civil War ◽  
Virginia Woolf ◽  
Spanish Civil War ◽  
Common Ground ◽  
Point Of View ◽  
Political Alignments ◽  
Literary Influences ◽  
Kate O'brien

Convergences in the work of Kate O'Brien and Virginia Woolf range from literary influences and political alignments, to a shared approach to narrative point of view, structure, or conceptual use of words. Common ground includes existentialist preoccupations and tropes, a pacifism which did not hinder support for the left in the Spanish Civil War, the linking of feminism and decolonization, an affinity with anarchism, the identification of the normativity of fascism, and a determination to represent deviant sexualities and affects. Making evident the importance of the connection, O'Brien conceived and designed The Flower of May (1953), one of her most experimental and misunderstood novels, to paid homage to Woolf's oeuvre.

scholarly journals Virginia Woolf and some aspects of the Russian novel of the 19th century

2018 ◽  
Vol 19 (11) ◽  
Author(s):  
Sonja Valčić
Keyword(s):  
19Th Century ◽  
Virginia Woolf ◽  
Emily Bronte ◽  
Point Of View ◽  
Wuthering Heights ◽  
Russian Novel ◽  
The 19Th Century

Tema ovog eseja je bazirana na citatu V. Woolf »The Russian Point of View«, tj. na citatu iz njena eseja, koji otvara jedan interesantan uvid u neke tendencije ruskih i engleskih romanopisaca 19. stoljeća. Engleski novelisti, po V. Woolf, čini se, teže objektivnijem prikazivanju društva, dok su ruski veći individualisti. Da se svi engleski pisci ne mogu klasificirati kao objektivni promatrači društva u kojem žive, potvrđuje Emily Bronte sa svojim romanom Wuthering Heights. Isto tako ruski novelisti 19. stoljeća otvaraju »mogućnosti« modernih interpretacija s tematikama moralnih sukoba koje onda pisci 20. stoljeća (engleski) proširuju na određen način, ili, bolje rečeno, sagledavaju s drugih točaka gledišta i stavljaju u određene okvire. Obrađeni su naročito V. Woolf i D. H. Lawrence, te su povučene neke paralele s Tolstojem i Turgenjevim.

‘[A]ctively Making One Feel’: Katherine Mansfield, Evolving Empathy and Intimate Influence in Virginia Woolf’s Writings of the 1920s and 1930s

2015 ◽  
Author(s):  
Katie Macnamara
Keyword(s):  
Virginia Woolf ◽  
Russian Literature ◽  
Katherine Mansfield ◽  
The Relationship

This chapter offers a reassessment of the relationship between Katherine Mansfield and Virginia Woolf by exploring how Mansfield’s imitation of Fyodor Dostoevsky’s ‘underworld’ influenced Woolf’s perspective on Russian literature and on her friend and rival. The chapter charts Woolf’s growing empathy for Mansfield in the years after her death, arguing that this empathy constitutes a form of influence itself, as imitations of Mansfield’s experience are located in Woolf’s diary, criticism, growing feminist sensibility and fiction.

The Zeppelin in the Sky of the Mind

2018 ◽  
Author(s):  
Christine Froula
Keyword(s):  
Virginia Woolf ◽  
Spanish Civil War ◽  
Katherine Mansfield ◽  
Total War ◽  
Aerial Warfare ◽  
Global War ◽  
The Mind ◽  
Modern Warfare ◽  
The Military ◽  
Bernard Shaw

While First World War historians often emphasize civilians’ experience of ‘war at a distance’, the military dirigible floated over the divide between civilian and soldier, brought aerial warfare to Britain’s island fortress, and inaugurated a mode of modern warfare that defies spatial and temporal containment. This essay foregrounds the zeppelin’s psychic impact on the civilian imaginary from 1914 through the Spanish Civil War to the Blitz, tracing its conceptual and aesthetic representation in diaries, letters, novels, essays, and plays by Virginia Woolf, H. G. Wells, George Bernard Shaw, Katherine Mansfield, D. H. Lawrence, Evelyn Waugh, Muriel Rukeyser, Julian Bell and others. These writings document an unending European-civil-imperial-global war in which aerial technologies at once enlarge human powers almost beyond imagining and dwarf them to the point of negation. Inspiring both wonder and the new terror of total war, the zeppelin created a permanent change in civilians’ psychic weather and remains an inescapable presence in the sky of the mind.

Parentheticals and the presentation of multipersonal consciousness: A stylistic analysis of Mrs Dalloway

2014 ◽  
Vol 23 (2) ◽  
pp. 175-187 ◽  
Author(s):  
Yaxiao Cui
Keyword(s):  
Point Of View ◽  
Degree Of Freedom ◽  
Stylistic Analysis ◽  
Multiple Points ◽  
Single Sentence ◽  
Research Gap ◽  
Points Of View ◽  
Free Indirect Style ◽  
Narrative Techniques

The presentation of consciousness in Mrs Dalloway has long been a focus of study, and many scholars have investigated Woolf’s narrative techniques in this regard, especially her use of Free Indirect Style. However, most of the existing studies mainly concentrate on the consciousness presentation of individual characters. Few studies have provided adequate accounts concerning the arrangement of the shifting narrative viewpoints and the linguistic mechanism that facilitates the ‘multipersonal representation of consciousness’ in this novel (Auerbach, 2003 [1953]: 536). This article attempts to fill this research gap by examining the use of parentheticals in Mrs Dalloway. The syntactic independence of a parenthetical gives it a degree of freedom to digress from its host, which makes this construction a convenient device to bring in new sources of consciousness and thus shift the narrative viewpoint from one character to another. The frequent viewpoint shifts subvert the convention of adhering to a single coherent narrative point of view. Meanwhile, using parentheticals allows Woolf to present multiple points of view within a short stretch of text, even within a single sentence. In this way, a sense of simultaneity is created. Distinct sources of consciousness are brought closer to each other; the very boundaries between individual minds seem to be blurred.

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