Molly Bloom’s stream of consciousness from “Ulysses”. — КиберПедия 

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Molly Bloom’s stream of consciousness from “Ulysses”.

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Analyze lexical devices.

What is the role of colours, sounds, taste symbols?

What is the role of syntax?

Read the last extract in English and in Russian. How does perception differ?

How do you think why does writer choose such a form for expression of his heroine’s thoughts? Would it be possible to show the same emotions without using “stream of consciousness” technique? If yes, then how?

 

O that awful deepdown torrent O and the sea the sea crimson sometimes like fire and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down Jo me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.

III. “Mrs Dalloway”

Find examples of “stream of consciousness” in “ Mrs. Dalloway ”. Find examples of interior monologue. Which form is prevailing?

Can you state problems of “Mrs. Dalloway”? Is stating of these problems important for acceptance of the novel?

What is more important for Woolf – form or content? Prove.

First title given to the book was “The Hours”. Why did the author change it? Which title is more suitable?

How do you think, why does Woolf show us two parallel lives: Clarissa’s life and Septimus’s life? Woolf says that these two characters are siblings; how are they similar?

Comment on the image of London. Find sensual aspects of these image: colour, smell etc.

Extra task*

Write several lines using “stream of consciousness” technique. You may write in Russian or in English. The topic is “My Reading Impressions”. Concentrate on some important, significant, unusual book that you’ve read (not obviously a book from our course, not obviously the book of English literature). Remember your emotions. Use descriptive colour, sound, taste signals. Use changes from past to present. Avoid “ordinary” language. Let your emotions speak.

 

Sources

Владимир Набоков - лекции по зарубежной литературе: Джеймс Джойс "Улисс"

Хоружий С.С. "Улисс в русском зеркале" – комментарии к роману «Улисс»

М.Брэдбери. Вирджиния Вульф http://magazines.russ.ru/inostran/2002/12/br31.html

http://lit.1september.ru/article.php?ID=200404306 – анализ романа Вульф

 

Extract from “Mrs Dalloway”

Pay attention to imagery, details, interior monologues

“Who can — what can,” asked Mrs. Dalloway (thinking it was outrageous to be interrupted at eleven o’clock on the morning of the day she was giving a party), hearing a step on the stairs. She heard a hand upon the door. She made to hide her dress, like a virgin protecting chastity, respecting privacy. Now the brass knob slipped. Now the door opened, and in came — for a single second she could not remember what he was called! so surprised she was to see him, so glad, so shy, so utterly taken aback to have Peter Walsh come to her unexpectedly in the morning! (She had not read his letter.)

“And how are you?” said Peter Walsh, positively trembling; taking both her hands; kissing both her hands. She’s grown older, he thought, sitting down. I shan’t tell her anything about it, he thought, for she’s grown older. She’s looking at me, he thought, a sudden embarrassment coming over him, though he had kissed her hands. Putting his hand into his pocket, he took out a large pocket-knife and half opened the blade.

Exactly the same, thought Clarissa; the same queer look; the same check suit; a little out of the straight his face is, a little thinner, dryer, perhaps, but he looks awfully well, and just the same.

“How heavenly it is to see you again!” she exclaimed. He had his knife out. That’s so like him, she thought.

He had only reached town last night, he said; would have to go down into the country at once; and how was everything, how was everybody — Richard? Elizabeth?

“And what’s all this?” he said, tilting his pen-knife towards her green dress.

He’s very well dressed, thought Clarissa; yet he always criticises ME.

Here she is mending her dress; mending her dress as usual, he thought; here she’s been sitting all the time I’ve been in India; mending her dress; playing about; going to parties; running to the House and back and all that, he thought, growing more and more irritated, more and more agitated, for there’s nothing in the world so bad for some women as marriage, he thought; and politics; and having a Conservative husband, like the admirable Richard. So it is, so it is, he thought, shutting his knife with a snap.

“Richard’s very well. Richard’s at a Committee,” said Clarissa.

And she opened her scissors, and said, did he mind her just finishing what she was doing to her dress, for they had a party that night?

“Which I shan’t ask you to,” she said. “My dear Peter!” she said.

But it was delicious to hear her say that — my dear Peter! Indeed, it was all so delicious — the silver, the chairs; all so delicious!

<…>

“Do you remember the lake?” she said, in an abrupt voice, under the pressure of an emotion which caught her heart, made the muscles of her throat stiff, and contracted her lips in a spasm as she said “lake.” For she was a child, throwing bread to the ducks, between her parents, and at the same time a grown woman coming to her parents who stood by the lake, holding her life in her arms which, as she neared them, grew larger and larger in her arms, until it became a whole life, a complete life, which she put down by them and said, “This is what I have made of it! This!” And what had she made of it? What, indeed? sitting there sewing this morning with Peter.

She looked at Peter Walsh; her look, passing through all that time and that emotion, reached him doubtfully; settled on him tearfully; and rose and fluttered away, as a bird touches a branch and rises and flutters away. Quite simply she wiped her eyes.

“Yes,” said Peter. “Yes, yes, yes,” he said, as if she drew up to the surface something which positively hurt him as it rose. Stop! Stop! he wanted to cry. For he was not old; his life was not over; not by any means. He was only just past fifty. Shall I tell her, he thought, or not? He would like to make a clean breast of it all. But she is too cold, he thought; sewing, with her scissors; Daisy would look ordinary beside Clarissa. And she would think me a failure, which I am in their sense, he thought; in the Dalloways’ sense. Oh yes, he had no doubt about that; he was a failure, compared with all this — the inlaid table, the mounted paper-knife, the dolphin and the candlesticks, the chair-covers and the old valuable English tinted prints — he was a failure! I detest the smugness of the whole affair, he thought; Richard’s doing, not Clarissa’s; save that she married him. (Here Lucy came into the room, carrying silver, more silver, but charming, slender, graceful she looked, he thought, as she stooped to put it down.) And this has been going on all the time! he thought; week after week; Clarissa’s life; while I— he thought; and at once everything seemed to radiate from him; journeys; rides; quarrels; adventures; bridge parties; love affairs; work; work, work! and he took out his knife quite openly — his old horn-handled knife which Clarissa could swear he had had these thirty years — and clenched his fist upon it.

<…>

For Heaven’s sake, leave your knife alone! she cried to herself in irrepressible irritation; it was his silly unconventionality, his weakness; his lack of the ghost of a notion what any one else was feeling that annoyed her, had always annoyed her; and now at his age, how silly!

I know all that, Peter thought; I know what I’m up against, he thought, running his finger along the blade of his knife, Clarissa and Dalloway and all the rest of them; but I’ll show Clarissa — and then to his utter surprise, suddenly thrown by those uncontrollable forces thrown through the air, he burst into tears; wept; wept without the least shame, sitting on the sofa, the tears running down his cheeks. <…>

It was all over for her. The sheet was stretched and the bed narrow. She had gone up into the tower alone and left them blackberrying in the sun. The door had shut, and there among the dust of fallen plaster and the litter of birds’ nests how distant the view had looked, and the sounds came thin and chill (once on Leith Hill, she remembered), and Richard, Richard! she cried, as a sleeper in the night starts and stretches a hand in the dark for help. Lunching with Lady Bruton, it came back to her. He has left me; I am alone for ever, she thought, folding her hands upon her knee.

Now it was time to move, and, as a woman gathers her things together, her cloak, her gloves, her opera-glasses, and gets up to go out of the theatre into the street, she rose from the sofa and went to Peter.

And it was awfully strange, he thought, how she still had the power, as she came tinkling, rustling, still had the power as she came across the room, to make the moon, which he detested, rise at Bourton on the terrace in the summer sky.

“Tell me,” he said, seizing her by the shoulders. “Are you happy, Clarissa? Does Richard —”

The door opened.

“Here is my Elizabeth,” said Clarissa, emotionally, histrionically, perhaps. “How d’y do?” said Elizabeth coming forward.

The sound of Big Ben striking the half-hour struck out between them with extraordinary vigour, as if a young man, strong, indifferent, inconsiderate, were swinging dumb-bells this way and that.

 

 

ПОТОК СОЗНАНИЯ – повествовательная форма (вариант внутреннего монолога), строящаяся по принципу свободных ассоциаций, произвольной последовательности, часто логической бессвязности фрагментов речи и создающая эффект непосредственной передачи реального функционирования психической жизни человека.

У М. Пруста это изображение автономности всего континуума жизни сознания, у Д. Джойса – единства и конфликта внутренней и внешней жизни. В случае Пруста это непрерывное движение мыслительного процесса, импрессионистически сосредоточенного на оттенках предметов и впечатлений и способного таким образом зафиксировать текучесть, изменчивость, неуловимость и, в конце концов, непостижимость жизненных явлений. В случае Джойса – в отличие от прустовского повествования - часто грамматически неоформленная речь, располагающаяся на пороге между сознанием и бессознательным.

Понятие П. с. ввел американский психолог и философ В. Джеймс; метафора «потока» указывает на текучесть и внутреннее единство процесса нервных возбуждений, непрерывно вводящих в сознание чувственный опыт, во всей полноте не осознаваемый субъектом, вместе с тем непрерывно отбирающим из этого безбрежного континуума непосредственных ощущений и впечатлений отдельные, безостановочно сменяющие и никогда не повторяющие друг друга моменты. П. с. в литературе – прием имитации, передачи на письме работы человеческого сознания как произвольного, логически неорганизованного движения фрагментов внутреннего и внешнего опыта, в котором отражается целостность и индивидуальное своеобразие психического состояния конкретной личности. Прием П. с. встречается у Льва Толстого и Достоевского, но систематически стал применяться писателями XX в. уже не только с целью изобразить некое особое психическое состояние, а как способ реализации определенного понимания человека и личности.

Характер целостности обусловлен высокой степенью определенности в способах отбора, выделения, акцентуации, эмоциональной окраски элементов внутреннего и внешнего опыта — всего актуально видимого, слышимою, ощущаемого, а также присутствующего в прошлом опыте, в памяти, в ассоциативном движении мыслей и образов, в сознательной фиксации на определенных мыслях и переживаниях. Так строится П. с. Молли Блум в последнем эпизоде романа «Улисс», который заканчивается словами «...да, я хочу, Да», воплощающими джойсовскую идею органического приятия мира. Однако в П. с. Блума и Стивена актуализуется не только включенность человека в иррациональный поток жизни, но и драматическое отчуждение героя от этого единства — у Стивена с установкой на неприятие мира, в случае с Блумом – на его приятие. Современная личность внутренне глубоко противоречива, она чувствует себя одинокой, отчужденной от других людей, от природы, общества - и она может сколь угодно утверждать свою отчужденность от мира и противопоставлять себя всем, но вместе с тем повествование по методу П. с. открывает и ее включенность в мир, говорит, как это происходит во внутренней жизни Молли, о необходимости и счастье возвращения в иррациональное единство целого, о преодолении раздробленности и восстановлении целостности жизни.

Как показал С. Бочаров, у Пруста метод П. с. как изображения чисто субъективного, произвольного движения психической жизни индивида утверждает автономность сознания, независимость его движения от внешней судьбы героя. Однако П. с. оказывается также и прорывом к реальности, преодолением отчуждения от нее, которое осуществляется посредством восстановления контакта с чувственным опытом, данным субъекту в непроизвольном воспоминании, идущем из глубины его памяти, из «темноты» его я. В результате «произведение, задуманное как искусственный эквивалент грезы, будет, таким образом, попыткой вернуть вещам, местам, памятникам их утраченную сущность или субстанцию» (Ж. Женнет), «глубинную истину». Процесс написания книги, выступающий как творческий процесс в форме П. с, оказывается способом постижения реальности, скрывающейся в «темноте моего я». Писатель, главный герой романа Пруста «В поисках утраченного времени», как бы переводит «иррациональные качества материи и жизни в человеческие слова» (М. Пруст), в стройные синтаксические конструкции, шаг за шагом пытаясь упорядочить, расшифровать, разгадать «истину» - то, что стоит за чувственно данным (Ж. Делез): неустойчивая, обманчивая, неуловимая, иррациональная реальность, непрерывно растворяющая те границы, которые пытаются установить ей наши привычки восприятия и разум.


Practical class 7. Narrator and Narrative Techniques in American Novels of the 20th century

Texts

William Faulkner. The Sound and the Fury — Фолкнер У. Шум и ярость

Ken Kesey. One Flew Over the Cuckoo's Nest Кизи К. Над кукушкиным гнездом.

J. D. Salinger. The Catcher in the Rye. – Дж. Д. Сэлинджер. Над пропастью во ржи.

Vladimir Nabokov. Lolita Набоков В. Лолита

 

Narrative

The role of author / narrator in postmodernistic writings. What is the difference between author and narrator?

Name types of narrator. Provide each type with an example (try to remember books you’ve read)

Unreliable narrator. Functions. Opportunities of usage.

Narrative strategies.

 

Questions for discussion

 

William Faulkner 'The Sound and the Fury'

What is important about the title? Is there a reference in the novel that explains the title?

One of the complaints that readers voice about the novel is that the book is difficult. Did you find the book overly difficult? Did the difficulty level prevent you from finishing the book? Or, would you have finished the book if you were reading it outside of a classroom setting?

Does the story end the way you expected? How? Why?

Would you recommend this novel to anyone?

Faulkner has said that the character of Caddy was his “heart’s darling”— her character inspired him to write the novel. Why is Caddy driven to pitfalls?

Do you like the stream of consciousness style or do you find it confusing? Would you read another novel written in stream of consciousness style? Do you feel that stream of consciousness was an effective way of presenting Benjy? Quentin? Jason? Why do you think Faulkner did not use stream of consciousness for Dilsey’s section?

Perhaps the single most important theme in The Sound and the Fury is the presence of time in human life. How is that relationship explored throughout the four sections of the novel?

 

Ken Kesey “One Flew Over the Cuckoo’s Nest”

How do we know Bromden is schizophrenic?

How does One Flew Over the Cuckoo's Nest position the reader to reconsider what is sane?

What does Nurse Ratched and the Ward Symbolize?

What was the Combine and what did it mean to Chief Bromden in One Flew Over the Cuckoo's Nest?

What is the turning point in Ken Kesey's novel, One Flew Over the Cuckoo's Nest?

Find Biblical allusions and symbolism. How does McMurphy become a Christ figure?

Why is Bromden the narrator of One Flew Over the Cuckoo’s Nest instead of McMurphy? Who is the real protagonist of the novel? How does the use of Bromden as the narrator tie into the biblical allusions in the novel?

 


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