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"Consciousness Fiction."
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An Interpretation of the Play After the Fall Based on Role- and -Value Cognitive Concept
The paper aims to interpret Arthur Miller’s stream-of-consciousness play text, After the Fall, from the perspective of the cognitive concept of evolving reference, namely “role and values”. The results of the study are as follows: 1. Mutual across-time-and-space contextual embedment or entanglement is the distinctive feature of stream-of-consciousness play text, which makes it possible to present synchronically what has happened diachronically, so that the various values generated by role switching over the past years are accessible in a while. 2. This feature in turn makes characterization more natural, true-to-life, vivid and substantial, revealing not only the different aspects of the protagonist’s disposition but also the shaping process involved. 3. Despite the seemingly disordered contextual entanglement, the values through role switching are implicitly linked by the cause-effect logical relationship, which ensures the textual coherence of the play.
Journal Article
Adjacency Pairs and Interactive Consciousness in Virginia Woolf’s Novels
This article responds to an important development in the study of the presentation of social minds by investigating Virginia Woolf's portrayal of consciousness in the light of a key conversational pattern: adjacency pairs. Woolf employs frequent shifts in point of view in her texts, the result of which is that different characters' streams of consciousness are interwoven together. This narrative design allows the text to probe into the relationship between different minds. Drawing on findings in discourse analysis, this article demonstrates that the way in which characters' viewpoints are juxtaposed resembles paired actions in conversation and that the intersubjectivity underlying the format of adjacency pairs is also mapped on the juxtaposition of different minds. It thereby argues that this sequencing format functions as an effective linguistic mechanism for rendering the social interactive quality of consciousness in Woolf's narrative.
Journal Article
You make the world
\"A loving ode from a father to his young son about the inherent power he holds within himself\"-- Provided by publisher.
BOOK
“Dawdling and Gaping”: James’s A Small Boy and Others
A Small Boy and Others (1913) is rarely discussed for failing to explain the artist Henry James became - indeed, for failing to cohere as narrative at all. This essay attempts to do that. The reason for both of these failures is due in part to James's two-dimensional depiction of himself as a youth, \"wondering and dawdling and gaping,\" and in part to the nature of the narrator who mirrors that earlier self, also lost in wonder. This symbiosis of \"small boy\" and aged artist subverts an autobiographical logic by lauding both earlier and present selves as passive receptacles. The question is why James deliberately mystifies readers this way, given the care with which he reconstructed his past. The answer is that his personal reasons for revisiting his past coincided with a set of different assumptions about consciousness and psychology than had informed his late novels.
Journal Article
Historicizing the Enlightenment.: (Literature, the arts, and the aesthetic in Britain)
Enlightenment critics from Dryden through Johnson and Wordsworth conceived the modern view that art and especially literature entails a double reflection: a reflection of the world, and a reflection on the process by which that reflection is accomplished. Instead \"neoclassicism\" and \"Augustanism\" have been falsely construed as involving a one-dimensional imitation of classical texts and an unselfconscious representation of the world. In fact these Enlightenment movements adopted an oblique perspective that registers the distance between past tradition and its present reenactment, between representation and presence. Two modern movements, Romanticism and modernism, have appropriated as their own these innovations, which derive from Enlightenment thought. Both of these movements ground their error in a misreading of \"imitation\" as understood by Aristotle and his Enlightenment proponents. Rightly understood, neoclassical imitation, constitutively aware of the difference between what it knows and how it knows it, is an experimental inquiry that generates a range of prefixes-\"counter-,\" \"mock-,\" \"anti-,\" \"neo-\"-that mark formal degrees of its epistemological detachment. Romantic ideology has denied the role of the imagination in Enlightenment imitation, imposing on the eighteenth century a dichotomous periodization: duplication versus imagination, the mirror versus the lamp. Structuralist ideology has dichotomized narration and description, form and content, structure and history. Poststructuralist ideology has propounded for the novel a contradictory \"novel tradition\"-realism, modernism, postmodernism, postcolonialism-whose stages both constitute a sequence and collapse it, each stage claiming the innovation of the stage that precedes it. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
eBook
Murmur
\"[The author] invites us into the brilliant mind of Alec Pryor, a character inspired by Alan Turing. Turing, father of artificial intelligence and pioneer of radical new techniques to break the Nazi Enigma cipher during World War II, was later persecuted by the British state for 'gross indecency with another male' and forced to undergo chemical castration. Set during the devastating period before Turing's suicide, Murmur evokes an extraordinary life, the beauty and sorrows of love, and the nature of consciousness\" -- Provided by publisher.
BOOK
Typewriter Psyche: Henry James's Mechanical Mind
In this article, I show that the mental model found in Henry James's late works derives from his switch to typewritten dictation. While dictating to the typewriter, James says that words are effectively and unceasingly “pulled out” of him by what he calls the “music” of the machine. The “click” of the Remington actually acts as a “positive spur” to his speech, resulting in a diffuseness that makes keeping any text within the length specified by the publisher virtually impossible for him. Critics have left these material effects of the writing machine largely unexamined. But through careful investigation, it can be demonstrated that the properties of typewritten dictation play a crucial role in forming the dynamic system of drives, compulsions, repetitions, and displacements for which James's late works are famous.
Journal Article