Posted at 11.24.2018
Keywords: stream of consciousness woolf, stream of consciousness style
Stream of Consciousness is a literary technique that was pioneered by Dorthy Richardson, Virginia Woolf, and Wayne Joyce. Stream of consciousness is seen as a a movement of thoughts and images, which might not always appear to have a coherent structure or cohesion. The plot series may weave in and out of the time and place, transporting the audience through the life span of a figure or further along a timeline to incorporate the lives (and thoughts)of people from other time periods.
Stream-of-consciousness writing is usually seen as a special form of interior monologue and is also seen as a associative leaps in syntax and punctuation that can make the prose difficult to check out. Stream of awareness and interior monologue are distinguished from dramatic monologue, where in fact the speaker is dealing with an audience or one third person, and can be used chiefly in poetry or drama. In blast of consciousness, the speaker's thought processes are more often depicted as overheard in the mind (or attended to to oneself); it is mostly a fictional device. The term was presented to the field of literary studies from that of psychology, where it was coined by philosopher and psychologist William Adam.
Dorothy Miller Richardson (17 May 1873 - 17 June 1957) was the first copy writer to create an English-language book using that which was to become known as the stream-of-consciousness strategy. Her thirteen book sequence Pilgrimage is one of the fantastic 20th century works of modernist and feminist books in British.
Throughout her career, Richardson published many essays, poems, brief experiences, sketches and other pieces of journalism. However, her reputation as a writer rests strongly on the Pilgrimage sequence. The to begin the Pilgrimage novels, Directed Roofs (1915) was the first complete blast of consciousness book in British (Joyce had already started out writing Ulysses), although Richardson herself disliked the word (May Sinclair's import), preferring to call her way of writing interior monologues. The development of this approach is usually acknowledged to Wayne Joyce and Virginia Woolf. The failure to recognise Richardson's role is partly because of the critical overlook of Richardson's writing during her life-time. The fact that Pointed Roofs displayed the writer's admiration for German culture at a time when Britain and Germany were at war may also have added to the overall lack of recognition of the book's radical importance.
Richardson can be read as a feminist article writer, not because she overtly demands equal rights for ladies but because her work quite simply assumes the validity and need for female experience as a topic for literature. The central character in Pilgrimage, Miriam, is a female searching for her own full personality, which she knows quite clearly can't be identified in male conditions of research. Richardson's wariness of the conventions of vocabulary, her bending to close to breaking point of the standard guidelines of punctuation, sentence length, and so forth, are means towards what she termed female prose, which she plainly saw as essential for the expression of the female experience.
Virginia Woolf's stream-of-consciousness style was inspired by, and taken care of immediately, the work of the French thinker Henri Bergson and the novelists Marcel Proust and James Joyce.
This style allows the subjective mental functions of Woolf's people to look for the objective content of her narrative. Into the Lighthouse (1927), one of her most experimental works, the duration of time, for example, is modulated by the awareness of the characters alternatively than by the clock. The incidents of an individual afternoon constitute over half the book, while the occurrences of the next a decade are compressed into a few dozen webpages. Many visitors of For the Lighthouse, especially those who find themselves not versed in the customs of modernist fiction, find the book strange and difficult. Its terminology is dense and the structure amorphous. Weighed against the plot-driven Victorian books that came before it, For the Lighthouse seems to have little in the way of action. Indeed, almost all of the events take place in the personas' thoughts.
James Joyce is celebrated among the great literary pioneers of the twentieth century. He was one of the first freelance writers to make considerable and convincing use of stream of consciousness, a stylistic form where written prose seeks to represent the characters' blast of interior thoughts and perceptions alternatively than provide these character types from an objective, external perspective. This system, used in A Portrait of the Designer as a Young Man mostly through the opening sections and in Chapter 5, sometimes makes for difficult reading. With effort, however, the relatively jumbled perceptions of blast of awareness can crystallize into a coherent and sophisticated portrayal of the character's experience.