Indeed, the French Modernist “inward turn” included a continuation of the supposedly more “primitive” forms of thought representation associated with the Realist novel: the 1910s and 1920s saw an increase in markers of represented thought that were frequently used in the nineteenth-century French novel. There is, thus, very little evidence that “free” forms like free indirect discourse displaced marked forms. I conclude that these common reporting clauses and mental verbs appeared in a wide variety of texts, particularly in the French novels of the 1830s, 1910s, and 1920s, alongside other “free” techniques like free indirect discourse which are more often studied. “she thought” and “he said to himself”) in a large sample of nineteenth-century and early-twentieth-century French novels, I estimate the prevalence of several key markers of represented thought in a range of French novels, authors, and decades between 18. Fedor Mikhailovich Dostoevskys Th Double provides an early fictional rep- resentation for what has subsequently become a key motif in psychoanalysis: the. By tracing the use of reporting clauses and mental verbs (e.g. Print Word PDF This section contains 971 words (approx. This article reviews the debates over differences between Realist and Modernist techniques of thought representation, and uses quantitative techniques to assess the extent to which there was linguistic and stylistic innovation in the representation of thought in the French novel before and during the “inward turn” of the 1910s and 1920s. The Double Summary & Study Guide Fyodor Dostoevsky This Study Guide consists of approximately 28 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of The Double. One of the most common presuppositions about the purported “inward turn”-seldom tested-is that the linguistic innovations of the Modernist period aided in the portrayal of the mental states of characters from a more systematic perspective. One of the most hotly debated matters is the existence of an “inward turn,” a rupture with the external orientation Realist and Naturalist novel in favor of greater psychological complexity and depth-that has been found in of the early years of Modernism by critics like Humphrey (1954: 8), Bradbury (1995 ), and Sultan (1987) and in the late nineteenth century by critics like Levitt (2006) and Lewis (2007). There was a man in the city of Petersburg, whose name was Golyadkin, and that man was blameless and upright, and one that feared the department head and eschewed evil.Literary historians have long debated the extent to which the Modernist novel broke with conventions established in the nineteenth century. He had a beloved, Klara, and a servant, Petrushka, and an apartment on Shestilavochnaya Street, and he was a titular councilor. Now there was a day when the men of rank came to present themselves before the department head, and the Double came also among them. And the department head said unto the Double, Have you considered my servant Golyadkin, that there is none like him in the department, one that fears me and eschews evil? And the Double said to him, Does Golyadkin fear you for naught? Have you not given him important work, and honors, and all that he has on every side? But put forth your hand and touch all that he has, and he will curse you to your face. And the Double vexed Golyadkin, and tormented him, and Golyadkin lost his beloved Klara, and his servant Petrushka, and his apartment on Shestilavochnaya Street, and still he did not curse the department head, but groveled before him… And the department head said unto the Double, Behold, all that he has is in your power. I do not know whether Dostoevsky had the book of Job in mind when writing Двойник ( The Double).
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