Streams of Consciousness in Virginia Woolf's Mrs. Dalloway
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The Interpretation of Tense — I Didn't Turn Off the Stove Toshiyuki Ogihara
The interpretation of tense — I didn’t turn off the stove Toshiyuki Ogihara — University of Washington [email protected] Kiyomi Kusumoto — Kwansei Gakuin University [email protected] Abstract This chapter examines Partee’s (1973) celeBrated claim that tenses are not existential quantifiers but pronouns. In the first half of the chapter, we show that this proposal successfully accounts for the Behavior of tense morphemes regarding deixis, anaphora, and presupposition. It is also compatiBle with cases where tense morphemes Behave like Bound variables. In the second half of the chapter, we turn to the syntax-semantics interface and propose some concrete implementations Based on three different assumptions aBout the semantics of tense: (i) quantificational; (ii) pronominal; (iii) relational. Finally, we touch on some tense-related issues involving temporal adverBials and cross-linguistic differences. Keywords tense, pronoun, quantification, Bound variaBle, referential, presupposition, temporal adverbial (7 key words) 1. Introduction This article discusses the question of whether the past tense morpheme is analogous to pronouns and if so how tense is encoded in the system of the interfaces between syntax and semantics. The languages we will deal with in this article have tense morphemes that are attached to verbs. We use 1 this type of language as our guide and model. Whether tense is part of natural language universals, at least in the area of semantic interpretation, is debatable.1 Montague’s PTQ (1973) introduces a formal semantic system that incorporates some tense and aspect forms in natural language and their model-theoretic interpretation. It introduces tense operators based on Prior’s (1957, 1967) work on tense logic. -
Stream of Consciousness: a Study of Selected Novels by James Joyce and Virginia Woolf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Italian translations of English stream of consciousness: a study of selected novels by James Joyce and Virginia Woolf Giulia Totò PhD The University of Edinburgh 2014 Declaration I hereby declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification except as specified. Giulia Totò iii To little Emma and Lucio, for the immense joy they spread and the love they allow me to return. iv Acknowledgments I am pleased to take this opportunity to thank my supervisors Federica G. Pedriali and Yves Gambier for their guidance and, most of all, for their support and patience during these years. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
Grammar for Academic Writing
GRAMMAR FOR ACADEMIC WRITING Tony Lynch and Kenneth Anderson (revised & updated by Anthony Elloway) © 2013 English Language Teaching Centre University of Edinburgh GRAMMAR FOR ACADEMIC WRITING Contents Unit 1 PACKAGING INFORMATION 1 Punctuation 1 Grammatical construction of the sentence 2 Types of clause 3 Grammar: rules and resources 4 Ways of packaging information in sentences 5 Linking markers 6 Relative clauses 8 Paragraphing 9 Extended Writing Task (Task 1.13 or 1.14) 11 Study Notes on Unit 12 Unit 2 INFORMATION SEQUENCE: Describing 16 Ordering the information 16 Describing a system 20 Describing procedures 21 A general procedure 22 Describing causal relationships 22 Extended Writing Task (Task 2.7 or 2.8 or 2.9 or 2.11) 24 Study Notes on Unit 25 Unit 3 INDIRECTNESS: Making requests 27 Written requests 28 Would 30 The language of requests 33 Expressing a problem 34 Extended Writing Task (Task 3.11 or 3.12) 35 Study Notes on Unit 36 Unit 4 THE FUTURE: Predicting and proposing 40 Verb forms 40 Will and Going to in speech and writing 43 Verbs of intention 44 Non-verb forms 45 Extended Writing Task (Task 4.10 or 4.11) 46 Study Notes on Unit 47 ii GRAMMAR FOR ACADEMIC WRITING Unit 5 THE PAST: Reporting 49 Past versus Present 50 Past versus Present Perfect 51 Past versus Past Perfect 54 Reported speech 56 Extended Writing Task (Task 5.11 or 5.12) 59 Study Notes on Unit 60 Unit 6 BEING CONCISE: Using nouns and adverbs 64 Packaging ideas: clauses and noun phrases 65 Compressing noun phrases 68 ‘Summarising’ nouns 71 Extended Writing Task (Task 6.13) 73 Study Notes on Unit 74 Unit 7 SPECULATING: Conditionals and modals 77 Drawing conclusions 77 Modal verbs 78 Would 79 Alternative conditionals 80 Speculating about the past 81 Would have 83 Making recommendations 84 Extended Writing Task (Task 7.13) 86 Study Notes on Unit 87 iii GRAMMAR FOR ACADEMIC WRITING Introduction Grammar for Academic Writing provides a selective overview of the key areas of English grammar that you need to master, in order to express yourself correctly and appropriately in academic writing. -
An Error Analysis on the Use of Simple Past Tense in Narrative Text Made by the Third Semester of English Department Students at Muhammadiyah University of Makassar
AN ERROR ANALYSIS ON THE USE OF SIMPLE PAST TENSE IN NARRATIVE TEXT MADE BY THE THIRD SEMESTER OF ENGLISH DEPARTMENT STUDENTS AT MUHAMMADIYAH UNIVERSITY OF MAKASSAR (A Descriptive Research) A THESIS Submitted to the Faculty of Teacher Training and Education Muhammadiyah University of Makassar in Partial Fulfillment of the Requirement for the Degree of Education in English Department WAHYUNI AMALIYYAH SETTI 10535609514 ENGLISH EDUCATION DEPARTMENT FACULTY OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF MAKASSAR 2018 SURAT PERNYATAAN Saya yang bertanda tangan di bawah ini: Nama : WAHYUNI AMALIYYAH SETTI Stambuk : 10535 6095 14 Jurusan : Pendidikan Bahasa Inggris Judul Skripsi : An Error Analysis on the Use of Simple Past Tense in Narrative Text Made by the Third Semester of English Department Students at Muhammadiyah University of Makassar Dengan ini menyatakan bahwa: Skripsi yang saya ajukan di depan Tim Penguji adalah asli hasil karya saya, bukan jiplakan dan tidak dibuatkan oleh siapapun. Demikian pernyataan ini saya buat dengan sebenarnya dan saya bersedia menerima sanksi apabila pernyataan ini tidak benar. Makassar, Januari 2019 Yang Membuat Pernyataan, Wahyuni Amaliyyah Setti SURAT PERJANJIAN Saya yang bertanda tangan di bawah ini: Nama : WAHYUNI AMALIYYAH SETTI NIM : 10535 6095 14 Jurusan : Pendidikan Bahasa Inggris Judul Skripsi : An Error Analysis on the Use of Simple Past Tense in Narrative Text Made by the Third Semester of English Department Students at Muhammadiyah University of Makassar Dengan ini menyatakan bahwa: 1. Mulai dari penyusunan proposal sampai selesainya skripsi saya. Saya akanmenyusun sendiri skripsi saya (tidak dibuat oleh siapapun). 2. Dalam penyusunan skripsi saya akan selalu melakukan konsultasi dengan pembimbing yang telah ditetapkan oleh pimpinan Fakultas. -
THE TRENDS of STREAM of CONSCIOUSNESS TECHNIQUE in WILLIAM FAULKNER S NOVEL the SOUND and the FURY'' Chitra Yashwant Ga
AMIERJ Volume–VII, Issues– VII ISSN–2278-5655 Oct - Nov 2018 THE TRENDS OF STREAM OF CONSCIOUSNESS TECHNIQUE IN WILLIAM FAULKNER S NOVEL THE SOUND AND THE FURY’’ Chitra Yashwant Gaidhani Assistant Professor in English, G. E. Society RNC Arts, JDB Commerce and NSC Science College, Nashik Road, Tal. & Dist. Nashik, Maharashtra, India. Abstract: The term "Stream-of-Consciousness" signifies to a technique of narration. Prior to the twentieth century. In this technique an author would simply tell the reader what one of the characters was thinking? Stream-of-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-of- consciousness tries to capture this phenomenon in William Faulkner’s novel The Sound and Fury. This style of narration is also associate with the Modern novelist and story writers of the 20th century. The Sound and the Fury is a broadly significant work of literature. William Faulkner use of this technique Sound and Fury is probably the most successful and outstanding use that we have had. Faulkner has been admired for his ability to recreate the thought process of the human mind. In addition, it is viewed as crucial development in the stream-of-consciousness literary technique. According encyclopedia, in 1998, the Modern Library ranked The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century. The present research focuses on stream of consciousness technique used by William Faulkner’s novel “The Sound and Fury”. -
Variation and Change in Past Tense Negation in African American English
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 Variation And Change In Past Tense Negation In African American English Sabriya Fisher University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Linguistics Commons Recommended Citation Fisher, Sabriya, "Variation And Change In Past Tense Negation In African American English" (2018). Publicly Accessible Penn Dissertations. 2925. https://repository.upenn.edu/edissertations/2925 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2925 For more information, please contact [email protected]. Variation And Change In Past Tense Negation In African American English Abstract This dissertation investigates the use of ain’t for negation in past tense contexts in Philadelphia African American English [PhAAE]. This use of ain’t, which varies with didn’t, is a unique feature of AAE (Labov et al. 1968) and has implications for the expression of tense/aspect in the language. First, it further levels tense/aspect cues from auxiliaries in negative contexts. Second, whereas verbal complements of didn’t are uninflected (1a), complements of ain’t may either be uninflected or in preterit form (1b). This asymmetry indicates potential structural differences between ain’t and didn’t. (1) a. They didn’t play yesterday. b. They ain’t play(ed) yesterday. Consequently, this dissertation joins a quantitative study of the social and linguistic factors conditioning use of ain’t with a distributional investigation of its syntax and interaction with tense morphology. Toward that end, I analyze naturalistic speech data from 42 speakers in a corpus of casual conversations collected in the early 1980s from African American Philadelphians. -
Jane Austen's Powers of Consciousness Diane M
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2003 Jane Austen's Powers of Consciousness Diane M. Counts Follow this and additional works at: http://mds.marshall.edu/etd Part of the Classics Commons, Literature in English, Anglophone outside British Isles and North America Commons, and the Women's Studies Commons Recommended Citation Counts, Diane M., "Jane Austen's Powers of Consciousness" (2003). Theses, Dissertations and Capstones. Paper 550. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Jane Austen’s Powers of Consciousness Thesis Submitted to The Graduate College of Marshall University In Partial Fulfillment of the Requirements for the Degree of Master of Arts Humanities by Diane M. Counts Dr. Joyce E. East, Committee Chairperson Dr. Arline R. Thorn Dr. Reidun Ovrebo Dr. Barbara E. Ladner Marshall University April 2003 Abstract “Jane Austen’s Powers of Consciousness” By: Diane M. Counts This thesis incorporates information from recent biographies, feminist studies, and scholarly interpretations focusing on Jane Austen’s narrative strategies. Such incorporation of material provides a context for understanding the significance of Austen’s contributions to the novel form and illuminating the development of the female narrative voice. It focuses on Emma, Austen’s last novel published during her lifetime, as an exemplification of Austen’s enunciation of a feminine perspective of life and vocalization of a growing female self-awareness—her powers of consciousness—through Emma. -
Tenses and Conjugation (Pdf)
Created by the Evergreen Writing Center Library 3407 867-6420 Tenses and Conjugation Using correct verb forms is crucial to communicating coherently. Understanding how to apply different tenses and properly conjugate verbs will give you the tools with which to craft clear, effective sentences. Conjugations A conjugation is a list of verb forms. It catalogues the person, number, tense, voice, and mood of a verb. Knowing how to conjugate verbs correctly will help you match verbs with their subjects, and give you a firmer grasp on how verbs function in different sentences. Here is a sample conjugation table: Present Tense, Active Voice, Indicative Mood: Jump Person Singular Plural 1st Person I jump we jump 2nd Person you jump you jump 3rd Person he/she/it jumps they jump Person: Person is divided into three categories (first, second, and third person), and tells the reader whether the subject is speaking, is spoken to, or is spoken about. Each person is expressed using different subjects: first person uses I or we; second person uses you; and third person uses he/she/it or they. Keep in mind that these words are not the only indicators of person; for example in the sentence “Shakespeare uses images of the divine in his sonnets to represent his own delusions of grandeur”, the verb uses is in the third person because Shakespeare could be replaced by he, an indicator of the third person. Number: Number refers to whether the verb is singular or plural. Tense: Tense tells the reader when the action of a verb takes place. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Stream of Consciousness Technique: Psychological Perspectives and Use in Modern Novel المنظور النفسي واستخدا
Stream of Consciousness Technique: Psychological Perspectives and Use in Modern Novel Weam Majeed Alkhafaji Sajedeh Asna'ashari University of Kufa, College of Education Candle & Fog Publishing Company Email: [email protected] Email: [email protected] Abstract Stream of Consciousness technique has a great impact on writing literary texts in the modern age. This technique was broadly used in the late of nineteen century as a result of thedecay of plot, especially in novel writing. Novelists began to use stream of consciousness technique as a new phenomenon, because it goes deeper into the human mind and soul through involving it in writing. Modern novel has changed after Victorian age from the traditional novel that considers themes of religion, culture, social matters, etc. to be a group of irregular events and thoughts interrogate or reveal the inner feeling of readers. This study simplifies stream of consciousness technique through clarifying the three levels of conscious (Consciousness, Precociousness and Unconsciousness)as well as the subconsciousness, based on Sigmund Freud theory. It also sheds a light on the relationship between stream of consciousness, interior monologue, soliloquy and collective unconscious. Finally, This paper explains the beneficial aspects of the stream of consciousness technique in our daily life. It shows how this technique can releaseour feelings and emotions, as well as free our mind from the pressure of thoughts that are upsetting our mind . Key words: Stream of Consciousness, Modern novel, Consciousness, Precociousness and Unconsciousness and subconsciousness. تقنية انسياب اﻻفكار : المنظور النفسي واستخدامه في الرواية الحديثة وئام مجيد الخفاجي ساجدة اثنى عشري جامعة الكوفة – كلية التربية – قسم اللغة اﻻنكليزية دار نشر كاندل وفوك الخﻻصة ان لتقنية انسياب اﻻفكار تأثير كبير على كتابة النصوص اﻻدبية في العصر الحديث. -
International Researcher Volume No.2 Issue No4. December 2013 INTERNATIONALINTERNATIONAL RESEARCHERSRESEARCHERS
International Researcher Volume No.2 Issue No4. December 2013 INTERNATIONALINTERNATIONAL RESEARCHERS RESEARCHERS Narratology of Symbolism Based On Stream Of Consciousness in V.Woolf's To the Lighthouse and Maroufy's Symphony of Dead Kiyan Pishkar and Nooshin Nasery Volume No.2 Issue No.4 December 2013 WWW.IRESEARCHER.ORGwww.iresearcher.org ISSN 227-7471 127 Page = www.iresearcher.org International Researcher Volume No.2 Issue No4. December 2013 THE INTERNATIONAL RESEARCH JOURNAL ―INTERNATIONAL RESEACHERS‖ www.iresearcher.org © 2013 (individual papers), the author(s) © 2013 (selection and editorial matter) This publication is subject to that author (s ) is (are) responsible for Plagiarism, the accuracy of citations, quotations, diagrams, tables and maps. All rights reserved. Apart from fair dealing for the purposes of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please contact [email protected] INTERNATIONAL RESEARCHERS is peer-reviewed, supported by rigorous processes of criterion-referenced article ranking and qualitative commentary, ensuring that only intellectual work of the greatest substance and highest significance is published. INTERNATIONAL RESEARCHERS is indexed in wellknown indexing diectories with ICV value 5.90 and moniter by 128 Page www.iresearcher.org International Researcher Volume No.2 Issue No4. December 2013 Narratology of Symbolism Based On Stream Of Consciousness in V.Woolf's To the Lighthouse and Maroufy's Symphony of Dead Kiyan Pishkar1, Nooshin Nasery2 1PhD candidate of ELT and lecturer of Islamic Azad University, Jieroft Branch, I.R.