DOCSLIB.ORG

Table 3. Subdivisions for the Arts, for Individual Literatures, for Specific

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table 3. Subdivisions for the Arts, for Individual Literatures, for Specific T3 Table[3.[Arts,[individual[literatures,[specific[forms T3 T3 Table[3.[Arts,[individualT3 Dewey[literatures,iDecimal[ispecificClassification[forms T3 *‡Table 3. Subdivisions for the Arts, for Individual Literatures, for Specific Literary Forms Notation from Table 3 is never used alone, but may be used as required by add notes under subdivisions of individual literatures or with base numbers for individual literatures identified by * under 810–890. It is never used for individual literatures that lack instructions to add from Table 3; the number for works of or about such literatures ends with the language notation, e.g., Newari poetry 895.49 Notation from Table 3 may also be used where instructed in 700.4, 791.4, 808–809 Table 3 is divided into three subtables: Table 3A for description, critical appraisal, biography, single or collected works of an individual author Table 3B for description, critical appraisal, biography, collected works of two or more authors; also for rhetoric in specific literary forms Table 3C for additional elements used in number building within Table 3B and as instructed in 700.4, 791.4, 808–809 Turn to Table 3A or 3B for full instructions on building numbers for individual literatures, to 808–809 for other uses of Table 3B and 3C for literature, to 700.4 for uses of Table 3C for the arts, to 791.4 for uses of Table 3C for motion pictures, radio, television See Manual at Table 3 T3A DeweyiDecimaliClassification T3A T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A *‡Table 3A. Subdivisions for Works by or about Individual Authors Procedures for building numbers for individual authors: 1. Look in the schedule 810–890 to find the base number for the language. The base number may be identified in an add note, e.g., at 821–828 ("add to base number 82") or another note, e.g., at 896 ("896.392 Swahili"); otherwise, it is the number given for the literature, e.g., Dutch-language literature 839.31. If there is a specific literary form, go to step 2; if not, go to the instructions under —8 in Table 3A 2. In Table 3A find the correct subdivision for the literary form, e.g., poetry —1. Add this to the base number, e.g., Swahili poetry 896.3921, Dutch poetry 839.311. If the literary form appears as a subdivision of —8 Miscellaneous writings, go to the instructions under —8 in Table 3A; otherwise, go to step 3 3. Turn back to the appropriate number in the schedule 810–890 to see whether there is an applicable period table. If there is one, go to step 4; if not, complete the class number by inserting a decimal point between the third and fourth digits, e.g., Khmer (Cambodian) poetry by a 20th-century author 895.9321 (Option: Where optional period tables are available for countries that share the same language, either [1] use initial letters to distinguish the separate countries, or [2] use the special number designated for literature of those countries that are not preferred. Then use the optional period tables, e.g., drama in English by a 20th-century New Zealand author NZ822.2 or 828.993322. Full instructions for optional period tables appear under 811–818, 819, 821–828, 828.99, 841–848, 848.99, 861–868, 868.99, 869, 869.899. If the option is used, go to step 4) (Option: Where optional period tables are not available for countries that share the same language, use initial letters to distinguish the separate countries. Then use the standard period table for the language if one is available. If a period table is available, go to step 4) 4. Select the appropriate period number. Add this number to the number already derived; always insert a point after the third digit. The class number is complete (except for William Shakespeare), since standard subdivisions are never added for individual authors, e.g., Spenser’s Faerie Queene 821.3 (821 English poetry + 3 Elizabethan period) See Manual at Table 3A; also at 800: Literary criticism T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A > —1–8 *‡Specific forms Unless other instructions are given, observe the following table of preference for works combining two or more literary forms, e.g., drama written in verse —2 (not —1): Drama —2 Poetry —1 Class epigrams in verse in —8 Fiction —3 Essays —4 Speeches —5 Letters —6 Miscellaneous writings —8 2 T3A Table[3A.[Individual[Authors T3A A single work of humor or satire, or a collection of humor or satire by an individual author in one form is classed with the form, e.g., satirical fiction —3. Humor or satire without identifiable form is classed according to the instructions at —8, plus notation 07 from the table under —81–89 if there is an applicable period table. A collection of humor or satire by an individual author in more than one form is classed according to the instructions at —8, plus notation 09 from the add table under —81–89 if there is an applicable period table Class comprehensive works (description, critical appraisal, biography, or collected works that cover two or more forms of literature by an individual author) with the form with which the author is chiefly identified, e.g., a biography that discusses the poetry and fiction of a mid-19th-century American writer known primarily as a novelist 813.3 If the author is not chiefly identified with any one form, class comprehensive works as instructed at —8, plus notation 09 from the table under —81–89 if there is an applicable period table, e.g., the collected poetry and fiction of a mid-19th-century American writer not chiefly identified with any one form 818.309 See Manual at Table 3A (Option: Class description, critical appraisal, biography, single and collected works of all individual authors regardless of form in —8) T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —1 *‡Poetry Class epigrams in verse in —8 See Manual at T3A—2, T3B—2 vs. T3A—1, T3B—102 T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —11–19 *‡Poetry of specific periods Add to base number —1 notation from the period table for the specific literature in 810–890, e.g., earliest period —11; do not add standard subdivisions. If there is no applicable period table, add nothing to —1, e.g., Mongolian poetry by an author of the earliest period 894.231 (not 894.2311) (Option: Where two or more countries share the same language, follow one of the options given after step 3 at beginning of Table 3A, e.g., poetry in English by an Australian author of the earliest period A821.1 or 828.993411) T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —2 *‡Drama Class here closet drama, drama written in poetry See Manual at T3A—2, T3B—2 vs. T3A—1, T3B—102 T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —21–29 *‡Specific periods Add to base number —2 notation from the period table for the specific literature in 810–890, e.g., earliest period —21; do not add standard subdivisions. If there is no applicable period table, add nothing to —2, e.g., Mongolian drama by an author of the earliest period 894.232 (not 894.2321) (Option: Where two or more countries share the same language, follow one of the options given after step 3 at beginning of Table 3A, e.g., drama in English by a New Zealand author of the earliest period NZ822.1 or 828.993321) 3 T3A DeweyiDecimaliClassification T3A T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —3 *‡Fiction Class here novels, novelettes, short stories Class graphic novels in 741.5 T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —31–39 *‡Specific periods Add to base number —3 notation from the period table for the specific literature in 810–890, e.g., earliest period —31; do not add standard subdivisions. If there is no applicable period table, add nothing to —3, e.g., Mongolian fiction by an author of the earliest period 894.233 (not 894.2331) (Option: Where two or more countries share the same language, follow one of the options given after step 3 at beginning of Table 3A, e.g., fiction in French by a Canadian author of the colonial period C843.3 or 848.99233)T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —4 *‡Essays Texts, collections, discussions of works with literary value See Manual at 800: Choice between literature and nonliterary subject T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —41–49 *‡Specific periods Add to base number —4 notation from the period table for the specific literature in 810–890, e.g., earliest period —41; do not add standard subdivisions. If there is no applicable period table, add nothing to —4, e.g., Macedonian essays by an author of the earliest period 891.8194 (not 891.81941) (Option: Where two or more countries share the same language, follow one of the options given after step 3 at beginning of Table 3A, e.g., essays in Spanish by a 19th-century Mexican author M864.2 or 868.992142) T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —5 *‡Speeches Texts, collections, discussions of works with literary value See Manual at 800: Choice between literature and nonliterary subject T3A DeweyTable[i3A.Decima[IndividuliClassificational[Authors T3A —51–59 *‡Specific periods Add to base number —5 notation from the period table for the specific literature in 810–890, e.g., earliest period —51; do not add standard subdivisions. If there is no applicable period table, add nothing to —5, e.g., Mongolian speeches by an author of the earliest period 894.235 (not 894.2351) (Option: Where two or more countries share the same language, follow one of the options given after step 3 at beginning of Table
Load more

Recommended publications
  • TITLE AUTHOR SUBJECTS Adult Fiction Book Discussion Kits
    Adult Fiction Book Discussion Kits Book Discussion Kits are designed for book clubs and other groups to read and discuss the same book. The kits include multiple copies of the book and a discussion guide. Some kits include Large Print copies (noted below in the subject area). Additional Large Print, CDbooks or DVDs may be added upon request, if available. The kit is checked out to one group member who is responsible for all the materials. Book Discussion Kits can be reserved in advance by calling the Adult Services Department, 314-994-3300 ext 2030. Kits may be picked up at any SLCL location, and should be returned inside the branch during normal business hours. To check out a kit, you’ll need a valid SLCL card. Kits are checked out for up to 8 weeks, and may not be renewed. Up to two kits may be checked out at one time to an individual. Customers will not receive a phone call or email when the kit is ready for pick up, so please note the pickup date requested. To search within this list when viewing it on a computer, press the Ctrl and F keys simultaneously, then type your search term (author, title, or subject) into the search box and press Enter. Use the arrow keys next to the search box to navigate to the matches. For a full plot summary, please click on the title, which links to the library catalog. New Book Discussion Kits are in bold red font, updated 11/19. TITLE AUTHOR SUBJECTS 1984 George Orwell science fiction/dystopias/totalitarianism Accident Chris Pavone suspense/spies/assassins/publishing/manuscripts/Large Print historical/women
    [Show full text]
  • Abstract/Freewrite/Blueprint
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Transnational Crime Fictions and Argentina's Criminal State Permalink https://escholarship.org/uc/item/8wd0d8hz Author Caballero, Juan Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Transnational Crime Fictions and Argentina’s Criminal State by Juan Caballero A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy In Comparative Literature In the Graduate Division Of the University of California, Berkeley Committee in charge: Professor Francine Masiello, Chair Professor Natalia Brizuela Professor Michael Lucey Spring 2013 1 Abstract Transnational Crime Fictions and Argentina’s Criminal State by Juan Caballero Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Francine Masiello, Chair My dissertation proposes a new understanding of the dictatorship novels of Ricardo Piglia, Juan José Saer, and Manuel Puig grounded in their shared appropriation from popular crime fiction. Across the 1940’s, 50’s, and 60’s, a wide range of popular crime fiction was translated, written, theorized, printed and reprinted in Argentina, and these popular genres grew steadily in readership, visibility, and cultural legitimacy. These genres were largely dismissed as insipid forms of mass-culture entertainment by contemporary criticism, however, and their relevance has been downplayed by literary history to this day. My study of the novels of these influential authors restores this context in order to highlight their appropriations from these undervalued narrative traditions, in which they found incipient forms of social critique and unique modes of representing history and the social order.
    [Show full text]
  • Criteria the Following Titles Were Drawn from a Combination Of
    Criteria The following titles were drawn from a combination of member recommendations and books which were highly reviewed by the New York Times, NPR, Library Journal, and/or NoveList, a database dedicated to book reviews and publishing information. Books were additionally subject to the following criteria: Member recommendations are given preference. Titles must be readily available in adequate quantities and varied formats through the Old Colony Library Network. Books must be less than 500 pages long (approximately) for group members’ convenience. A range of genres, authors, writing styles, and topics is represented, to reflect the varying tastes of group members and/or to introduce members to books they might not otherwise consider. Fiction Sons and Daughters of Ease and Plenty by Ramona Ausubel 2016, 320 pages Complex characters, nonlinear, atmospheric, witty Summary: “An imaginative novel about a wealthy New England family in 1960s and '70s Martha’s Vineyard that suddenly loses its fortune—and its bearings. This is a story of American wealth, class, family, and mobility.” The Widow by Fiona Barton 2016, 368 pages Multiple perspectives, suspenseful, intricately plotted Summary: “An electrifying debut thriller that will take you into the dark spaces that exist between a husband and a wife. When the police started asking questions, Jean Taylor turned into a different woman—one who enabled her and her husband to carry on when more bad things began to happen. But that woman’s husband died last week. And Jean doesn’t have to
    [Show full text]
  • “A WAY to GET a BETTER WORLD” Ioana SASU-BOLBA
    Fiat Iustitia No. 2/2018 250 Ioana SASU-BOLBA LAW AND JUSTICE IN FICTION: A PSYCHOLOGICAL APPROACH. “A WAY TO GET A BETTER WORLD” Ioana SASU-BOLBA Abstract Our study consists of two sections. The first one is a theoretical approach to the major subject matter (justice and law in fiction). The second section analyzes how theory is applied to a particular legal novel. It is necessary to begin with the theoretical section because we want to explain the difference between sciences (law) on the one hand and psychology as a different way of approaching the subject on the other hand when applied to fiction (subject-matter). The second section is proof of how theory (psychology) is applied to works of fiction (legal novels/thrillers). The first section deals with some important matters which are to be taken into consideration, such as how to write legal thrillers, lawyers in legal thrillers, who are the readers of legal novels and last but not least what means a psychological approach to fiction. If science (psychology - psychologists) perform an analytic approach to explain facts by reaching the core of evil and cure it, writers in their works (legal thrillers) act vice versa: they display details (symptoms) without explaining them. Thus, the reader becomes an active part in finding out the core of evil, the truth. How this requirement can be achieved in a legal thriller is the subject matter of a next paper. Keywords: justice, law, lawyer, criminal, fiction, legal novels/thrillers, subject matter, theme, plot, psychology, psychological approach to literature JEL Classification: [K0, K00, K10].
    [Show full text]
  • LCGFT and LCDGT
    Library of Congress Faceted Vocabularies May 15, 2019 NYTSL Spring 2019 Workshop Library of Congress Faceted Vocabularies Adam L. Schiff Principal Cataloger, University of Washington Libraries [email protected] http://faculty.washington.edu/aschiff/ NYTSL Spring 2019 Workshop Butler Library, Columbia University, New York, NY May 15, 2019 Workshop Outline • Background • LCGFT • Documentation • Where Can You Find LCGFT Terms? • General Principle • Exercises • General Terms • Exercises • Literature Terms • Exercises • Moving Image Terms • Music Terms • Cartographic Terms • Artistic and Visual Works Terms 2 Workshop Outline • LCDGT • Audience and Creator/Contributor Characteristics • MARC 385/386 • Where Can You Find LCDGT Terms? • Assigning LCDGT • Exercises • Other Facets (Briefly) • Music Medium of Performance • Time Period of Creation • Language • Place of Creation • Country of Producing Entity • Discovery Systems • Full Implementation of Faceted Vocabularies 3 Adam L. Schiff, University of Washington Libraries 1 Library of Congress Faceted Vocabularies May 15, 2019 NYTSL Spring 2019 Workshop Background • LCSH for many decades included headings and subdivisions that were used to describe what a resource is rather than what it is about. Headings can describe numerous non-subject aspects, including: Genre/form Symphonies World maps Comedy films Sports posters Creator info Canadian fiction Film posters, Swiss American poetry--Women authors African American children's writings Music by Jewish composers Place of origin Almanacs, Argentinian Folk
    [Show full text]
  • Cheryl Alexander Malcolm and David Malcolm
    Part I 1980–1945 U cc01.indd01.indd 1 55/19/2008/19/2008 66:47:02:47:02 PPMM U cc01.indd01.indd 2 55/19/2008/19/2008 66:47:02:47:02 PPMM Introduction U cc01.indd01.indd 3 55/19/2008/19/2008 66:47:02:47:02 PPMM U cc01.indd01.indd 4 55/19/2008/19/2008 66:47:02:47:02 PPMM 1 The British and Irish Short Story to 1945 Cheryl Alexander Malcolm and David Malcolm 1 It is a commonplace of literary studies that the British short story (although not the Irish variety) has been largely neglected by scholarship. “[E]ven now it seldom receives serious critical attention commensurate with [its] importance,” Ivan Reid wrote in 1977 (Reid 1977: 1). “For a complex of reasons the short story has been largely excluded from the arena of contemporary critical debate,” Clare Hanson suggested in 1989 (Hanson 1989: 1). In the same year Mary Eagleton stressed the short story’s non-canonical status (qtd in Hanson 1989: 62). In 1993, Birgit Moosmüller described the British short story as “auch heute noch ein Stiefkind der Forschung” (even today a step-child of scholarship) (Moosmüller 1993: 11). Thomas H. Gullason entitled his infl uential essay from 1964 “The Short Story: An Underrated Art” (Gullason 1964: 13), and in an interview in 1976 V.S. Pritchett declared that “The short story is a subject that has been entirely neglected” (Pritchett 1976: 425). However, although there has been scholarly neglect of the British short story (and it must be stressed again that this is less true of Irish short fi ction), this neglect has been relative rather than absolute, and, indeed, in the last decade there has emerged a substantial body of commentary on British short fi ction.
    [Show full text]
  • What Stream Exactly? the Better Nature of the Early Stream of Consciousness Fiction
    KEMAL DO KEMAL Ğ UKAN SA Ğ BA Ş WHAT STREAM EXACTLY? THE BETTER NATURE OF THE EARLY STREAM OF CONSCIOUSNESS University 2021 FICTION Bilkent THE EARLY OF NATURE THE BETTER STREAM EXACTLY? WHAT WHAT STREAM EXACTLY? THE BETTER NATURE OF THE EARLY STREAM OF CONSCIOUSNESS FICTION A Master’s Thesis by KEMAL DOĞUKAN SAĞBAŞ Department of Philosophy İhsan Doğramacı Bilkent University Ankara January 2021 To my brother, the dearest Bora: a joy to know. May he swim in the merriest rivers. “Don’t push the river, it flows by itself.” Frederick S. Perls WHAT STREAM EXACTLY? THE BETTER NATURE OF THE EARLY STREAM OF CONSCIOUSNESS FICTION The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by KEMAL DOĞUKAN SAĞBAŞ In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN PHILOSOPHY THE DEPARTMENT OF PHILOSOPHY İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA January 2021 ABSTRACT WHAT STREAM EXACTLY? THE BETTER NATURE OF THE EARLY STREAM OF CONSCIOUSNESS FICTION Sağbaş, Kemal Doğukan M.A., Department of Philosophy Supervisor: Assoc. Prof. Dr. Sandrine Bergès January 2021 The term “the stream of consciousness” refers to two different notions: a philosophical psychology theory purported by William James (“the Stream”), and a genre in 20th-century fiction that deals with the conscious unfolding of its characters (“the Novel”). The received narrative, after philosopher and novelist May Sinclair introduced the term to the literary scene in 1918, is that the Novel is best read as a representation of the Stream. However, if the Novelists did in fact intend to represent the Stream, then it is unlikely that they would succeed for the three following issues: the Incommensurability Problem, the Overarching Problem, and the Anatomical Problem.
    [Show full text]
  • A Reading of Edgar Allan Poe's Selected Short Stories
    International Journal of English Literature and Social Sciences Vol-6, Issue-2; Mar-Apr, 2021 Journal Home Page Available: https://ijels.com/ Journal DOI: 10.22161/ijels Depiction of Psychological through Supernatural: A Reading of Edgar Allan Poe’s Selected Short Stories Rincy Mathew Department of English Language and Literature Mahatma Gandhi University, Kottayam, Kerala, India Received: 17 Jun 2020; Received in revised form: 15 Sep 2020; Accepted: 01 Jan 2021; Available online: 28 Apr 2021 ©2021 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license (https://creativecommons.org/licenses/by/4.0/). Abstract— This paper analyses the representation of psychology by the supernatural in Edgar Allan Poe’s fiction which exposes his tormented and sometimes neurotic obsession with death and violence and his preoccupation regarding the abandonment of women. The various literary devices and themes frequently used by Poe in representing thus are discussed as major subcategories. And for this case I make use of Poe’s three different short stories namely”The Fall of the House of Usher”, “The Black Cat”, and “Morella”. Poe had the aid of the pseudo-sciences of the time: mesmerism, phrenology, and other efforts to explore what we today call the subconscious. In the area between waking and sleeping, between life and death, he found the senses most alert, the emotions least inhibited. Insanity, telepathy, and other abnormal or unusual states of the mind became instruments of his deliberately overwrought mind. This paper is an analysis of how the psychological acuity of his stories and their impeccable concision and unity set a model and a standard that few have equaled and none have surpassed when it comes to the macabre fiction.
    [Show full text]
  • 8 the Genius of Internal Monologue
    8 The Genius of Internal Monologue "Internal monologue" and stream-of-consciousness techniques purport to represent, or even to transcribe, fictional characters' in­ ternal speech.1 But how is it possible for written words to stand for unspoken language? The conventions of internal monologue appear most justified by the notion of thought as "speech minus sound." If talking to oneself is no different from talking aloud, then the in­ wardness of a subject might as well be represented in the familiar language of dialogue. While some authors do employ internal mon­ ologue as if to transcribe internal speech, the more radical twentieth­ century novels break literary conventions by representing internal speech in ways that deviate from ordinary language. Opposing the psychologists who maintain that subjectivity can be transcribed, writ­ ers of stream-of-consciousness technique strive to create the illusion of an inwardness that eludes transcription. According to a deceptively simple commonplace of literary history, modern literature strives to represent the "inner life" of subjects. This inwardness is, however, never as autonomous as it superficially ap­ pears to be. The innovative works by Edouard Dujardin, Arthur Schnitzler, and James Joyce demonstrate that the language of selfhood depends on otherness for its existence, because monologue always 1Throughout this chapter the reader should place the (perhaps unavoidable) mis­ nomer "internal monologue" in imaginary quotation marks. LITERATUR E OF MONOLO GUE incorporates elements of dialogue. The context of vocalized speech is a sub-text of internal dialogue, and the context of writing is formed by the pre-texts of literary history. Late nineteenth-century psychology suggests a distinction between "internal speech" and "stream of consciousness." While internal speech is the essentially linguistic process of thought, "stream of consciousness" refers to an extralinguistic level.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles the Myth Of
    UNIVERSITY OF CALIFORNIA Los Angeles The Myth of Writer’s Block: Imagining American Moral Realism A dissertation filed in partial satisfaction of the requirements for the Degree of Doctor of Philosophy in English by Kevin Christopher Moore 2013 ABSTRACT OF THE DISSERTATION The Myth of Writer’s Block: Imagining American Moral Realism by Kevin Christopher Moore Doctor of Philosophy in English University of California, Los Angeles 2013 Professor Eric Sundquist, Chair The Myth of Writer’s Block takes the prominent postwar cultural myth of the “blocked” writer and reexamines it as an objective historical phenomenon. Modern literary texts often emerge from psychological crises, or seek to capture fictional crises, but once a writer’s reputation is marked by a block myth —a negative formulation that a writer has somehow failed to live up to popular or critical standards of production—literary and philosophical problems can take on the appearance of psychological calamity. Block myths take flight because they are marketable; an established author’s work increases in cultural value when it is perceived to be scarce. Such myths rarely represent reality, however, and most American authors who are perceived to have encountered a significant block, including Joseph Mitchell, Henry Roth, and Ralph Ellison, published a considerable amount of influential work in their lifetimes. These writers moreover shared an uncanny interest in documenting precarious matters of social and political morality, often disregarding conventions of craft and narrative coherence. This is no thematic coincidence. While all of these writers struggled ii independently through personal and intellectual crises, explaining the complex works they produced as specimens of mounting, monolithic block evades the unresolved moral questions—especially of race, ethnicity, class, and progress—they each confronted, however incompletely, in boldly realistic fictions and other accounts.
    [Show full text]
  • A Study of Dorothy Richardson's Pilgrimage
    THE RICE INSTITUTE THE MAKING- OP A STREAK-OF-COHSCIOUSNESS NOVELS A STUDY OP DOROTHY RICHARDSON*S PILGRIMAGE W Lloyd N» Goldman A THESIS SUBMITTED TO THE FACULTY IN PARTIAL FULFILLMENT OP THE REQUIREMENTS FOR THE DEGREE OP MASTER OF ARTS Houston, Texas June, i960 TABLE OP CONTENTS Page Introduction 1 Chapter I, Critical Background: What the Critics Said: What Miss Richardson Attempted* • * * 1 II* The Relationship Between the Novelist and her Characters. ............... 33 III* The Techniques of Stream-of-Consciousness Employed in Pilgrimage* ••*.*••• ***65 IV* Dorothy Richardson and the Philosophy of Stream of Consciousness • *••«*••••• 96 Conclusion • *•*.*•*•••••• . *117 Notes to Chapter I.*.*...*.«•••••• *122 Notes to Chapter II* ................125 Notes to Chapter III ••..•••«******.*129 Notes to Chapter IV. • ••••*•••« 132 Bibliography . 135 INTRODUCTION Dorothy Richardson’s Pilgrimage is generally consid¬ ered the first streara-of-consciousness novel; yet little attempt had been made to analyze this novel until 1955, when Leon Edel wrote The Psychological Novel. 1900-1950. Previously, only Harvey Bageleon, In \93lh and 1. M. Malsel, in 1939, had made efforts to do more than evaluate Miss Richardson’s work. Between 1955 and 1959, however, several important articles have been published. The most Important of these articles was written by Shiv Kumar on Dorothy Richardson’s philosophy. His article led me to look at Pilgrimage with the eye of a philosopher; another book, Robert Humphrey’s Stream of Consciousness in the Modern Novel« treated Pilgrimage as a novel in the stream-of-consciousness tradition from the technical angle and directed my attention toward the book in this vein, Leon Edel had suggested that Dorothy Richardson had gotten the idea of portraying the mind of a single character through the whole of the book from Henry James.
    [Show full text]
  • Prescribed Literature in Translation: Additional Guidance Critical Summaries of Selected Works
    Diploma Programme Prescribed literature in translation: Additional guidance Critical summaries of selected works © International Baccalaureate Organization 2012 1 Purpose of this document This publication is intended to provide teachers with additional guidance in teaching the Diploma Programme language A courses for first teaching from September 2011. It should be read in conjunction with the Prescribed literature in translation (PLT) list (2011), and the language A guides. The purpose of this teacher support material is to help teachers choose works in translation for study in the language A courses. The IB has ensured that the PLT list offers not only works which are classics in the global sense, but also works which are classics within the literary tradition of their original language of publication. These may not yet have received international recognition. In the case of such works, information in the IB’s working languages may not be readily available. Thus, when planning a language A course of study, teachers may experience difficulty in deciding whether such a work will fit in with the other works on their planned course, or provide suitable material for their student group. This document aims to provide teachers with information about selected works from the PLT in order to help them make more informed choices as they construct their language A courses. It is hoped that this document will empower teachers to choose from a wider range of works on the PLT, and consequently improve student access to a diverse range of literature. The intended audience for this document is teachers. However, the information is directly relevant to students; teachers are therefore encouraged to share this document with them, as appropriate.
    [Show full text]