Index
A
- Adamson, Sylvia
xiii,
1,
19,
30,
33–34, 53
- ambiguity
4,
15–16, 20–21, 41, 59–60, 72, 87–88, 10–105, 115, 120, 133, 136, 155, 157, 164
- arranger
133–135, 138, 146–147
- aspect (verbs)
29,
31,
35–36, 38, 78, 88, 103, 105, 111, 152
- asyndetic coordination
31,
35,
74,
78,
110,
116,
122
- author
23–25, 27, 34, 45–46, 49–51, 99, 101, 118, 121, 135, 146–147, 168–172
- authorial narrative
48,
106
- authorial narrator
49,
58,
97–99, 102, 106–109, 120–129, 135, 147, 164–166
- Bakhtin, Mikhail
1,
46,
91,
127,
136,
165
- Banfield, Ann
40–42, 44, 50–51, 100, 160
- Blakemore, Diane
24–27, 116
- cognitive linguistics
12,
173,
179–182
- cognitive narratology
67–68, 91–93, 179–180
- cognitive science
6,
66–67, 162, 180
- Cohn, Dorrit
5,
17–20, 36, 57, 75, 93, 109
- coloured narration
43,
150
- communication model
46,
48
- consciousness categories
1–2, 35, 39, 63, 65–68, 71–73, 80, 84, 86–87, 89–90, 94, 175
- consciousness-representation
xv,
xiv,
32–34, 65, 83, 90–92, 101, 119, 129, 171, 173
- Consonant Psycho-narration
36,
82
- definite articles
33,
104,
150
- deictic centre
29–31, 41, 45, 48, 104, 121
- deictic shift theory
51,
121
- deviation (deviance)
60–61, 100, 116, 132, 134–137, 140–147, 152–153, 156–158, 160–161, 163
- diegesis
14,
21–23, 25, 49, 61, 99, 141, 145
- Direct Speech
xi,
xi,
3,
16,
137,
139
- Direct Thought
3,
xi,
3,
137
- discourse markers
26–27, 31
- discourse presentation
xiv,
2,
38–39, 42, 62, 65, 131
- discourse-category approach
2,
4–6, 13, 84, 92
- Dissonant Psycho-narration (DPN)
xi,
39,
82,
91,
103
- distancing appellation107
- dual subjectivity
52–54, 100, 112, 122, 131–132, 136, 164–166, 175, 177
- dual voice
xiv,
22,
45–47, 52–53, 75, 164–165
- empathetic perspective104
- empirical stylistics
xvi,
47
- evaluation
30–32, 74, 79, 88, 100, 112, 115, 138, 141–144, 146, 150, 153, 165, 177
- exceptionality thesis
63,
92–94, 178
- expressive features
15,
18,
26,
31,
35,
37,
50,
74,
100,
110,
115–116, 174
- externalist perspective
67–68
- extradiegetic narrator
100,
102,
104,
106,
109,
112
- fictional minds
xvii,
6,
38,
51,
61,
63,
65–69, 80, 90–94, 176
- figural narrative
41–42, 99, 134, 177
- first-person narration
34,
48,
52
- Fludernik
xiv,
6,
19,
33,
40–44, 54, 82, 159
- focalisation
34,
40–43, 47–48, 53, 56, 148, 152
- foregrounding
75,
137,
140–141, 145
- Free Direct Thought
xi,
3,
137
- Free Indirect Discourse
xiv,
14,
32,
41,
66
- Free Indirect Perception
xi,
2,
29,
31,
39,
62,
65,
92,
150,
159,
174
- Free Indirect Psycho-narration
xi,
2,
35–37, 39, 62, 65, 101, 174
- Free Indirect Speech
4,
16,
34
- Free Indirect Style
xiv,
xiii, xi, 1–2,
29,
32,
39–40, 62, 65, 80, 93, 129, 131, 173
- Free Indirect Thought
xi,
2–3, 39, 62, 174
- generic (gnomic) present
73–74, 103–106, 108, 120
- Genette, Gérard
xiv,
5,
21–24, 40, 42–44, 47–48, 53, 148, 157
- graphology
132,
139–140, 143–144, 146, 163
- ideology
86,
112,
141,
149–150, 158
- Indirect Speech
1,
3–4, 16, 34
- Indirect Thought
xi,
2–3, 39, 62, 65, 77, 174
- inference
25,
59–60, 62, 75, 114, 118, 139, 178
- inner speech
1,
4–6, 8, 13–14, 18, 25, 62, 66–67, 73–77, 89–90, 174
-
inquit phrases/formulas
13,
16,
83,
87–88, 137, 141, 146–147
- interior monologue
66,
73,
88,
139,
149–150, 153–156, 162, 177
- interjections
16,
26,
21,
31
- internal narration
4–5, 38, 81
- internalist perspective
68–69
- irony
34,
83,
141,
150,
153,
165,
169,
175
- Joyce, James
35,
59,
63,
129–172, 177
-
A Portrait of the Artist as a Young Man
35,
166
-
Ulysses
xvii, 63, 129–172,
177
- Lacan, Jacques
9,
98,
123–124, 126, 128
- Lawrence, D.H.
xvii,
37,
59,
60,
63,
95–129, 177
-
The Rainbow
xvii, 37, 63, 95–129, 177
- Leech, Geoffrey and Short, Mick
2–4
- linguistic experimentation
54,
59
- literary criticism
xv,
xvi,
49,
138,
173,
176
- litmus test
18–19, 36–37, 76, 79, 81–82, 88
- locutionary agency
20,
24,
27,
33,
44–49, 53, 75, 85, 91–92
- Lodge, David
56–57, 61, 63, 99, 123, 182
- metaphors
98–99, 110, 115–122, 141–142, 181
- mimesis
14,
21–25, 41, 61, 145, 151
- mimetic-diegesis
14,
21,
25,
29,
62
- mind states (see also “states of mind”)
5,
39,
42,
65,
78,
113,
153,
174
- Modernism
xiv,
13,
54–62, 69–70, 77, 90, 97–99, 109, 118, 124, 171–172, 175–176
- moments of being
70–72, 86, 90
- Narrated Perception
xi,
32–33, 39, 103
- narrator
xiv,
3–4, 13, 16–17, 19–23, 25, 36–37, 40, 44–54, 57–58, 61, 63, 86, 92, 94–95, 97–116, 120–129, 131–136, 138, 141–147, 156–159, 164–166, 170–172, 175–177
- Narrator’s Report of Thought Act
xi,
3
- narratorial discourse
5,
48,
109,
123,
171,
178
- no-narrator theory
46,
48–52, 100, 134
- non-linguistic thought (see also “non-verbal thought)
10–11, 21, 24, 26–28, 32, 39–40, 67, 75–77, 80
- non-reflective consciousness
40–43, 66, 114, 133, 136, 159–160, 163–164, 174, 177
- non-verbal thought (see also “non-linguistic thought”)
1–2, 5, 10, 13–14, 22, 24, 27, 41, 71, 74, 92
- omniscience
57–58, 95, 98–99, 105–109, 112, 129
- Palmer, Alan
5,
xiii, 5–6,
13–14, 28, 47, 66–68, 71, 73, 75–77, 80–81, 92–93, 105, 119
- parallel processing
133,
148,
159,
162–163, 177
- parameters of point of view
112,
165
- parentheticals
69,
73,
78–79, 88
- parody
132,
138,
141–142, 144–147, 149–150, 154–156
- Pascal, Roy
xiv,
45–47, 57, 123
- point of view
xiii,
xvii, 4, 30, 33–35,
41–44, 48, 56, 91, 112, 131, 144, 157–160, 164–165, 176
- Postmodernism
129,
171–172
- progressive aspect
29,
35,
38
- prolepsis
98,
100–101, 106–108, 112, 147
- psychoanalysis
xv,
xvii, 55, 101, 123
- psychological realism
56,
69,
76,
99,
172
- Psycho-narration
xi,
5,
20,
22,
35–39, 42–43, 62, 65, 72, 75, 77, 81–84, 90–92, 101, 103, 113, 148–149, 174
- punctuation
31,
139–140, 152
- quotation
3,
17–26, 43, 46, 58, 62, 65–66, 73, 91, 131, 162
- Realism
22,
56–57, 61, 69, 76, 95, 97–99, 109, 124, 129, 172, 177
- reflective thought
41,
81,
114,
160
- register
111,
115–117, 122, 127, 141
- relevance theory
24,
59,
114
- repetition
31,
35,
37–38, 87, 99, 110, 116, 118, 122, 140–141, 144, 148, 149, 153, 155, 171
- reporting clause
3,
xiii, 3, 14–15,
25,
29,
39,
119
- representation
1–2, 21–27
- Represented Speech and Thought
1,
40
- rhetorical devices
99,
110,
114–116, 118–123, 140, 142
- Sotirova, Violeta
xiv,
1,
28,
45,
60,
69,
75,
82,
90,
97–98, 103, 131, 135, 146
- states of mind (see also “mind states”)
8,
28,
62,
93–94, 160
- stream of consciousness
26,
61,
63,
65–66, 69–70, 84, 86–88, 90, 94, 97, 101, 109, 111, 176, 181
- stream of consciousness analysis
63,
84,
86,
88,
90,
111,
176,
181
- stylistic expressivity
54,
100–101, 118, 121–122, 124, 145, 147, 165–166
- subconscious
44,
56,
85–86, 128–129
- subjective features
xiii,
15–16, 30, 32
- subjectivity
xiv,
xiii, 25, 29–40,
42–48, 50–54, 60, 62–63
- subordination
3,
xiii, 3, 14–15,
53
- summary of narrative time
98,
105,
107,
109,
111–112, 124
- summative perspective
101,
109,
111
- thought categories
2–7, 13–14, 21, 28, 38–40, 58, 73, 75, 89
- Trotter, David
56,
59–60, 78, 118, 133
- Uncle Charles Principle150
- unconscious
xvii,
56,
63,
70,
95,
97–99, 101, 113–114, 117–124, 126–129, 165, 177
-
verba dicendi
139–142, 146, 155
- verbalised thought
1,
14,
17,
28,
42,
66,
73,
75,
84,
89,
91,
153–155, 157, 162–163
- voice
40,
42–44, 46–59, 53–54
- was-now paradox
29,
33–34, 151, 173
- whole mind
28,
67,
73,
77,
175
- Woolf, V.
xvii,
15,
52,
55–56, 59, 65–90, 176
- “Modern Fiction”
55–56, 70
- “Mr Bennett and Mrs Brown”55
-
To the Lighthouse
xvii, 15, 52, 65–90, 176