The stream of consc is an intimate stream of consciousness. It’s a stream that doesn’t have any interference, and flows with the natural personal flow. This stream can be accessed by anyone who wants to know what someone else is thinking or feeling at this moment in time. The stream of consc is also not just for one person, it’s for everyone!
‘Stream of Consciousness’ is a style used by modernist writers such as James Joyce and Virginia Woolf to supposedly document the mental process or capture the ‘atmosphere of mind.’ This method is utilized to depict characters’ inner lives and their psychic beings. In her novella Mrs. Dalloway, Virginia Woolf employs this approach. “Life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of our awareness until its end,” according on Woolf.
Prices start at $12
Prices start at $11
Prices start at $12
The above shows how Virginia Woolf’s style evolved over time, while also illustrating her lasting influence. As a novelist, she wished to “record the particles as they fall upon the mind…trace a pattern no matter how disconnected and incoherent in appearance, which every sight or event scores on that consciousness.” Mrs. Dalloway is a form that departs from contemporary form in order to do justice to life and character. What she seems to be implying is for a depiction of the mental life in all of its vagaries, quirks, and indeterminacies, as well as its complexity and fullness.
She stressed the importance of moving away from the public to the private, social to personal, political to individual. (The political and public elements that appear in her work are only via individual psyches). Woolf’s primary theme in the text is consciousness, awareness, action and reaction, what we recall and say but keep hidden, how differently we view ourselves versus others.
What she wants is what E.M. Foster praised Jacob’s Room for: to go “deeper into the soul.” Woolf treasured the depiction of “inner life” and tried to convey it in clear language. The unrestricted flow of thought was also celebrated by Woolf, who sought to capture it in succinct words. In fact, as we look at the text closely, we discover that the internal thoughts of the consciousness have no impact on the characters’ activities or on when they act out their feelings.
Furthermore, despite the many focalization (i.e. insight into the thoughts of other characters, their worries, insecurities, anxieties, and excitement) Woolf never privileges one perspective or impression over another; for example – Clarissa and Miss Kilman could become critics of one another, which does not appear to happen.
So we see that the text’s focus, rather than what consciousness may change or lead one to do, is on working of the mind. Without committing to any category or section, without establishing any hierarchies, Woolf provides the readers with various angles without making specific declarations in order to avoid commitment.
The Stream of Consciousness is a literary technique that was first used by Dorthy Richardson, Virginia Woolf, and James Joyce. Stream of consciousness is defined as a succession of thoughts and images that does not always appear to have a logical structure or coherence. The narrative line may move back and forth in time and place, transporting the reader through the life span of a character or forward along the timeline to include the lives (and ideas)of characters from previous eras.
Stream-of-consciousness writing is typically understood as a sort of interior monologue and is characterized by associative leaps in syntax and punctuation. Stream of consciousness and interior monologue are different from dramatic monologue, in which the speaker addresses an audience or a third person, and is utilized mostly in poetry or drama.
In stream of consciousness, the speaker’s mental processes are frequently represented as overheard in the mind (or addressed to oneself), and it is mostly a fictitious device. William James, a philosopher and psychologist, coined the term in reference to psychology. Dorothy Miller Richardson (May 17, 1873 – June 17, 1957) was the first to write an English-language novel employing what is now known as the stream-of-consciousness method. Pilgrimage is one of the greatest 20th century works of modernist and feminist literature in English.
During her career, Richardson wrote numerous essays, poems, short stories, sketches, and other pieces of journalism. Her reputation as a writer is based on the Pilgrimage sequence, which was the first complete stream-of-consciousness novel in English (Joyce had already started writing Ulysses). Interior monologues are called that way by May Sinclair because she felt it referred to novels with “pointed roofs.”
The technique of stream-of-consciousness writing was first used by James Joyce and Virginia Woolf, according to popular belief. Richardson’s neglect is partly due to her writings being overlooked during her lifetime. The fact that Pointed Roofs displayed the writer’s love for German culture while Britain and Germany were at war may have helped contribute to the book’s relative anonymity.
Pilgrimage is also a feminist work because it assumes the worth and legitimacy of women’s experiences as a topic for literature, even if she doesn’t call for equal rights for ladies. Miriam, the protagonist in Pilgrimage, is a woman on a journey to discover her complete self-identity, which she knows cannot be defined using male categories.
The phallocryptic language of the late-nineteenth century was largely determined by conventions, but this did not prevent writers such as George Elliot from breaking them—or even tacking on a postscript to explain why they’d done so. Virginia Woolf used stream-of-consciousness writing in her novels because she considered it essential for expressing this female experience. Marcel Proust’s and James Joyce’s works were influential on Virginia Woolf’s stream-of-consciousness style.
This technique, in which the subjective mental processes of Woolf’s characters determine the objective content of her tale, is evident throughout To the Lighthouse (1927). For example, time is altered by the consciousness of the characters rather than by a clock in this one of her most experimental novels, To the Lighthouse (1927). The events on a single afternoon account for more than half of the book, whereas ten years are compressed into just a few dozen pages.
To the Lighthouse is a difficult and strange novel for many readers, especially those who are unfamiliar with contemporary deconstructive fiction. Its vocabulary is thick, and the structure amorphous. To the Lighthouse appears to have little in the way of action compared to Victorian novels that came before it. In fact, almost all of the events occur in the minds of the characters.
During the twentieth century, James Joyce has been recognized as one of the innovative literary visionaries. He was among the first writers to use far-reaching and convincing stream of consciousness, a stylistic technique in which written text strives to portray characters’ streams of inner thoughts and perceptions rather than presenting them from an objective, external standpoint.
Although Woolf uses the stream of consciousness method in A Portrait of the Artist as a Young Man throughout much of the narrative, including during its opening sections and Chapter 5, it is sometimes difficult to follow. With effort, however, jumbled thoughts may be molded into a coherent and sophisticated picture of a character’s journey.
Stream of consciousness is a linguistic concept that emphasizes individualistic thoughts and ideas that pass through the subconscious mind. It aims to make aesthetic and narrative impressions by bringing such ideas to the surface in a subtle and inconspicuous manner (Steinberg 21). Stream of consciousness seeks to highlight how fundamental innate thoughts and ideas play in the literary narrative’s actualization.
Stream of consciousness is an interpretive device that allows playwrights to explore inner debates that characterize human conduct as articulated in various literary and artistic works (Steinberg 21). It has origins in the 19th century, when philosopher William James used it in his writings. Stream of consciousness refers to a variety of stylistic pathways for expressing individual thoughts and arguments within textual settings (Steinberg 22).
Playwrights employ a number of complementary stylistic methods, such as monologue, dramatization, and soliloquy, in order to assure precise expression of thoughts and ideas. Third-person repetition is a typical application of such techniques (Steinberg 23). The stream of consciousness takes a defined course, which is usually linked to the reflection of ideas and concepts that make up a character’s subconscious mind. In light of this truth, literary authors employ this device to strengthen the overall plot and theme in their work of art. This literary device has had an impact on fiction as well as its use in contemporary society’s artistic pursuits (Steinberg 25).
Without such projects, it would be almost impossible for writers to give accurate representation of concepts and ideas that are normally obscure and inexplicable. In most fields of interest, there is a lot of debate about whether or not stream-of-consciousness writing and internal monologue are the same (Steinberg 27). Instead, there is a clear distinction in both literal and inferred application.
The relationship between stream of consciousness and internal monologue is defined by their complementary functions as literary supporting devices. Internal monologue serves to link thoughts that progress through stream of consciousness (Steinberg 32).
Use of Stream of Consciousness in Eliot’s Work
T.S. Eliot was a dedicated, creative, and inspiring literary figure whose work continues to have an impact on human thoughts and actions in contemporary social situations. He is noted for his accuracy and detail in the general expression of ideas that are difficult to decipher under normal circumstances (Abrams 43).
His experience in literary pursuits allowed him to devote his attention on important societal themes. Eliot’s career was lengthy and rich in accolades (Abrams 43). In recognition of his efforts to increase reading, he received a number of honors.
This research paper will concentrate on one of his famous works, The Waste Land, a poem that addresses human behavior in society (Abrams 43). Despite its rich context, this literary treasure generates an inherent need for action in order to scrutinize key concepts discussed in its main theme.
It is clear that a thorough analysis of this work of art is impossible because it investigates a number of literary themes. Eliot employs a variety of stylistic methods, one of which is stream of consciousness, that play an essential role in the transmission of messages and ideas (Abrams 46). One such device that stands out as a recurring feature in his works is the stream of consciousness.
The author takes a spiritual spin on humanity’s quest for knowledge and understanding in areas that exist in social situations. He also employs the technique of stream of consciousness to reconnect medieval and modernistic viewpoints on the significance of innate thoughts in literary creation (46).
Inner thoughts and beliefs, in turn, are reflected through characterization and dramatization. It would be almost impossible for writers to communicate and spread thematic themes of interest in literature without these elements. In works by Eliot, particularly those written during his early days as a playwright, author, and poet, stream of consciousness is a fundamental element (Abrams 48).
His style is characterized by the frequent application of narrative and stylistic techniques that frequently add zest to the transmission of essential ideas. Its atmosphere encourages you to see your inner qualities, which enhance your overall orientation to core and thematic elements of literary presentation (Abrams 50).
Stream of consciousness, as previously described, is an important element in literary works. With regard to how audiences perceive work within different environments, it offers genuine chances for inquiry and holistic introspection. Eliot employs this stylistic device in a seasoned way that lends credibility to his work (Abrams 54).
His ability to correctly interpret thresholds that often bridge the gap between inner thoughts and inherent perceptions in social settings is a result of his confidence and accuracy. His grasp of style and application of it bridges reality with fiction, enhancing the transmission of ideas. In terms of style, diction, and tone, Eliot’s literary and artistic attitude is self-evident.
An example of this would be George Washington, who has made it possible for readers to discover artistic fulfillment and triumph that emanates from superior and well-organized works of art. The textual relevance of his writing is evidenced by a fantastic combination of historical and religious motifs. His direct reference to personal feelings is praiseworthy, as it equals parametrical limits on literary expression (Abrams 57).
In addition, specifically referring to inner thoughts and ideas provides a soothing atmosphere for readers to identify and analyze major themes in his work. Clearly, Eliot is a skilled user of literary techniques that frequently excite and pique desire for more among his audience (Abrams 63).
Use of Stream of Consciousness in Virginia Woolf’s Work
Modern society continues to be influenced by Virginia Woolf’s writings. Her attention to important concerns is admirable and colossal, because she uses stylistic methods that are relevant to literature’s expression and delivery.
It would be difficult for the audience to comprehend her technique to problems that characterize human existence in social situations if devoid of such a style and approach. For example, Woolf’s works of literature frequently incorporate the use of stream of consciousness. Mrs Dalloway is one of Woolf’s literary masterpieces that emphasizes the importance and applicability of this stylistic guideline (Abrams 76).
She superbly expresses inner feelings and concepts in a way that promises to take literature into new uncharted territory. She understands how such tone and attitude win her popularity among audiences who frequently struggle to understand difficult aspects of literature. The delicate interaction between tone and structure is crucial for the development of literary tale, as well as other elements that validate complex thought processes (Abrams 77).
It also supports the connection of ideas and actions that validate a work’s overall meaning. With regard to attribution of meaning and synchronization of ideas, Woolf understands how stream of consciousness generates attention and involvement among readers.
The stream of consciousness technique employed by Woolf to connect fiction with situations based on human activity and reaction to certain problems in social settings is an excellent example of how writers can use literary style. Her attempt at a literary style is admirable, since it gives significance to stories that would otherwise have none.
Her writing style emphasizes the importance of art in bringing complex issues and circumstances into perspective (Abrams 84). Stream of consciousness is an important aspect of excellent expression in writing. Its relevance in contemporary literary genres continues to generate heated debate among playwrights, critics, and fans of creative work (Abrams 86).
Stream of Consciousness and its Reflection in Early Twentieth Century
While many people credit contemporary usage of stream of consciousness to the early decades of the twentieth century, there is evidence that it was used previously. Several works of art from before this period, such as Laurence Stern’s Tristram Shandy (published in 1759), bear testament to this claim (Cohn 12). For example, Laurence Stern employed stream of consciousness in his Tristram Shandy , which released in the 18th century.
The Tell-Tale-Heart, an anthology by Edgar Allan Poe published in the 19th century, is another example. Despite the fact that this stylistic theory has previously been used, it’s vital to note that most of its growth and application took place in the 20th century (Cohn 12). Marcel Proust is one of several writers credited with playing a vital role in the inception and spread of this stylistic idea in the 20th century.
However, critics stated that most developers of this style were concerned with superficial functionality rather than substance (Cohn 16). Their main concern was the transmission of ideas and concepts without much interest in their development or preservation. They sought to make complex thought processes more accessible.
This study, then, aims to provide a preliminary look at two distinct literary elements: plot and the stream of consciousness. The plot of the book revolves around what happens during one day in the life of Mrs. Clarissa Dalloway, who is a woman in her late 50s and is preparing for a party she plans to have later that evening in order to meet up with all her friends from various social classes. In 1923, London was the year.
Instead of following the route of Mrs. Dalloway’s footsteps through London, the plot adopts a stream-of-consciousness approach based on her thoughts. As a result, time tends to flow backwards and forwards between the present and the past. Her thoughts travel back to when she was eighteen years old in Bourton, a town on England’s coast, before she leaves her home (Woolf, p.7). She finds herself standing on the street curb as soon as her mind returns to the present.
As the audience, we simply observe that she has traveled physically from her house to the curb during a moment of her thought drifting. The threads of ideas among the characters sometimes successfully cross over, allowing individuals to communicate without conflicting based on their own viewpoints. Most of the threads do not cut effectively, leaving most of the characters lonely and disconnected. As a result of these, most of the thoughts and quotations from the characters have some element of human isolation.
Readers may extract certain emotions from the story, such as sadness or fear, which are associated with a variety of human problems. The plot and stream of consciousness technique allow the book to explore its vision of fragmented feelings such as love or desperation in order to confront “moments away,” as well as how to endure. A love tale centered on Clarissa Dalloway, her past lover Peter Walsh, and her present spouse Richard is mentioned by Woolf. Thoughts of what might happen if Peter returned are left unaddressed. “When she considered him, she thought of their lengthy disputes and how much she missed his excellent views” (Woolf, p.71).