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История литературы / 37.Literature of psychology and analysis

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At the turn of the 20th century two more trends in lit. started to develop. They appeared as the reaction to naturalism and realism. These trends were: lit. of psychology and analysis; impressionism and the stream of consciousness. We are going to speak about the 1st one. Lit. of psychology as understood by contemporary critics is interpreted as lit. that examines unusual or abnormal states of mind, obviously it is an extreme. Usually writers who concentrate on psychology in lit. try to examine thoroughly characters’ motivations and points of view. They investigate everything including moral problems from the psychological point. Obviously, the writers of the trend took a lot of Freud (theory of sexuality, theory of ego etc.) and his school of psycho-analysis. David Herbert Lawrence belongs to this trend. The writers of this trend differ widely in content and techniques used. Bur the majority are alike in their purpose: to present human motivation from the insight, from the point of view of the mind rather than from the point of view of an external observer. These writers agree that it is inside the human brain that significant battles of life take place. And mental conflicts have a subtlety, intensity and importance far beyond mere external examination of a human being (like Dostoevsky). Impressionistic authors were concerned with the mental life of an individual. They are usually detached from social, political or ethical problems. They are usually interested in the way the human brain reacts to external stimulation, even with the most trivial. The impressionistic method presupposes catching of the impression of reality or zooming an emotionally charged moment (V. Wolf, D. Lawrence). The technique that unites both trends is the technique of word-painting. David Herbert Lawrence (1885-1930) is English author of novels, short stories, poems, plays, essays, travel books and letters. His novel Sons and Lovers (1913), The Rainbow (1915), Women in Love (1920), The Fox (1923), The Man Who Died (1931) and Lady Chatterlay’s Lover (1928-29) made him one of the most influential writers of the 20th century. James Joyce (1882-1941): Dubliners (1941), A portrait of the artist as a young man (1916), Ulysses (1922). Finnegans Wake (1939). Joyce was practically blind. He was a language teacher, consequently he possesses a very huge vocabulary stock. Lawrence, The White Peacock (1911): “… The daffodils under the boathouse continued their golden laughter, and nodded to one another in gossip… As we walked across the fields, the tubes of stubble tinkled like dulcimers (цимбалы). The scent of the corn began to rise gently… Two white swans lifted their glistening feathers till they looked like grand double-water lilies, laying back their orange beaks among the petals.” Everything is absolutely imaginable. The main strategies are: colourful epithets, comparisons, personification, images within images (swans-lilies). The reader is easily involved because the writer appeals to emotional experience only. That’s why it is true to our emotional experience, it’s like a picture of impressionists. Joyce used the technique of word-painting differently. Unlike Lawrence, he uses facts only when he paints with words (appeals to our factual experience). Ulysses, chapter 1: “ In long lassoes from the Cock Lake the water flowed full, covering green goldenly lagoons of sand, rising, flowing. My ashplant (трость из осины) will float away. I shall wait. No, they will pass on, passing chafing against the low rocks, swirling, passing. Better get this job over quick. Listen: a fourworded wavespeech: seesoo, hrss, rsseeiss oos. Vehement (сильный) breath of waters amid sea snakes, rearing horses, rocks. In cups of rocks it slops: flop, slop, slap: bounded in barrels. And, spent, its speech ceases. It flows purling, widely flowing, floating foampool, flower unfurling.” In the 1st sentence of the passage J. relies upon facts and his description resembles reportage. The effect of this description depends upon the arrangement of facts and their most objective characteristics. It is a sure case of word painting, detail follows detail; and a complicated syntax only helps to supply necessary hues (оттенки). J. uses practically no devices here, only a few epithets and alliteration. J. begins his description as everyone would if he or she were going to paint a picture. First, he gives us contour – a flat representation of flowing waters, seeing from above (“in long lassoes”). Alliteration helps J. to introduce volume (“flowed full”). The next part of the sentence brings colour (“green-goldenly”) and stresses space and volume again (“rising, flowing”). If to consider the linguistic aspect of the image, we have a long sentence with precise and vivid wording. The sentence is divided by commas into pauses and “-ing” forms add movement, showing direction forward and upward. This structure helps J. to imitate the rhythm of the water flowing. Alliteration makes the narration vivid because it stresses volume and movement. The quality of sound J. uses ensures the effect produced by the image. He uses sonorants to create spreading in space and fricatives to create volume. There is a shift in perspective between the 1st and the 2nd sentences, because the 1st belongs to the author and the 2nd – to the character. This shift indicates a long pause, because after the pause we will have inner monologue. J. is a very democratic writer, he allows his reader to work in cooperation but for a reader it is a true challenge because he/she should be very much professional.