The Present Tense in Modern Hindi FictionThe Present Tense in Modern Hindi Fiction contributes to the interpretation of Hindi prose by analysing the use of the present tense in over 250 texts. While sketching the history of the present tense in Hindi fiction, the book focuses primarily on the narrative techniques that invite its use, such as interior monologue, free indirect discourse, consonant psycho-narration, and camera eye. Moreover, it offers a fresh interpretation of the two types of present tense found in Hindi. The indexes of authors, titles, and analytical concepts provide easy access to the analyses. The book will also be of interest to scholars studying the use of the present tense in modern fiction worldwide. The present tense is used more widely in Hindi than in languages such as English, and some trends that are also found in the literatures of other languages (such as the occurrence of the present tense in internal sensory focalisation) are more clearly visible in Hindi fiction. More importantly, a new explanation of present-tense passages is proposed which can also be applied elsewhere. Insight into this technique, referred to as Internal Focalisation of Awareness, leads to a better understanding of present-tense texts. |
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Page 148
... addresses here , obviously not the reader but a character that belongs to the account related by the extradiegetic narrator , and similar present - tense addresses to that addressee occur throughout the text . The addressee does not ...
... addresses here , obviously not the reader but a character that belongs to the account related by the extradiegetic narrator , and similar present - tense addresses to that addressee occur throughout the text . The addressee does not ...
Page 180
... address to the readers : " Believe < me > " ( sac maniye , at the end of the fifth paragraph ) and in a ... addresses are a possible sign of performance , and they are inconceivable in interior monologue , camera eye , or ...
... address to the readers : " Believe < me > " ( sac maniye , at the end of the fifth paragraph ) and in a ... addresses are a possible sign of performance , and they are inconceivable in interior monologue , camera eye , or ...
Page 187
... addresses to the reader and through style . The story , which does not focus on the experiences of one character ... address to the reader is found in the third paragraph of the initial section : “ A man's face appears . It can be ...
... addresses to the reader and through style . The story , which does not focus on the experiences of one character ... address to the reader is found in the third paragraph of the initial section : “ A man's face appears . It can be ...
Contents
Quoted discourse and internal focalisation | 14 |
Internal focalisation of awareness | 33 |
Psychological insight in early texts | 48 |
Copyright | |
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Common terms and phrases
actions Ajńeya's Aorist awareness camera eye character-bound focalisation character-bound narrator Cohn conditional mood consonant psycho-narration consonant self-narration continuous present dekhā Delhi discussed in chapter emotional example experiencing explained expresses features the present feelings flashback Fludernik Giriraj girl haim Hindi Hiraman hūṁ implicitly internal initial paragraph initial sentence inquit insight interior monologue internal focalisation internal sensory focalisation introduction iterative Jainendra Kumar's jātā jāti Kamleśvar kamre kuch kyā lack look maiṁ main character Meisig meṁ metanarrative mother nahim narrative narratorial narratorial report non-iterative novel observed past tense perception perfective aspect performing narration Pořízka Premcand's present tense present-tense passages protagonist quotation rahā rahā hai rahe haiṁ rahi reader refer retroversions reveals Satya scene second sentence shows the present Simh starts style suggests techniques tence thā tion told types of present Uskā bacpan verb woman words