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 47
... explained by Meisig ( 100 ) as increased " Unmittelbarkeit " , that is , lack of narratorial mediation . It is not further explained , nor is the discussion of the initial sentence of " Tisri qasam " referred to . In the 1985 edition of ...
... explained by Meisig ( 100 ) as increased " Unmittelbarkeit " , that is , lack of narratorial mediation . It is not further explained , nor is the discussion of the initial sentence of " Tisri qasam " referred to . In the 1985 edition of ...
Page 67
... explained as IFA , even though the other cases are too short to reveal acto- rial subjectivity . Section 4 presents an emotionally important moment in the story . Sekhar , unable to feel anything , as related at the end of section 3 ...
... explained as IFA , even though the other cases are too short to reveal acto- rial subjectivity . Section 4 presents an emotionally important moment in the story . Sekhar , unable to feel anything , as related at the end of section 3 ...
Page 226
... explained by De Vreese ( 1965 : 203 ) . In the Hindi text , Ānandi is referred to with the singular demonstrative pronoun ( oblique ) us , and therefore un in the above ex- ample cannot refer to her . The present tense rahte haim rather ...
... explained by De Vreese ( 1965 : 203 ) . In the Hindi text , Ānandi is referred to with the singular demonstrative pronoun ( oblique ) us , and therefore un in the above ex- ample cannot refer to her . The present tense rahte haim rather ...
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