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 66
... inquit , the first one expresses Hemant's awareness of the act of remembering , it appears from the two paragraphs preceding the inquit , which deal with the nature of " remembrance " . The inquit to the third flashback shows the ...
... inquit , the first one expresses Hemant's awareness of the act of remembering , it appears from the two paragraphs preceding the inquit , which deal with the nature of " remembrance " . The inquit to the third flashback shows the ...
Page 73
... inquit it is not uncommon for the character who is both an actor at the flashback moment and the one who remembers , to be indicated with his or her personal name . In that respect they are like FIT . For example , in “ Bandoṁ kā khudā ...
... inquit it is not uncommon for the character who is both an actor at the flashback moment and the one who remembers , to be indicated with his or her personal name . In that respect they are like FIT . For example , in “ Bandoṁ kā khudā ...
Page 131
... inquits . The first three inquits are in the present tense : mausi [ ... ] kah rahi hai “ Aunt [ ... ] says " , māṁ [ ... ] kahti hai " Mother says [ ... ] ” , and vidya [ ... ] kahti hai " Vidya says " . The next , fourth inquit shows ...
... inquits . The first three inquits are in the present tense : mausi [ ... ] kah rahi hai “ Aunt [ ... ] says " , māṁ [ ... ] kahti hai " Mother says [ ... ] ” , and vidya [ ... ] kahti hai " Vidya says " . The next , fourth inquit shows ...
Contents
Quoted discourse and internal focalisation | 14 |
Internal focalisation of awareness | 33 |
Psychological insight in early texts | 48 |
Copyright | |
9 other sections not shown
Common terms and phrases
actions actorial addresses appears awareness beginning belongs brief called chapter character character-bound character's close comes concerned consonant psycho-narration contains contents continuous present contrast deals Delhi direct discussed effect emotional entire example experiencing explained expresses eyes fact feelings final flashback forms frequent furnished girl haim hand Hindi hūṁ indicated initial inquit insight interior monologue internal focalisation interpretation introduction lack later leave less look main character means meṁ mind moment mother narrative narrator narratorial nature noted novel observed occurs paragraph passage past tense perception performing person preceding present tense protagonist quoted rahā rahi reader refer remembers retroversions reveals scene seems seen sentence shows similar situation starts story style subjective suggests take place taken takes techniques tells term thinking third thoughts tion told verb woman written