Paper No:9 . The Modernist Literature.

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Name: Mehta Kavita Dineshbhai

Course: M.A English

Semester: 3

Batch: 2016 – 2018

Roll No: 11

Enrollment No:  2069108420170020

Submitted to: S M T S.B Gardi

                        Department Of English

                         MK Bhav University.

Email id: kavitamehta164@gmail.com

Paper No: 09 : The Modernist Literature

Topic: Stream of Consciousness Technique in To the Lighthouse

 

My Assignment’s

Introduction about the author:

      VIRGINIA WOOLF was born on January 25, 1882,a descendant of one of Victorian England’s  most prestigious   literary families. Her father, sir Leslie Stephen, was the editor of the Dictionary of National Biography and was married to the daughter of the writer William Thackeray. Woolf grew up among the most important and influential British intellectual of her time, and receive free rein to explore her father’s library. Her personal connections and abundant talent soon opened doors for her. Woolf wrote that she found herself in a “a position where it was easier on the whole to be eminent than obscure.” Almost from the beginning, her life was a precarious balance of extraordinary success and mental instability. She believes in nonconformity (Bloomsbury group). On march 28, 1941 she wrote her husband a note stating that she did not wish to spoil his life by going mad. She then drowned herself in the river ouse.

What is Stream of consciousness?

              In Literary criticism, stream of consciousness is a narrative mode or method that attempts to depict the multitudinous thoughts and feelings which pass through the mind. It was a phrase used by William James in his principle of psychology (1890) to describe the unbroken flow of perception, thought, and feeling in the waking mind.

·       It is a literary technique which was pioneered by Dorothy Richardson, Virginia wolf, and James Joyce.

·       It has since been adopted to describe a narrative method in modern fiction.

·       Stream of consciousness is the name applied specifically to a mode of narration that undertakes to reproduce, without a narrator’s intervention, the full spectrum and conscious and half- conscious.

When we mention Virginia Woolf, To the Lighthouse, it’s very natural to talk about her stream of consciousness technique .In this novel, the structure of external objective events is diminished in scope and scale, or almost completely dissolved. It is composed of the continual activity of character’s consciousness and shower of impressions. External event occupy little space in the novel compared to the rich development of the response to these events. We can also find in this novel the writer as an omniscient of the dramatic characters. And the novel does not progress on “what happens text” basis, but rather moves forward through a series of scenes arranged according to a sequence of selected moments of consciousness. And the techniques to which Mrs. .Woolf mainly employed are interior monologue and free association.

Interior Monologue:

                       Interior monologue is s term that is most often confused with stream of consciousness. It is used more accurately than the latter, since it is a rhetorical term and properly refers to a literary technique. But even this term is in need of more precise definition, and it is greatly in need of more limited application, if it is to be a useful critical term.

                     Edouard Dujardin, who claims to have used interior monologue first in his novel Les Lauriers Sont Coupes (1887), once gave us his definition of the technique. But his definition is not standard and accurate enough to be relied on, because he defined interior monologue as: “the speech of a character in a scene, having for its object to introduce us directly into the the interior life of that character, without author intervention through explanations or commentaries;… it differs from the traditional monologue in that: in its matter, it is an expression of the most intimate thought that lies nearest the unconscious; in its form it is produced in direct phrases reduced to the minimum of syntax.”

Interior monologue in its radical form ,is sometimes described as the exact presentation of the process of consciousness but because  sense perception s, mental images, feeling , and some aspect of thought itself are nonverbal, it is clear that the author can present these element only by converting them into some kind of verbal equivalent.

Two type of interior monologue:

          1) Direct interior monologue

          2) Indirect interior monologue

·       Direct interior monologue is that type of interior monologue which is represented with neglible author interference and with no auditor assumed. An examination of its special methods reveals that it presents consciousness directly to the reader with negligible author interference that is there is either a complete or near complete disappearance of the author from the page, together with his guiding such as “he said” and “he thought” and with his explanatory comments. It should be emphasized that there is no auditor assumed that is, the character is not speaking to anyone within the fictional scene nor is the character specking, in effect, to the reader.

·       Indirect interior monologue is, then that type of interior monologue in which an omniscient author presents unspoken material as if it were directly from the consciousness of a character and, with commentary and description, guides the reader through it. It differs from direct interior monologue basically in that the author intervenes between the character’s psyche and the reader. The author is an the screen guide for the reader. It retains the fundamental quality of interior monologue In that it what it present of consciousness is direct that is it is in the idiom and with the peculiarities of the character’s psychic processes.

Indirect interior monologue in To the Lighthouse:

                           Virginia Woolf, among the stream of consciousness writers, relies most on the indirect interior monologue and she uses it with great skill. In To the Lighthouse Virginia Woolf succeeds in producing a much subtle effect through the use of this technique. This novel contain a great deal of straight, conventional narration and description but the interior monologue is used often enough to give the novel its special character of seeming to be always within the consciousness of the chief characters .Virginia Woolf says in her essay, modern fiction “Let us record the atom as they fall upon let us trace the pattern however disconnected and incoherent in appearances in her method.

Let us examine the following passage in the first chapter of part one.

            …For how would you like to be shut up for a whole month at a time, and possibly more in stormy weather, upon a rock the size of a tennis lawn? She would ask; and to have no letters and newspapers, and to see nobody; if you were married, not to see your wife, not to know how your children were, if they were ill, if they had fallen down and broken their legs or arms; to see the same dreary waves breaking week after week, and then a dreadful storm coming , and the windows covered with spray, and  birds dashed against the lamp, and the whole place rocking, and the windows covered with spray, and birds dashed against the lamp and the whole place rocking, and not be able to put your nose out of doors for fear of being swept in to the sea? How would you like that? She asked….

The passage above is repressed in the manner of straight narration by the author, but it is clearly what the character feels and thinks, and it reflects the character’s consciousness and inner thought. In this passage, Woolf facilities the indirect interior monologue with her unique skills. Firstly, she uses the conjunction “for” as an indication of the beginning of this monologue and produces an easy and natural shift from objective desprition to the character’s interior monologue .secondly she presents Mrs. Ramsay’s consciousness by the guiding phrases “she would ask” and “she asked” to make the reader wonder about unhurriedly in Mrs.Ramsay’s consciousness. Thirdly, here she employs semicolons to indicate the continuation of the consciousness. The use of semicolons characterized Woolf’s skill in dealing with indirect interior monologue

                                                                                                                                   In the case of indirect interior monologue the omniscient author’s continuous intervention is essential to guide the reader in reading and the character’s mind. The use of frequent parenthesis can be signals of digression and of simultaneity as this one:

             “Teaching and preaching human power, Lily suspected.(She was putting is beyond away things.)”Parenthesis can also be little aside, explanations, pointers to what is going on. Lily in this passage is thinking about Mr.Bankes:

        “I respect you (she addressed him silently). In every atom; you are not vain: you are entirely impersonal; you are finer than Mrs.Ramsay’s. You are the finest human being that I know; you have neither wife nor child (without any sexual feeling, she longed to cherish that loneliness) you live for science (involuntarily section of potatoes and rose before her eyes); praise would an insult to you; generous, pure hearted heroic man!”

        Here the parenthesis signal sudden and momentary switches in perspective, the narrative is thrown backward and forward.

                        With her unique devices, such as guiding phrases, semicolons, and parenthesis embroidered to her interior monologue, Virginia Woolf successfully overcomes the short comings of stream of consciousness novel of being incoherent and chaotic, and achieves great explicitness, coherence, vividness and surface unity in presenting the character’s inner world. However, it should be noted that her presentation of the character’s interior monologue is not only coherent in meaning, but also conventional in appearance. 

Free Association:

 The chief technique in controlling the movement of stream of consciousness in fiction has been an application of the principle of psychological free association. Among all the writing technique in To the Lighthouse, the most confusing and difficult to follow may be the free association, for the consciousness  of the character in the fiction has no order and no regular patter. However, the application of the free association in the stream of consciousness novel has much aesthetic significance.

First, the free association in the scope and the levels the writing expresses and makes it possible for the writers to deal as much possible the characters subjective experience within fairly narrow objective time space scope.

Second, the free association technique breaks out the traditional narrative structure. By the help of this technique, the characters may think about the others upon seeing related things, recall old memories at familiar sights and think another thing or person upon seeing one the consciousness may shift freely among present, past and future, or from one place to another. During the process of the association, the objective time and the objective time and the psychic time intermingle the past memories, the future expectation and the present consciousness exits alternately the result of which is a structure of confusion in space time and disorder in space time and disorder sequence.

Third, the free association technique may have the effect of contrast and satire through the writers bringing together the instances happening at different time and different places. Therefore this technique is essential for the writers to depict the real world of the consciousness.

Three factors that control the Association:

1.   The memory, which is its basis;

2.   The senses, which guide it;

3.   The imagination, which determines its elasticity.

Free Association In To the Lighthouse:

           In To the Lighthouse, Woolf usually encloses free association into the indirect interior monologue to present the psychic processes of her characters. We may take the 7 – 10 chapters of the first part of To the lighthouse as an example: The continuity of the section is established through an exterior occurrence involving Mrs. Ramsay tells James the story of the Fisherman’s Wife. Another example in the twelfth chapter, Lily Briscoe, the artist, while watching the sea, fells her mind ebb and flow with it.

Conclusion:

                             Virginia Woolf in this Novel she analyzing stream of conscious technique we can find that indirect interior monologue makes Woolf express the character’s  inner world in such a great coherence and surface unity. And also she was individualized and experimental art of fiction has offered significant not only in studying the stream of consciousness fiction but also in literary creation.

Work cited:

http://avanidave031213.blogspot.in/2013/10/stream-of-consciousness-in-novel-to.html

http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.922.2777&rep=rep1&type=pdf

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Paper no: 8 Cultural studies. Media culture in cultural studies.

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Paper no:7.Literary Theory and criticism:2 .Feminist Criticism.

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Paper no :6 The Victorian literature.Tennyson :A study of poet.

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Paper no :5 The Romantic literature.Compare and contrast the character of Elinor and Marianne.

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paper No 8:Cultural studies.

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Name:Mehta kavita dineshbhai

Cource:M. A English

Semester:2

Batch:2016-2018

Roll No:11

Submitted to:Department of English

                        M.K.Bhavangar University

Email id:kavitamehta164@gmail.com

Paper no:8

Topic:Study of ‘To His Coy Mistress’

My assignment

    

What is cultural studies:

           Cultural study is a field of theoretically,and empirically engaged culture analysis that concentrates upon the political dynamics of contemporary culture,its historical foundations,defining traits,and conflicts.

           Cultural studies thus joins subjectivity that is ,culture in relation to individual lives with engagement,a direct approach to attacking social ills.Though cultural studies practitioners, deny “humanism” or “the humanities” as universal categories, they strive for what they might call “social reason”,which often resembles the goals and value of humanistic and democratic ideals.

Study of “To his coy mistress.                                                                                                                       This poem To his coy mistress is written by Andrew Marvell.Who also son of a clergy man .His most of the poem focasis more on “love and God”.This poem to his coy mistress is also about love and shyness of the beloved.

           Andrew Marvell ‘s in this poem tells the reader a good deal about the speaker of the poem,much of which is already clear comments in this volume,using traditional approches.we know that the speaker is knowledgeable about poem and convention of love poetry,such as the courtly love conventions of medieval Europe,and about Biblical passages.

          In this poem poet start with the coyness of beloved saying that if both the lover had enough time then beloved coyness was no crime but hence the beloved is so shy that her shyness is like a crime because they have very less left and if they had enough time they could think over how to pass their long loves day.Also in this paragraph use of traditional and culture type of writing like a man was center an historical reality ignore in them.Our culture very silence in reality,and Marvell showing the richness of the class in this poem.

              The speaker knows all of these things well enough to parody or at least to echo them,for in making his proposition to the coy lady,he hardly expects to be taken seriously in his detailing.He knows that he is echoing the conventions only in order to sati rise them and to make light of the real proposal at hand.He knows that she knows,for she comes from the same cultural milieu that he does.

             In other words,the speaker like Marvell is a highly educated person ,one who is well read,one whose natural flow of associated images moves lightly over details and allusion that reflect who he is and he expect his hearer or reader to respond in a kind of harmonic vibration.He thinks in terms of precious stones,of exotic and distant places,of a milieu where eating,drinking ,and making merry seem to be an achievable way of life.

               Beyond what we know of the speaker from his own words, we are justified in speculating that his coy lady is like the implied reader,equally well educated,and therefor knowledgeable of the conventions he uses in parody.He seems to assume that she understands the parodic nature of his comments, for by taking her in on the  jests he appeals to her intellect  thus trying to throw her off guard against his very physical requests. After all if the two of them can be on the same plane in their thoughts and allusions,their smiles and jests than perhaps they can shortly be together on a different and literal plane literally bedded.Thus might appear to be the culture and the era of the speaker,his lady and his implied reader.

                But what does he not show? As he selects these rich and multifarious allusion ,what does he ignore from his culture? He clearly does not think of poverty,the demographics and socioeconomic detail  which would show how fortunate his circumstances are.For example ,it has been estimated that during  this  at list one quarter of the European population was below the poverty line.Nor does the speaker think of disease as a daily reality that he might face.To  be sure ,in the second and especially in the third stanza he alludes to future death and dissolution .But wealth and leisure and sexual activity are his currency,his coin for present bliss.Worms and marble vaults and ashes are not present,hence not yet real.

            Now conciser historical reality ,a dimension that  the poem ignores. Consider dieseas –real and present disease what has been called the chronic morbidity or the population .Alknow that syphilis and other sexually transmitted diseases were just as real a phenomenon in Marvell's day as in our era.What was the reality that  the speaker chooses not to think about as he pushes off death and  the ‘vault’ to some distant time?

“To his coy mistress”: A new historicism reading

          New historisicism is a literary theory based on the idea that literature should be studied and interpted within the context of both history of the auther and the history of the critic.

            The execution of charles I in 1649 was an unprecedented event in English history ,and, like the rest of the English nation , Marvell would have been actutely conscious of its political and spiritual implications. According to the contemporary doctrine of “divine right”, the monarch was appointed not by the people,but by the divine ordiance of his birthright,thus any trespass against the king was a sin against God.

             Yet 1649 proved the culture’s departure from unconditional monarchical loyalty and in the wake of the protestant reformation ,the English had a new sense of themselves as autonomous subject.

            Marvell,imdicatory of this ambivalent historical moment ,supported the ant-royalist Oliver Cromwell as England’s Lord Protector in the country’s interregnum government even serving as tutor to Cromwell’s family  yet also penned a sympathetic description of the executed king.While Marvell thrived with such judicious self posting,his speaker in “To his coy mistress”, both the subject of the poem and a type of English “subject”, rebels unequivocally against  the  monarch,suggested in lines 1-20 in the figure of the beloved herself.

I would

Love you ten year before the flood,

And you should ,if you please refuse

                         Till the conversion of the jews.

                         My vegetable love should grow

Vaster than empires and more slow.

          Describing this hypothetical scenario , the speaker employs “Petrarchan” language,excessive and hyperbolic reverence for an elusive woman made famous in the medieval sonnet of the Italian poet Petrarch.Maevell’s rhetorical choice is significant as it would have evoked for his reader the Lyrics of many sixteenth century poets who incorporated the genre in praise of Elizabeth .Yet ,beginning in line 21,Marvell’s speaker urges and presumes physical gratification rather than insatiate yearing. While marvell's monarch belived in his own omnipotence,this figure of the monarch,one evoking the last Tudor line before the absolutist  Stuart King ,James and charles,is denied this kind of power.Marvell’s speaker suggest that such promises of eternal devotion are inappropriate in a world that is governed by “times winged chariot,” the universal experience of human mortality to which they are both vulnerable.

         At the “turn” at line 21,the speaker turn his beloved from this immortal,ideal object of reverence to a possible co-conspirator against godlike “time”,which does hold the power of life and death .Forewarning his mistress of “time’s winged chariot,”he gives a crude description of her dead body in the grave:

The beauty shall no more  be found

Nor,in thy marble vault,shall sound

My echoing song then worms shall try

That long preserved virginity,

And your quaint honor turn to dust,

And into ashes all my lust.

                  The speaker creates an image of chaos and disorder .Worms will violate his beloved and his “lust” will become “ashes”. Yet Marvell's intention is not simply to vilify the speaker’s aggressive disregard for social mores,his defiant ranting,the poem suggests ,is also that of a sympathetically powerless  subject. The speaker’s “vegetable love” .while lush and abundant can not aspire to become “vaster than empires”, his own future evades his control,as its only certainty is death.

             Despite his apparent sexual bravado with his “mistress” , the speaker demonstrates an acute consciousness of his own dismpowement throughout the poem. Ultimately ,he will enlist his beloved ‘s complicity with his rebellious cant:in the final stanza of the poem ,the speaker proposes a subversion overthrow of “Time” itself.

              The poem concludes with an ominous and thickly symbolic challenges to the “sun” itself a common pun for the “son” of the monarch in contemporary literature .Perhaps here Marvell is speaking directly of the “son” Charles 2 ,who became his father’s successor with the restoration of the monarchy in 1660.as the speaker and his beloved provoke this celestial object,emblematic of the monarch’s ostensible divinity,”carpediem” becomes as much a cry of lustas one of insurrection.

             With this poem,Marvell portrays his subject as a dangerous “subject”, and in doing so evokes the discord of the political moment.Yet he also casts compassionately his speaker’s rallying challenges to all forms of authority one that perhaps anticipates Marvell’s own lyrics that critiqued the Restoration government.As a poet employed by Cromwell,Marvell was aware of his own position more broadly as a dependent “subject”. In a broader sense ,the poem in its systematic rejection of authority creates a possible outlet for Marvell’s own fantasy of autonomy .If Marvell was able to be a perennially loyal subject,”To his coy mistress” celebrates a more subversive figure who , despite being governed by the sun,has no qualms about exerting himself against this all powerful sovereign.

“The Flea” : This poem is a remarkable metaphysical poem of john Donne ,he makes use of a biological image of the flea for the expertion of the theme of love.The image of the flea to deal with the theme of love ,the poem is addresed by the lover to his beloved .The lover expresis love,purposise to her and she refuses it because of her sense of sin ,shame and maidenhood.In this poem also theme of love and beloved and shyness employed in the cultural studies and also it’s a metaphysical poem.

 Gujarati poem implied in cultural study:

              “Kuchi aapo baijee”

         Kuchi aapo baijee this poem is written by Vinod joshi . In this poem many things like kuchi aapo,bhitethi utravo,pachikda pakdavo ,this type of  many thing are use in this poem that is a personified our culture and tradition  and reality of  female life and after marriage girls life, how female face his trouble with his mother in low that is presented in this poem and after marriage one girl feeling how she was connected and tell his mother inlow that words are “Marag melo baijee tame kiya kuhade vedi mara dadani vadavai ji.” With this poem,Vinod joshi portrayal  for Indian culture.

            This poem not related with ‘To his coy mistress poem’ about shyness and love.But this poem full of showing Indian tradition and culture.

Reference:

Study material

Paper No 7: Literary Theory and criticism 2 (The twentieth century western and Indian poetic)

To evaluate my assignment please click here.


Name:Mehta kavita dineshbhai

Cource:M.A English

Semester:2

Batch:2016-2018

Roll No:11

Submitted to:Department of english

                        M.K.Bhavangar Univercity

Email id:kavitamehta164@gmail.com

Paper no:8 Literary theory &criticism 2(The twentieth century                  western and Indian poetic)

Topic:What is Structuralism ? Gerard Genette contribution in structuralism.


    

What is Structuralism:w

E        A method of analyzing phenomena ,as in anthropology ,linguistics,psychology,or literature,chiefly characterized by contrasting the elemental components of the phenomena in a system of binary opposition and examining how the elements are combined to make larger units.

            In sociology ,anthropology and linguistics,structuralism is the methodology that elements of human culture must be understood in terms of their relationship to a larger,overarching system or structure.It works to uncover all the things that humans do,think,perceive,and feel.

Gerard genette:

          Gerard Genette (born 1930) is a French literary theorist,associated in particular with the structuralism movement and such figures as Roland Barthes and Claude Levi-Strauss,from whom he adapted the concept of bricolage.

               He is largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism ,for example such terms as trope and metonymy. Additionally his work on narrative ,best know in English through the selection Narrative Discourse:An Essay in Method,has been of importance.His major work is the figures series ,of which Narrative Discourse is a section.    

Gerard Genette contribution in structuralism:    

           Gerard Genette writes at the outset in his essay “Structuralism and Literary Criticism “  that methods developed for the study of one discipline could be satisfactorily applied to the study of other discipline as well.this is what he calls “intellectual bricolage”borrowing a term from Claude Levi-Strauss .This is precisely so,so far as structuralism is concerned .Structuralism is the name given to Saussure’s approch to language as a system of relationship. But it is applied also to the study of philosophy,literature and other sciences of humanity.    

           In genette’s words, “if the writer question the universe ,the critic questions literature that is to say ,the universe of signs.But what was a sign for the writer becomes meaning for the critic ,and in another way what was meaning for the writer becomes a sign for the critic,as the theme and symbol of a certain literary nature.”

Gerard  Genette concept of Narratology:     

                   This outline of Genette's Narretology is derived from Narrative Discourse: An Essay in Method. This book forms part of his multi-volume work Figures I-III. The examples used in it are mainly drawn from Proust's epic In Search Of Lost Time. One criticism which had been used against previous forms of narratology was that they could deal only with simple stories, such as Vladimir propp's work in morphology of the Folk Tale. If narratology could cope with Proust, this could no longer be said.                                                                             

Below are the five main concepts used by Genette in Narrative Discourse: An Essay in Method

1.  Order

2.  Frequency

3.  Duration

4.  Voice

5.  Mood

1)Order:

     

                Say a story is as follows: a murder occurs (event A); then the circumstances of the murder are revealed to a detective (event B), finally the murderer is caught (event C).

Arranged chronologically the events run A1, B2, C3. Arranged in the text they may run B1 (discovery), A2 (flashback), C3 (resolution).

This accounts for the 'obvious' effects the reader will recognise, such as flashback. It also deals with the structure of narratives on a more systematic basis, accounting for flash-forward, simultaneity, as well as possible, if rarely used effects. These disarrangements on the level of order are termed 'anachrony'.

2)Frequency:

                   The separation between an event and its narration allows several possibilities.

·                     An event can occur once and be narrated once

o                  'Today I went to the shop.'

·                     An event can occur n times and be narrated once . (valour of Macbeth, sleepless nights)

o                  'I used to go to the shop.'

·                     An event can occur once and be narrated in times (repetitive). (Tess’s molestation and its aftereffect)

o                  'Today I went to the shop' + 'Today he went to the shop' etc.

·                     An event can occur n times and be narrated n times .

3)Duration:

               The separation between an event and its narration means that there is discource time and narrative time. These are the two main elements of duration.

·                     "Five years passed", has a lengthy discourse time, five years, but a short narrative time (it only took a second to read).

·                     James Joyce's novel Ulysses has a relatively short discourse time, twenty-four hours. Not many people, however, could read Ulysses in twenty-four hours. Thus it is safe to say it has a lengthy narrative time.

4)Voice

              Voice is concerned with who narrates, and from where. This can be split four ways .

Whare the narration is form

·       Intra –diegetic:inside the text.eg.Wilie Collin’s The woman in white.

·       Extra-diegetic:outside the text.eg.Thomas Hardy’s Tess of the D’ Urbervilles.

Is the narrator a character in the story.?

·       Hetero –diegetic:the narrator is not a character in the story .eg.Homer’s The Odyssey.

·       Homo-diegetic:the narrator is a character in the story.eg.Emily Bronte’s Wuthering Height.

5)Mood:

               Genette said narrative mood is dependent on the 'distance' and 'perspective' of the narrator, and like music, narrative mood has predominant patterns. It is related to voice.

Distance of the narrator changes with narrated speech, transposed speech and reported speech.

Perspective of the narrator is called focalization. Narratives can be non-focalized, internally focalized or externally focalized.

The structuralist method of criticism:

        Literature ,being primarily a work of language ,and structuralism in its part,being preeminently a linguistic method,the most probable encounter should obviously take place on the terrain of linguistic material.Sound,forms,words and sentences constitute the common object of the linguistic and the philologist to much an extent that it was possible ,in the early Russian Formalist movement,to define literature as a mere dialect,and to envisage its study as an annex of general dialectology.

        Traditional criticism regards criticism as a message without code,Russian Formalism regards literature as code without message.Structuralism by structural analysis makes it possible to uncover the connection that exists between a system of forms and a system of meanings,by replasing the search for term by term analysis with one for over all homologies.

       Gerard believed that the structural study of ‘poetic language’ and of the forms of literary expression cannot reject the analysis of the relation between code message.The ambition of structuralism is not confined to confined to counting feet and to observe the repetition of phonemes :it must also study semantic phenomena which constitute the essence of poetic language.It is an this reference that Genette writes:”one of the newest and most fruitful study of the large unities of discource,beyond the framwork –which linguistics in the strict sense can not cross-of the sentence”.one would thus study systems from a much higher level of generality,such as narrative ,description and the other major forms of literary expression.There would be linguistics of discourse that was a translinguistics.

        Genette empathetically defines structuralism as a method is based on the study of structures wherever they occur.He further adds,”But to begins with ,structures are not directly encounterd objects-far from it,they are system of latent relations, conceived rather than perceived,which analysis constucts as it uncovers them ,and which it turns the risk of inventing while believing that it is discovering them” Furthermore,structuralism is not a method ,it is also what ernst cassirer calls a ‘general tendency of thought’or as others would say an ideology,the prejudice of which is precisely to vallue structures at the expense at the substances.

         Genette is of the view that any analysis that confines itself to a work without considering its sources or motives would be implicitly sturcturalist ,and the sturctural method ought to intervene in order to give this immanent study a sort of rationality of understanding that would replace the rationality of explanation abandoned with the search of causes.Unlike russian Formalist,structuralists like Genette gave importance to thematic study also .”Thematic analysis “,writer Genette ,”Would tend spontaneously to culminate and to be tested in a structural synthesis in which the different themes are grouped in networks,in order to extract their full meaning from their place and function in the system of the work” Thus,structuralism would appear to be a refuge for all immanent criticism against the danger of fragmentation that threatens thematic analysis.

          Genette believes that structural criticism is untainted by any of the transcendent reduction of phychoanalysis or marxist explanation.He further writes,”It exerts,in its own way ,a sort of internal reduction ,traversing the substance of the work in order its bone –structure: certainly not a superficial examination ,but a sort of radioscopic penetration,and all the more external in that it is more penetrating.”

          Genette observes relationship between structuralism and hermeneutics also writes: “thus the relation that binds structuralism and hermeneutics together might not be one mechanical separation and exclusion,but of complementarity:on the subjectof the same work,hermeneutic criticism might speak the language of the assumption of meaning and of internal recreation and structural criticism that of distant speech and intelligible reconstruction.” They would ,thus,bring out complementary significations, and their dialouge would be all the more fruitful.

             Thus to conclude we may say ,the structuralist idea is to follow literature in its overall evolution,while making synchronic cuts at various stages and comparing the tables one with another.Literary evolution then appears in all its richness,which derives from the fact that the system survives while constantly altering.In this sense literary history becomes the history of a system .It is the evolution of the functions that is significant,not that of the elements,and knowledge of the synchronic relation necessarily preceds that of the processes.

Reference:

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