By Van Der Merwe A. J., Du Plessis J. L.
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Additional resources for A Bayesian Approach to Selection and Ranking Procedures: The Unequal Variance Case
It becomes an ‘armature for the multiplicity of consciousnesses’, ‘demarcat[ing] the thought flows of the characters’ (Chatman 277). Woolf clearly operates a shift from ‘The Hours’ to Mrs Dalloway, as ‘the hours’ lose their hegemonic role to become a technical prop, the prominent part – also reflected in the final title of the novel – being naturally given to Clarissa Dalloway. In the following passage, for instance, the role of the clock chiming is to provide transitions from Clarissa’s reverie to the material reality of the day.
Gradually increasing in tension all through the day. But the continuous style? Must have the effect of being incessant. texture unbroken. All must bear finally upon the party at the end; which expresses life, in every variety & full of conviction: while S. dies. How far are breaks in the texture allowed? One must give the surroundings – time & space – as well as the individuals. Can one admit rhapsodies? (Notebook, Berg Collection, Wussow 415) Woolf’s avowed aim is to create a novel with a smooth, unbroken texture, except for deliberate breaks to introduce narrative, external information (‘give the surroundings – time and space – as well as the individuals’).
Their happiness. This is to mean that there is no reason in their happiness; or unhappiness: since the same things cause both. But how is the transition to come from one to the other? R’s character should be shown. Her passionateness. Southerness. instinctiveness: yet of an old civilisation. (Notebook, Berg Collection, Wussow 417) These detailed notes and plans give birth to the following passage in which Septimus and Rezia are in Regent’s Park before their appointment with Dr Bradshaw. Rezia observes her husband while he is talking to Evans, his dead friend, and is overwhelmed by his mood swings: There Robert was Septimus sat, in his overcoat, staring at the sky.