Virginia Woolf and the European Avant-Garde:London, Painting, Film and Photography

簡介

Virginia Woolf and the European Avant-Garde: London, Painting, Film and Photography explores the aesthetics of Woolf’s image of London in her writings. The image of London does not make Woolf a “stay-at-home” writer. Through her life long engagement with the visual arts, art criticism and philosophy, Woolf finds related expression in literature, as one can see in her narrative: the Post-Impressionist dual vision of painting in writing, Cubist cinematic flashback and montage of shots, and Surrealist snapshort of life, death and desire. Woolf’s narrative from defines her own modernism in the context of the city. Her vision shows the dialectics of inner and outer spheres, in which the aesthetics of the urban gendered gaze is significant.

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作者簡介

Allison Tzu Yu Lin

does her doctorial research at Goldsmiths College, University of London. She is now teaching at National Taiwan Ocean University, Keelung, TAIWAN

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目錄

Preface

ACKNOWLEDGEMENTS

LIST OF ABBREVIATIONS

PROLOGUE Androgynous Woolf

Re-discovering Woolf: an Androgynous Textuality

Woolf’s Art and the Visual

Woolf and Her London

The Aesthetics of the Urban Gaze

CHAPTER ONE Virginia Woolf and the Significance of the Eye

Introduction

Reading Virginia Woolf and the Visual

Woolf’s Roger Fry and Post-Impressionist Psychology

Bell’s Significant Form and Woolf

Woolf’s Hybrid Approach

Woolf’s Dual Vision in the Urban Space

Gendering the Urban Gaze

Conclusion

CHAPTER TWO The Painter’s Eye in Writing: the James Brothers and Woolf’s Experimental Practices

Introduction

William James’s Stream of Thought

Henry James’s Impressionist Paris, Pictorial London,
and Woolf’s Response

Walking‘a Map of Emotions’: Woolf’s London in Night and Day

Painting in Writing: Woolf’s Experimental Short Fictions

Conclusion

CHAPTER THREE The Dialectic of Time in Film Form:
Mrs Dalloway and ‘The Cinema’

Introduction

Part I: The Art of the Cinema in Philosophy and Literature
– Bergson, Deleuze and Woolf

Part II: The Gaze, Montage and Time in Mrs Dalloway

Part III: The Caligari Connection in Clive Bell and
Virginia Woolf

Conclusion

CHAPTER FOUR Photography in The Years and Three Guineas

Introduction

Part I: Virginia Woolf and Victorian Aesthetics

Part II: The Maternal Imaginary and the Gaze
– Barthes and Irigaray

Part III: Photography in The Years and Three Guineas
‘Her face, as if bathed in inner light, …’:

Conclusion

Epilogue The Bodiless and the Invisible:
Woolf’s Psychological London

BIBLIOGRAPHY

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