The category of vision is significant for Modernist texts as well as for the unfolding discourse of Modernism itself. Within the general Modernist fascination with the artistic and experimental possibilities of vision and perception this study looks at Virginia Woolf’s novels and her critical writings and examines the relation between visuality and aesthetics. An aesthetics of vision, as this study argues, becomes a productive principle of narrative. The visual is not only pertinent to Woolf’s processes of composition, but her works create a kind of vision that is proper to the text itself – a vision that reflects on the experience of seeing and renegotiates the relation between the reader and the text. The study investigates key dimensions of aesthetic vision. It addresses vision in the context of theories of aesthetic experience and identifies a semantics of seeing. It analyses functions of symbolic materiality in the presentation of boundaries of perception, modes of temporality and poetic potentialities. In exploring the connections between vision and language, it seeks to provide new perspectives for a reassessment of what occurs in Modernism's relation to vision.
Lavishly illustrated with colour pictures, this book will appeal not only to scholars working on Woolf, but also to students of modernism, art history, and women's studies.
Table of contents
This book interrogates the relationship between the material conditions of Woolf's writing practices and her work as a printer and publisher at the Hogarth Press.
Bloomsbury Aesthetics and the Novels of Forster and Woolf
Virginia Woolf and the European Avant-Garde: London, Painting, Film and Photography explores the aesthetics of Woolf’s image of London in her writings.
Through a transnational perspective, Emily M. Hinnov's Encountering Choran Community: Literary Modernism, Visual Culture and Political Aesthetics in the Interwar Years identifies and describes modernist "choran community" as a previously ...
Later, once you have a sense of the story, the shape of the whole, you can return to the site of those disturbances, ... postgraduate level three hours, and in either case I aim to consider three pieces of work in each session.
This book explains a great deal about Virginia Woolf's attitude to writing and her preoccupation with the techniques of painting, and makes intelligible much about her aims and methods by setting them in their social and historical context.
Virginia Woolf and the Politics of Style reveals that her feminism is more accurately described as latent in the novels, having been merged into the aesthetic components of style, structure, point of view, and patterns of imagery.
This volume takes some of the visual aspects of modernism - photo albums and image-texts - and examines the ways in which modernist women explore a freer range of aesthetics in their work.