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.
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
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
