Visuality and Spatiality in Virginia Woolf's Fiction by Savina Stevanato PDF

By Savina Stevanato

This publication bargains an interpretative key to Virginia Woolf’s visible and spatial techniques by means of investigating their nature, position and serve as. the writer examines long-debated theoretical and important matters with their philosophical implications, in addition to Woolf’s dedication to modern aesthetic theories and practices. The analytical middle of the booklet is brought through a ancient survey of the interart courting and important severe theories, with a spotlight at the context of Modernism. the writer uses 3 investigative instruments: descriptive visuality, the commonly debated thought of spatial shape, and cognitive visuality. The cognitive and remedial worth of Woolf’s visible and spatial concepts is tested via an inter-textual research of To the Lighthouse, The Waves and among the Acts (with cross-references to Woolf’s brief tales and Jacob’s Room). the improvement of Woolf’s literary output is learn within the gentle of a quest for solidarity, a proper try to repair components to wholeness and to rescue Being from Nothingness.

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Additional resources for Visuality and Spatiality in Virginia Woolf's Fiction (Cultural Interactions: Studies in the Relationship between the Arts)

Sample text

It first led man to the modern refusal of absolute categories, and then to the refusal of the absolute. 2 3 subsequent theories on special and general relativity (published respectively in 1905 and 1916) contributed to destroying the traditional spatio-temporal concepts of the universe’s stability. Real duration is also dynamic, qualitative and irreversible. Bergson’s idea according to which real duration cannot be spatialized implies a contrast between duration and space. It is worth noting that, in this context, the meaning of ‘space’ and ‘spatializing’ is related to chronological linearity, which is quite the opposite of Frank’s interpretation of the terms as expressions of simultaneity.

This is not a simple revolution, but the definitive acknowledgement of the non-being that Western philosophy and the Western world have always implicitly contemplated. 9 Devoid of God and of all metaphysics, the modern age represents the coherent development and climax of the Western world’s belief in nothingness. 10 Truth now corresponds to God’s death, and stops being a remedy for nothingness. The atavistic fear of the unknown and of death is no longer redeemable. Without a founding sense which restores all dif ferences to unity, and with fragmentation as its main expression, nihilism is all-embracing, deeply introjected, practised, and implicitly contemplated or explicitly theorized.

W. Holtz, ‘Spatial Form in Modern Literature: A Reconsideration’, Critical Inquiry 4/2 (Winter 1977), 271–83. Holtz attempts to reconcile Frank’s spatiality with the critical responses invalidating that spatiality as being metaphorical and not literal, and argues that the spatiality of literature and of the visual arts ‘are of dif ferent ontological orders’ (274). 51 M. Pagnini, ‘Ezra Pound: episteme del Novecento e acculturazione selvaggia’, in Semiosi (Bologna: Il Mulino, 1988), 313–25, 324 (my translation of ‘“spazio” e non “canto”’).

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