Moore compares Lead's woman in the sun with the "deified sun goddess"67 (Moore's tautology) in th... more Moore compares Lead's woman in the sun with the "deified sun goddess"67 (Moore's tautology) in the The Waves.68 "If there is a feminist collective unconscious," Marcus asserts, "this figure was passed down to Woolf from her aunt Caroline and lives in Eleanor Pargiter and Lucy Swithin".69 This mystical feminist interpretation is in Marcus, ibid., p.27. Marcus, ibid..
“Part III: Apocalypse 1945”, our second block, and final part, looks at avant-garde regroupings d... more “Part III: Apocalypse 1945”, our second block, and final part, looks at avant-garde regroupings during the 1930s and 1940s to 1945, in the face of resurgent realism, the nemesis apparent of modernism and avant-gardism. It aims to show that, nevertheless, modernist and avant-garde practices continue to flourish. The springboard “image” is Picasso’s Guernica; and the little magazine in focus is transition. There is discussion too of the Apocalypse movement, and of work by David Gascoyne and Dylan Thomas and W. S. Graham. I have chosen to emphasise such authors, along with the work of canonical “modernist” writers in the later phase (Joyce, Stein, Woolf, Pound, Stevens and Williams) and of mavericks such as Schwitters and West, more than work by canonical “thirties” and “forties” writers such as W. H. Auden, Christopher Isherwood, Graham Greene. The important, and my preferred, literary landmarks in this period of the 1930s and 1940s are Wallace Stevens’s “The Idea of Order at Key West” (1935), Gertrude Stein’s Dr Faustus Lights the Lights (1938; 1949), Nathanael West’s The Day of the Locust (1939), Virginia Woolf’s “Thoughts on Peace in an Air Raid” (1940), William Carlos Williams’s “Paterson: The Falls” (1944), Pound’s Pisan Cantos (1945) and Schwitters’s PIN (1946).
What was I going to say? Something about the violent moods of my soul. How describe them, even wi... more What was I going to say? Something about the violent moods of my soul. How describe them, even with a waking mind? I think I grow more & more poetic. Perhaps I restrained it, & now, like a plant in a pot, it begins to crack the earthenware. Often I feel the different aspects of life bursting my mind asunder. (Virginia Woolf, diary entry for 21 June 1924) Exclaiming over 'the beauty of the writing', Lytton Strachey, in his praise for Jacob's Room , prophesied to Woolf 'immortality for it as poetry' (14 October 1922; D 2, p. 207). Not long after, Woolf, during the composition of Mrs Dalloway , identified a growing poetic tendency in her writing. This chapter will trace her development of this 'more & more poetic' tendency in the four novels at the heart of her uvre, Mrs Dalloway (1925), To the Lighthouse (1927), Orlando: A Biography (1928) and The Waves (1931), the latter representing for many the culmination of her experimental lyric technique, a tour de force in high modernist poetic fiction. During this rich creative period, Woolf's diary frequently reflects on the poetic tendencies in her writing as well as in modern fiction more generally, and she published numerous essays touching on these matters. The novels emerge in dialogue with these private and public reflections. This chapter will draw, in particular, on Woolf's diary and her arguments in 'Poetry, Fiction and the Future' (1927) and A Room of One's Own (1929). But what does it mean for novel-writing to become 'more & more poetic'? Here, Woolf herself connects this process with 'the violent moods of [her] soul', suggesting the poetic dimensions of her prose to be loosely understood as the expression of an intensely subjective emotion or spirituality. Figuring her growing poetic impetus as ‘crack[ing]’ and ‘bursting’, she seems to be invoking, in the year in which T. S. Eliot’s The Waste Land was first published, William Wordsworth’s encapsulation of poetry, in his Preface to the Lyrical Ballads , as ‘the spontaneous overflow of powerful feeling’, the very formulation of Romantic poetics against which Eliot, the leading modernist poet and Woolf’s friend, fulminates in his manifesto ‘Tradition and the Individual Talent’ (1919).
... UNIVERSITY OF DUNDEE JANE GOLDMAN ... It is no wonder that Michael Longley once wrote: '... more ... UNIVERSITY OF DUNDEE JANE GOLDMAN ... It is no wonder that Michael Longley once wrote: 'What other twentieth century poet writing in English explores with such persistence and brilliance all that being alive can mean?' However, critics have never really warmed to him. ...
What sort of company will the Woolf memorial keep among London’s open-air statuary? How does this... more What sort of company will the Woolf memorial keep among London’s open-air statuary? How does this object square with Woolf’s recorded disdain for public statues, in her London essay,2 “This is the House of Commons” (1932): ‘The days of the small separate statue are over’ (LS, p. 70)? These words share a certain provenance with the bust itself. A replica of an existing bust, completed August 1931, by Stephen Tomlin, Woolf sat for it during the period she was writing her novel Flush and preparing her London essays for Good Housekeeping magazine. Woolf’s pen therefore seems to demolish her own ‘small separate statue’ as she collaborates in its very creation. The reissue of the bust coincides, eerily, with the reissue of Woolf’s London essays.3 A cast already stands in the garden of Monks House (where Woolf’s ashes were scattered); another stands in the National Gallery. The original plaster cast is at Charleston, the Bloomsbury Group House preserved by the nation just as Thomas Carlyle’s Chelsea house has been preserved, itself the focus of another of Woolf’s London essays, “Great Men’s Houses” (1932).
Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ
This year Brazil celebrates the 100 th anniversary of the Modern Art Week, that took place in São... more This year Brazil celebrates the 100 th anniversary of the Modern Art Week, that took place in São Paulo. That being the case, we, at Palimpsesto, had the honour of talking to Jane Goldman, scholar, professor, literary critic, and poet. Goldman is Reader in English Literature (Avant-garde Poetics and Creative Writing) at University of Glasgow, Scotland. She has extensive work in the field of Modernism, as well as significant contributions to Woolfian studies, having published books such as
Moore compares Lead's woman in the sun with the "deified sun goddess"67 (Moore's tautology) in th... more Moore compares Lead's woman in the sun with the "deified sun goddess"67 (Moore's tautology) in the The Waves.68 "If there is a feminist collective unconscious," Marcus asserts, "this figure was passed down to Woolf from her aunt Caroline and lives in Eleanor Pargiter and Lucy Swithin".69 This mystical feminist interpretation is in Marcus, ibid., p.27. Marcus, ibid..
“Part III: Apocalypse 1945”, our second block, and final part, looks at avant-garde regroupings d... more “Part III: Apocalypse 1945”, our second block, and final part, looks at avant-garde regroupings during the 1930s and 1940s to 1945, in the face of resurgent realism, the nemesis apparent of modernism and avant-gardism. It aims to show that, nevertheless, modernist and avant-garde practices continue to flourish. The springboard “image” is Picasso’s Guernica; and the little magazine in focus is transition. There is discussion too of the Apocalypse movement, and of work by David Gascoyne and Dylan Thomas and W. S. Graham. I have chosen to emphasise such authors, along with the work of canonical “modernist” writers in the later phase (Joyce, Stein, Woolf, Pound, Stevens and Williams) and of mavericks such as Schwitters and West, more than work by canonical “thirties” and “forties” writers such as W. H. Auden, Christopher Isherwood, Graham Greene. The important, and my preferred, literary landmarks in this period of the 1930s and 1940s are Wallace Stevens’s “The Idea of Order at Key West” (1935), Gertrude Stein’s Dr Faustus Lights the Lights (1938; 1949), Nathanael West’s The Day of the Locust (1939), Virginia Woolf’s “Thoughts on Peace in an Air Raid” (1940), William Carlos Williams’s “Paterson: The Falls” (1944), Pound’s Pisan Cantos (1945) and Schwitters’s PIN (1946).
What was I going to say? Something about the violent moods of my soul. How describe them, even wi... more What was I going to say? Something about the violent moods of my soul. How describe them, even with a waking mind? I think I grow more & more poetic. Perhaps I restrained it, & now, like a plant in a pot, it begins to crack the earthenware. Often I feel the different aspects of life bursting my mind asunder. (Virginia Woolf, diary entry for 21 June 1924) Exclaiming over 'the beauty of the writing', Lytton Strachey, in his praise for Jacob's Room , prophesied to Woolf 'immortality for it as poetry' (14 October 1922; D 2, p. 207). Not long after, Woolf, during the composition of Mrs Dalloway , identified a growing poetic tendency in her writing. This chapter will trace her development of this 'more & more poetic' tendency in the four novels at the heart of her uvre, Mrs Dalloway (1925), To the Lighthouse (1927), Orlando: A Biography (1928) and The Waves (1931), the latter representing for many the culmination of her experimental lyric technique, a tour de force in high modernist poetic fiction. During this rich creative period, Woolf's diary frequently reflects on the poetic tendencies in her writing as well as in modern fiction more generally, and she published numerous essays touching on these matters. The novels emerge in dialogue with these private and public reflections. This chapter will draw, in particular, on Woolf's diary and her arguments in 'Poetry, Fiction and the Future' (1927) and A Room of One's Own (1929). But what does it mean for novel-writing to become 'more & more poetic'? Here, Woolf herself connects this process with 'the violent moods of [her] soul', suggesting the poetic dimensions of her prose to be loosely understood as the expression of an intensely subjective emotion or spirituality. Figuring her growing poetic impetus as ‘crack[ing]’ and ‘bursting’, she seems to be invoking, in the year in which T. S. Eliot’s The Waste Land was first published, William Wordsworth’s encapsulation of poetry, in his Preface to the Lyrical Ballads , as ‘the spontaneous overflow of powerful feeling’, the very formulation of Romantic poetics against which Eliot, the leading modernist poet and Woolf’s friend, fulminates in his manifesto ‘Tradition and the Individual Talent’ (1919).
... UNIVERSITY OF DUNDEE JANE GOLDMAN ... It is no wonder that Michael Longley once wrote: '... more ... UNIVERSITY OF DUNDEE JANE GOLDMAN ... It is no wonder that Michael Longley once wrote: 'What other twentieth century poet writing in English explores with such persistence and brilliance all that being alive can mean?' However, critics have never really warmed to him. ...
What sort of company will the Woolf memorial keep among London’s open-air statuary? How does this... more What sort of company will the Woolf memorial keep among London’s open-air statuary? How does this object square with Woolf’s recorded disdain for public statues, in her London essay,2 “This is the House of Commons” (1932): ‘The days of the small separate statue are over’ (LS, p. 70)? These words share a certain provenance with the bust itself. A replica of an existing bust, completed August 1931, by Stephen Tomlin, Woolf sat for it during the period she was writing her novel Flush and preparing her London essays for Good Housekeeping magazine. Woolf’s pen therefore seems to demolish her own ‘small separate statue’ as she collaborates in its very creation. The reissue of the bust coincides, eerily, with the reissue of Woolf’s London essays.3 A cast already stands in the garden of Monks House (where Woolf’s ashes were scattered); another stands in the National Gallery. The original plaster cast is at Charleston, the Bloomsbury Group House preserved by the nation just as Thomas Carlyle’s Chelsea house has been preserved, itself the focus of another of Woolf’s London essays, “Great Men’s Houses” (1932).
Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ
This year Brazil celebrates the 100 th anniversary of the Modern Art Week, that took place in São... more This year Brazil celebrates the 100 th anniversary of the Modern Art Week, that took place in São Paulo. That being the case, we, at Palimpsesto, had the honour of talking to Jane Goldman, scholar, professor, literary critic, and poet. Goldman is Reader in English Literature (Avant-garde Poetics and Creative Writing) at University of Glasgow, Scotland. She has extensive work in the field of Modernism, as well as significant contributions to Woolfian studies, having published books such as
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