The Novel after Film

2017 ◽  
Author(s):  
Jonathan Foltz
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Public Culture ◽  
Visual Language ◽  
Literary Fiction ◽  
The Novel ◽  
Aldous Huxley ◽  
Moral Purpose ◽  
Modern Novel ◽  
The Way

The Novel After Film examines how literary fiction has been redefined in response to the emergence of narrative film. It charts the institutional, stylistic, and conceptual relays that linked literary and cinematic cultures, and that fundamentally changed the nature and status of storytelling in the early twentieth century. In the cinema, a generation of modernist writers found a medium whose bad form was also laced with the glamour of the popular, and whose unfamiliar visual language seemed to harbor a future for innovative writing after modernism. As The Novel After Film demonstrates, this fascination with film was played out against the backdrop of a growing discourse about the novel’s respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and high moral purpose, a range of authors, from Virginia Woolf and H. D. to Henry Green and Aldous Huxley, turned their attention to the cinema in search of alternative aesthetic histories. For authors working in modernism’s atmosphere of heightened formal sophistication, film’s violations of style took on a perverse attraction. In this way, film played a key role in changing the way that novelists addressed a transforming public culture which could seem at moments to be leaving the novel behind.

Les Conférences du Havre sur le roman

2018 ◽  
Vol 24 (1) ◽  
pp. 1-14
Author(s):  
Adrian van den Hoven
Keyword(s):  
Full Article ◽  
James Joyce ◽  
Virginia Woolf ◽  
English Abstract ◽  
John Dos Passos ◽  
The Novel ◽  
Aldous Huxley ◽  
Modern Novel ◽  
Jean Paul ◽  
The Waves

*Full article is in FrenchEnglish abstract:The five lectures of La Lyre havraise (November 1932– March 1933) constitute an attempt to elucidate the techniques of the modern novel. For this, Jean-Paul Sarture considers the dis - tinction between the novel and the récit introduced by Alain and Fernandez. The lectures consider Les Faux-Monnayeurs (The Counterfeiters) by André Gide; Point Counter Point by Aldous Huxley; Ulysses by James Joyce; The Waves, Mrs. Dalloway and Orlando by Virginia Woolf; Men of Good Will by Jules Romains; and The 42nd Parallel by John Dos Passos. The analysis prefigures the techniques employed by Sartre in the novels published later in his literary career.French abstract:Les cinq conférences de La Lyre havraise (novembre 1932–mars 1933) constituent une tentative d’élucidation des techniques du roman moderne. Pour cela, Sartre se base sur les distinctions entre le roman et le récit introduites par Alain et Fernandez. Ces conférences traitent des Faux-Monnayeurs d’André Gide, de Contrepoint d’Aldous Huxley, du monologue intérieur d’Ulysse de James Joyce, des Vagues, de Mrs. Dalloway et d’Orlando de Virginia Woolf, des Hommes de bonne volonté de Jules Romains et du 42ième Parallèle de John Dos Passos. Ces analyses préfigurent les techniques employées par Jean-Paul Sartre dans ses oeuvres romanesques qu’il publiera plus tard dans sa carrière littéraire.

Introduction

2017 ◽  
Author(s):  
Jonathan Foltz
Keyword(s):  
Literary Tradition ◽  
Public Culture ◽  
The Novel ◽  
Moral Purpose ◽  
Modern Novel ◽  
Constituent Feature ◽  
Ongoing Development

This book seeks to understand how the need to respond to film has become a constituent feature in the ongoing development of the novel. It suggests that such fascination with film played out against the backdrop of a growing discourse about the novel's respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and moral purpose, authors frequently turned their attention to film: a medium enviable not for the successes it achieved but for the lapses of taste it made obtrusive, and for the contradictions of address that it had the power to make attractive. In this impacted logic (and panic) of media transition, novelists came to credit narrative practices as yet undefined and unassimilated within literary tradition. In this, their texts respond to the felt devaluation of art in a transforming public culture which could seem at moments to be leaving the novel behind.

scholarly journals Secondary Art and the Two-Story House: Kuwabara Takeo and the Comparative Imagination in Mid-Century Japan, 1935–1947

2020 ◽  
pp. 1-23
Author(s):  
Adam Bronson
Keyword(s):  
Twentieth Century ◽  
French Literature ◽  
Cross Cultural ◽  
Japanese Culture ◽  
Western Civilization ◽  
The Novel ◽  
Cultural Comparison ◽  
Intellectual Culture ◽  
Cross Cultural Comparison ◽  
The Way

This article focuses on the life and ideas of Kuwabara Takeo, a cultural critic and scholar of French literature who became renowned for his 1946 critique of haiku as a “secondary art” in comparison with the novel. By reconstructing Kuwabara's intellectual trajectory from the mid-1930s to the mid-1940s, I show how this famous essay was in part an effort to respond to Karl Löwith's famous critique of Japanese intellectuals. Löwith argued that Japanese intellectuals were insufficiently critical towards their own culture, due to the way that they compartmentalized practices and ideas associated with either Japanese culture or Western civilization. Kuwabara resisted such tendencies through the practice of cross-cultural comparison. His work gained encouragement from and responded to Löwith's critique in a way that illuminates the role that comparisons played in the intellectual culture of mid-twentieth-century Japan.

Zines, Polyvocality, and Sound: How Modernist First-Wave Feminism Inspired Riot Grrrl

2019 ◽  
pp. 220-225
Author(s):  
Riley Wilson
Keyword(s):  
Virginia Woolf ◽  
Wave Theory ◽  
Class Consciousness ◽  
Third Wave ◽  
The Novel ◽  
Riot Grrrl ◽  
Literary Movement ◽  
The Way

This essay compares Virginia Woolf to Riot Grrrl's punk feminists, presenting the latter as leaders of an informed political and literary movement. It examines the way in which Woolf's writing was foundational in developing third-wave theory: Wilson views Woolf's work through a radical lens that emphasises the subversion of the novel and intersectional class consciousness.

Modernist Life Histories

2019 ◽  
Author(s):  
Daniel Aureliano Newman
Keyword(s):  
Biological Sciences ◽  
Twentieth Century ◽  
James Joyce ◽  
Virginia Woolf ◽  
Life Histories ◽  
Coming Of Age ◽  
Aldous Huxley ◽  
Biological Models ◽  
Two Cultures ◽  
Scientific Ideas

Modernist Life Histories explores how new biological models of embryonic development in the first half of the twentieth century helped inspire new kinds of coming-of-age plots. Focusing on novels by E. M. Forster, James Joyce, Virginia Woolf, Aldous Huxley and Samuel Beckett, the book links narrative experiments with shuffled chronology, repeated beginnings and sex change to new discoveries in the biological sciences. It reveals new connections between the so-called Two Cultures by highlighting how scientific ideas and narratives enter the literary realm.

scholarly journals VIRGINIA WOOLF'S NOVEL “MRS. DALLOWAY”

2021 ◽  
pp. 80-90
Keyword(s):  
Virginia Woolf ◽  
First World War ◽  
The Novel ◽  
World War ◽  
The First World War ◽  
The World ◽  
The Relationship ◽  
First World ◽  
The Way

Following work is dedicated to the novel “Mrs.Dalloway”. The main characters are emotionally endowed Dreamer Clarissa Dalloway and humble servant Septimus Warren-Smith, who was a contusion in the first World War described only one day in June, 1923 year. In fact, the novel “Mrs.Dalloway” is the "flow of consciousness" of the protagonists Clarissa Dalloway and Septimus Warren – Smith, their Big Ben clock is divided into certain peace with a bang. Virginia Woolf believes that "life" is manifested in the form of consciousness, death and time, she focuses her essays on such issues as the role of a woman in family and society, the role of a woman in the upbringing of children, the way a woman feels about the world, the relationship between a modern man and a woman.

scholarly journals Del derecho a la literatura: Boccaccio y la (re)codificación de la novela

Acta Poética ◽  
2021 ◽  
Vol 42 (2) ◽  
pp. 13-45
Author(s):  
Raúl Rodríguez Freire ◽  
Keyword(s):  
Law And Literature ◽  
Roman Law ◽  
The Novel ◽  
Modern Novel ◽  
The Relationship ◽  
The Way

The relationship between law and literature takes various forms, but the way in which law contributed to the formation of the modern novel is rarely mentioned. As this essay shows, this was possible because Justinian’s codification of Roman law was appropriated by Boccaccio, who, in turn, codified the novel. Coding allowed him to gather a heterogeneous set of stories under a powerful articulating framework. But in addition, as will be shown in these pages, the very term “novel” also comes from Justinian, since that is how he titled his legislative work after his Constitutions.

scholarly journals Existential concerns and narrative techniques in the novels of Ford Madox Ford, Virginia Wools and Aldous Huxley

2005 ◽  
Vol 38 (1-2) ◽  
pp. 49-59
Author(s):  
Radojka Verčko
Keyword(s):  
Virginia Woolf ◽  
Human Condition ◽  
Ford Madox Ford ◽  
Aldous Huxley ◽  
Contemporary Novel ◽  
Modern Novel ◽  
Close Relationship ◽  
Narrative Techniques ◽  
Existential Concerns

The article addresses the issue of the close relationship between the nexistential concem and the narrative techniques used by English writers Ford Madox Ford, Virginia Woolf and Aldous Huxley to present the general human condition. The selected authors had introduced narrative techniques that influenced the entire development of the modern  novel and that are stili highly  relevant and widely used in the contemporary novel, including the Slovene modern novel.

scholarly journals The “One-Line-Portraitˮ in to the Lighthouse by Virginia Woolf: Freeing the Counter-Norms

2018 ◽  
Vol 17 (1) ◽  
pp. 1-8
Author(s):  
Hélène Fau
Keyword(s):  
Virginia Woolf ◽  
Single Line ◽  
The Novel ◽  
Stream Of Consciousness ◽  
To The Lighthouse ◽  
The One ◽  
The Way

Abstract At the Ramsay’s Scottish summer home, where guests are promised an illusory trip to the lighthouse, Lily Briscoe, a post-impressionist painter, indulges into portraying Mrs Ramsay. Throughout the novel, the portrait changes forms, starting as a moving tree in the first section ‘The Window’ and ending, after Mrs Ramsay’s death, as a single line in the very last page of the novel where Lily Briscoe sees it as completed. The “passage into abstraction” satisfies her for she executes the vision she had. The plot follows the same scheme, unfolding through shifting perspectives and oscillating between the figurative and abstract stream of consciousness of each character. It thus reflects Lily’s unstable portrait and paves the way for a deterritorialised writing. This paper will analyse how the “actes graphiques” (the drawn as well as the written items) mutate into an abstract – and therefore non- or a-gendered – line in order to release the un-articulated and un-lived antimainstream love between Lily Briscoe and Mrs Ramsay.

scholarly journals “It was one’s body feeling, not one’s mind”

2019 ◽  
Author(s):  
Chloe Leung
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Close Reading ◽  
The Novel ◽  
Bloomsbury Group ◽  
To The Lighthouse ◽  
Early Twentieth Century ◽  
Physical Gestures ◽  
The Aesthetic ◽  
The Mind

The Russian ballet was celebrated amongst the Bloomsbury group in the early twentieth-century. Throughout 1910s-1930s, Virginia Woolf enjoyed Russian ballets such as Petrushka, Le Spectre de la Rose and Scheherazade staged by Michel Fokine and Sergei Diaghilev. The expressivity of the dancing body rectifies words which, as Woolf delineates in “Craftsmanship,” are dishonest in articulating emotions (Selected Essays 85). This paper thus divulges an oppositional thinking that belies Woolf’s modernist aesthetics – a compulsion to give words to emotions that should be left unsaid. In To the Lighthouse (1928), this “silence” is communicated in the dancing gestures that populate the novel. Juxtaposing the context of Woolf’s attendance at the ballet with her concurrent composition of Lighthouse, I shall argue that the aesthetic convergence between Woolf’s prose and the Russian ballet is not a coincidence – that Woolf very much had the ballet in mind when she wrote. Woolf’s and the Russian ballet’s shared aesthetics however, do not characterise this paper as a study of influence the Russian ballet had on Woolf. Rather, Woolf involuntarily deploys the language of dance/ballet in articulating ineffable emotions. I will offer a close reading that scrutinizes the underexplored physical gestures of Mr and Mrs Ramsay with a perspective of dance. In projecting emotions, Woolf’s novel sketches a reciprocal network between the dancing body and the mind. I conclude by suggesting that the communicational lapses do not sentence the failure of but sustain human kinship. By extension, the Russian balletic presentation of the dancing body will also reanimate the mind-body conundrum that has haunted academia for centuries.

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