BOOK REVIEW: Jane Lilienfeld.READING ALCOHOLISMS: THEORIZING CHARACTER AND NARRATIVE IN SELECTED NOVELS OF THOMAS HARDY, JAMES JOYCE, AND VIRGINIA WOOLF. and Kathleen McCormack.GEORGE ELIOT AND INTOXICATION: DANGEROUS DRUGS AND THE CONDITION OF ENGLAND.

2001 ◽  
Vol 43 (4) ◽  
pp. 668-671
Author(s):  
Flavia Alaya
Author(s):  
Sheila Murnaghan ◽  
Deborah H. Roberts

This chapter considers some of the ways in which the association between childhood and antiquity has been conceptualized and elaborated in works for adults, particularly in the early decades of the twentieth century. Memories of formative encounters by the archaeologist Heinrich Schliemann and the poet and novelist H.D. (Hilda Doolittle) set the stage for a discussion of Freudian psychoanalysis, the scholarly theories of Jane Harrison, and the works of James Joyce, H.D., Mary Butts, Naomi Mitchison, and Virginia Woolf. The practice of archaeology and the knowledge of Greek emerge as key elements in distinctly gendered visions of the relationship between modern lives and the classical past.


Author(s):  
Daniela Caselli

This chapter traces a history of Dante’s reception in anglophone literature between the 1870s and the 1950s. It acknowledges his importance in Ezra Pound, T.S. Eliot, and James Joyce, but engages more closely with Samuel Beckett, Djuna Barnes, and Virginia Woolf. It shows that the modernist Dante that emerges from these authors’ work is both a formal and political one: recruited as an anti-authoritarian voice from the past and seen anew from feminist and queer perspectives, this is not a twenty-first century Dante forced against his will to virtue-signal, however; on the contrary, this is a Dante anachronistically familiar with key ‘vices’ of twentieth-century authors, readers and commentators. Focusing on sullenness, resistance, and fatigue, the chapter argues for a new understanding of modernist experiments with Dante’s political and formal complexity that refuse to use him as a ‘code or a weapon […] to crush someone’, as Dorothy Richardson put it.


Author(s):  
Vincent P. Pecora

Autochthony is fundamental to ancient Greek notions of belonging to the land. While the motif had a negligible presence in the literature of European Christendom, it returns with some force in modern productions by Stéphane Mallarmé, Thomas Hardy, D. H. Lawrence, E. M. Forster, and James Joyce. Martin Heidegger too draws on pre-Socratic Greek thought on the theme of autochthony. But there is a parallel tradition of belonging to the land that begins in the Pentateuch. In Exodus, God speaks to Moses about a Promised Land. In medieval Europe, Meister Eckhart reads Exodus as providing a special, mystical understanding of God’s soul, one that intertwines promised land with the human soul’s creative capacities, and lays the foundation for theologically infused politics in the German tradition. In Alexander Baumgarten, Immanuel Kant, and J. G. Fichte, nationalism is linked to Eckhart. In the twentieth century, Heidegger phenomenologically reinscribes earth, divinities, and dwelling poetically.


2019 ◽  
pp. 277-295
Author(s):  
Suzette Henke

Culturally constructed pathologies exhibited by three authors of the modernist period: Virginia Woolf, James Joyce, and D. H. Lawrence, reveal an emotional trajectory from paralyzing depressive or obsessive behavior to explosions of creative genius channeled into experimental fiction. Each of these authors struggled with a personal history of psychological distress evinced by genetic, experiential, or cultural factors and exacerbated by traumatic events in childhood or adolescence. All three sought to handle posttraumatic stress through complex gestures of aesthetic reenactment in a process that might be described as scriptotherapy. Woolf epitomizes the tortured artist grappling with so-called madness. Throughout her canon, she self-consciously struggles with irreconcilable issues of gender, abjection, and mourning. What appears to have been bipolar disorder in Woolf’s own psychiatric history might well have engendered a lifetime of creativity punctuated by severe bouts of debilitating depression. Joyce struggled with a pathological fear of erotic betrayal that spurred an obsessional fascination with adultery and with the enigma of spousal complicity, a drama whose erotic perversities were later played out in his twentieth-century epic novel, Ulysses. D. H. Lawrence proved somewhat notorious for his pathological obsessions with sexual desire, homosocial bonding, erotic loss, and conjugal betrayal. These authors worked through pathological symptoms to convert the seeds of incipient madness into burgeoning works of literary genius. They incorporated the pain of traumatic loss into the triumph of aesthetic integration via the creation of radically innovative and experimental art.


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