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.

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.

8. Autobiographies, autobiographical novels, and autofictions

2018 ◽  
Author(s):  
Laura Marcus
Keyword(s):  
James Joyce ◽  
Virginia Woolf ◽  
Life Writing ◽  
The Novel ◽  
Personal Essay ◽  
Katherine Mansfield ◽  
Secondary Importance ◽  
Autobiographical Writing ◽  
Dorothy Richardson ◽  
Journal Entries

Few of the great modernist writers produced explicit or fully fledged autobiographies, but the expansion of the ‘life-writing’ category has made visible the prevalence of autobiographical novels, including works by Katherine Mansfield, James Joyce, D. H. Lawrence, Dorothy Richardson, and Virginia Woolf. ‘Autobiographies, autobiographical novels, and autofictions’ explains that in the late 19th and early 20th centuries there was an increasingly ‘aesthetic’ approach to autobiography. New genres arose that blended life-writing and fiction, such as the personal essay, the ‘imaginary portrait’, and novels which incorporated authentic letters and journal entries. Since the 1980s, it is argued, the novel has been eclipsed by autobiographical narrative, reversing the earlier sense that autobiographical writing was of secondary importance.

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 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.

Virginia Woolf, Anechoic Architecture, and the Acoustic Hermeneutic

2021 ◽  
Vol 54 (1) ◽  
pp. 1-18
Author(s):  
Steve Nathaniel
Keyword(s):  
Virginia Woolf ◽  
Urban Spaces ◽  
The Novel ◽  
Critical Approach ◽  
Architectural Acoustics ◽  
The Social ◽  
Formal Innovation ◽  
Materiality Of The Text ◽  
The Waves ◽  
Social Imperative

Abstract This article describes Virginia Woolf's preoccupation with acoustics and its relationship both to her writing process and to the development of sensibility that she narrativizes in The Waves. It situates Woolf's theoretical and fictional models of listening with respect to the rising science of architectural acoustics and to the social imperative to control sound in urban spaces. It argues that Woolf responds to the psychological and social exigencies of modern sound by integrating textual and architectural listening modes in an acoustic hermeneutic: a listening practice common to the objects of architecture and text, one that accommodates both scientific and aesthetic ends. The acoustic hermeneutic marks the convergence of oft-estranged listening practices—one that apprehends the silent materiality of the text as if it were an audible room and, conversely, one that apprehends architecture with the auditory imagination traditionally exerted toward literature. While the article explores Woolf's particular invocations of auditory science in her formal innovation, it also aims toward a widely applicable critical approach to the inaudibilities of the novel.

The End of the Road: The Death of Individualism

1983 ◽  
Vol 16 ◽  
pp. 115-134
Author(s):  
Jacquelyn Kegley
Keyword(s):  
Virginia Woolf ◽  
Interesting Case ◽  
The Novel ◽  
John Barth ◽  
To The Lighthouse ◽  
The Road ◽  
Philosophy And Literature ◽  
Jean Paul ◽  
The Relationship

Though John Barth won the National Book Award for his novel, Giles Goat Boy, his second novel, The End of the Road, proves a more interesting case study for our purposes, namely, to explore the relationship between philosophy and literature. This is so for at least three reasons. First, by the author's own admission, the novel is intended as a refutation of ethical subjectivism, particularly as expoused by Jean Paul Sartre. Secondly, in the novel, Barth, like Virginia Woolf in To the Lighthouse, places reason and imagination in contention, suggesting that either faculty in isolation is inadequate in dealing with human experience. Both Barth and Woolf are reflecting and probably criticizing the assumption of a number of contemporary writers and critics, namely, that rational discourse is inadequate to the task of ordering the chaotic, fragmentary world and giving meaning to life and only the poet (novelist) employing his imagination can do this.

Out of Character

2017 ◽  
Author(s):  
Jonathan Foltz
Keyword(s):  
Virginia Woolf ◽  
The Novel ◽  
Forms Of Life ◽  
The Waves

This chapter examines the evolving status of character in modernism in light of film’s evacuation of psychological depth. It approaches this topic through the work of Virginia Woolf—modernism’s most vocal exponent of interiority. Placing Woolf’s many comments on film alongside her increasingly wayward theories of fiction, the chapter recovers the role of film in delineating a future for the novel beyond modernism, a future in which, as she puts it, “that cannibal, the novel, which has devoured so many forms of art will by then have devoured even more.” Film, with its evocation of emotions not clearly bound to characters, was a medium well poised to provoke Woolf’s fascination with forms of life that in her view, had so far “escaped the novelist.” The Waves—her most formless and generically unstable work—is the most sustained elaboration of her theory of character as a form of media.

The End of the Road: The Death of Individualism

1983 ◽  
Vol 16 ◽  
pp. 115-134
Author(s):  
Jacquelyn Kegley
Keyword(s):  
Virginia Woolf ◽  
Interesting Case ◽  
The Novel ◽  
John Barth ◽  
To The Lighthouse ◽  
The Road ◽  
Philosophy And Literature ◽  
Jean Paul ◽  
The Relationship

Though John Barth won the National Book Award for his novel, Giles Goat Boy, his second novel, The End of the Road, proves a more interesting case study for our purposes, namely, to explore the relationship between philosophy and literature. This is so for at least three reasons. First, by the author's own admission, the novel is intended as a refutation of ethical subjectivism, particularly as expoused by Jean Paul Sartre. Secondly, in the novel, Barth, like Virginia Woolf in To the Lighthouse, places reason and imagination in contention, suggesting that either faculty in isolation is inadequate in dealing with human experience. Both Barth and Woolf are reflecting and probably criticizing the assumption of a number of contemporary writers and critics, namely, that rational discourse is inadequate to the task of ordering the chaotic, fragmentary world and giving meaning to life and only the poet (novelist) employing his imagination can do this.

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