“For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice…”. Woolf’s belief has been put to the test in the Bloomsbury Group and this paper intends to investigate the validity of her claim through a critical analysis of the selected works of its novelist members. In a central part of London during the first half of the twentieth century a group of intellectual and literary writers, artists, critics and an economist came together which later on was labeled as Bloomsbury group. The group’s members had an influential role in blooming novel in a different form of expression and profoundly affect its literary figures, Virginia Woolf and E.M. Forster, in the composition of their fictions The Waves, A Room of One’s Own, To the Lighthouse and Forster’s A Room with a view and Howards End. The formation of Bloomsbury circle acted as a bridge from the Victorian bigotries and narrow-mindedness to the unbounded era of modernism as they searched for universal peace, individual liberalism and human accomplishments due to ideal social norms. They freely exchanged their views on variety of subjects without any limitation. The reasons behind their popularity compared to several contemporary groups were their innumerable works, the clarification of their lives through their diaries, biographies and autobiographies and their diverse kinds of activities such as criticism, painting, politics and literary writings. They were adherents of truth, goodness, enjoyment of beautiful object, intrinsic values, aesthetics, friendship and personal relationship. Intellectual intimacy and cooperation can be considered as the main attribute of its members as they collaborate with each other and employ the fundamental tenets of the group within their works. The modern style of its artists as post-impressionist highly affects the narration technique of its literary figures. These novelists tried to narrate the verbal utterances in a visual way as if the whole of the story is depicted on a canvas. Furthermore, this paper tries to discover the role of the non-literary (painters and critics) members of the group in blooming and forming of a different and novel kind of narration technique, namely ‘stream of consciousness’, through the visual impact of the painter and the discussion method of critic members of the group.
(Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1