scholarly journals Pilgrimage de Dorothy Richardson ou l’art du dé-place-ment et de la dérive comme réponse à l’appellation

2014 ◽  
Author(s):  
Florence Marie
Keyword(s):  
Dorothy Richardson ◽  
Place Ment

Judaism and Heterogeneity in the Modernist Long Novel

2015 ◽  
Vol 10 (3) ◽  
pp. 357-379
Author(s):  
Jeremy Tambling
Keyword(s):  
Latin American ◽  
George Eliot ◽  
Marcel Proust ◽  
Carlos Fuentes ◽  
American Novel ◽  
Dorothy Richardson ◽  
Anti Semitism ◽  
Dreyfus Affair ◽  
Meaningful Category ◽  
Roberto Bolano

This paper explores how Judaism is represented in non-Jewish writers of the nineteenth-century (outstandingly, Walter Scott and George Eliot) and in modernist long novels, such as those by Dorothy Richardson, Marcel Proust, James Joyce, Alfred Döblin, Robert Musil, and Thomas Mann, and, in the Latin American novel, Carlos Fuentes and Roberto Bolaño. It finds a relationship between the length of the ‘long’ novel, as a meaningful category in itself (not to be absorbed into other modernist narratives), and the interest that these novels have in Judaism, and in anti-semitism (e.g. in the Dreyfus affair) as something which cannot be easily assimilated into the narratives which the writers mentioned are interested in. The paper investigates the implications of this claim for reading these texts.

Fin

2017 ◽  
Author(s):  
Cleo Hanaway-Oakley
Keyword(s):  
Gertrude Stein ◽  
Silent Film ◽  
Film Criticism ◽  
Gestalt Theory ◽  
Finnegans Wake ◽  
Dorothy Richardson ◽  
Sound Film ◽  
Final Work

This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.

Modernist Dante

2021 ◽  
pp. 633-650
Author(s):  
Daniela Caselli
Keyword(s):  
Twentieth Century ◽  
James Joyce ◽  
Virginia Woolf ◽  
Ezra Pound ◽  
First Century ◽  
Djuna Barnes ◽  
Dorothy Richardson ◽  
Anglophone Literature ◽  
The Past ◽  
History Of

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.

Writing Life: Early Twentieth-Century Autobiographies of the Artist-Hero

2015 ◽  
Author(s):  
Mhairi Pooler
Keyword(s):  
Henry James ◽  
Literary History ◽  
Life Story ◽  
Dorothy Richardson ◽  
Siegfried Sassoon ◽  
Form Of Life ◽  
The First World War ◽  
The Face ◽  
The Individual ◽  
First World

Writing Life offers a revisionary exploration of the relationship between an author’s life and art. By examining the self-representation of authors across the schism between Victorianism and Modernism via the First World War, this study offers a new way of evaluating biographical context and experience in the individual creative process at a critical point in world and literary history. Writing Life is also the story of four literarily and personally interconnected writers – Edmund Gosse, Henry James, Siegfried Sassoon and Dorothy Richardson – and how and why they variously adapted the model of the German Romantic Künstlerroman, or artist narrative, for their autobiographical writing, reimagining themselves as artist-heroes. By appropriating key features of the genre to underpin their autobiographical narratives, Writing Life examines how these writers achieve a form of life-writing that is equally a life story, artist’s manifesto, aesthetic treatise and modern autobiographical Künstlerroman. Pooler argues that by casting their autobiographical selves in this role, Gosse, James, Sassoon and Richardson shift the focus of their life-stories towards art and its production and interpretation, each one conducting a Romantic-style conversation about literature through literature as a means of reconfirming the role of the artist in the face of shifting values and the cataclysm of the Great War.

The Radiant Future

Red Britain ◽  
2019 ◽  
pp. 12-59
Author(s):  
Matthew Taunton
Keyword(s):  
Strong Association ◽  
Russian Revolution ◽  
Dorothy Richardson ◽  
The Future

This chapter explores the idea of the future and the transformations it underwent as a result of the Russian Revolution. Drawing on theories of historicity and temporality described by Claude Lévi-Strauss, Reinhardt Koselleck, and François Hartog, the chapter examines the various ways in which the concept of the future was disturbed by and rethought in relation to events in Russia. What happens when the word ‘socialism’—which had until 1917 been a speculation about an ideal utopian future—becomes attached to a particular state? What happens when a country renowned for its ‘backwardness’ takes on a strong association with progress? And how did writers and intellectuals respond to the Stalinist myth of the ‘Radiant Future’, which defended terror and starvation in the name of building socialism? The chapter includes analysis of works by H. G. Wells, John Cournos, C. Day Lewis, W. H. Auden, and Dorothy Richardson.

Interior Monologue

2018 ◽  
Author(s):  
David Herman
Keyword(s):  
James Joyce ◽  
Direct Discourse ◽  
Dorothy Richardson ◽  
Alfred Döblin ◽  
Italo Svevo ◽  
The Right

One of the hallmarks of modernist style, interior monologue affords a prime opportunity for studying how writers ranging from James Joyce and Dorothy Richardson to Italo Svevo and Alfred Döblin innovated on conventions for speech and thought presentation to create effects of psychological immediacy. Gerald Prince, building on Dorrit Cohn’s foundational account of techniques for presenting fictional minds, defines interior monologue as "the nonmediated presentation of a character’s thoughts and impressions or perceptions" (2003: 45). In this usage, interior monologue is a cover term that applies to more or less extended passages of free direct discourse—in other words, discourse that, though stripped of quotation marks and tag phrases such as she reflected or he wondered, can be assumed to correspond to or quote the unvocalized thoughts of a character. The "Penelope" episode of James Joyce’s Ulysses is often taken to be a prototypical instance of the form, though Joyce deploys interior monologue in less extended stretches throughout his novel, nowhere more movingly than at the end of the "Lestrygonians" episode. Here the text cross-cuts between reports of Leopold Bloom’s outward conduct as he attempts to avoid Blazes Boylan and passages that can be taken as offering an unfiltered presentation of Bloom’s perceptions and thoughts when he encounters his wife’s lover (italics mark instances of interior monologue): His heart quopped softly. To the right. Museum. Goddesses. He swerved to the right. Is it? Almost certain. Won’t look. Wine in my face. Why did I? Too heady. Yes, it is. The walk. Not see. Get on. (Joyce 1986: 150)

Fictional German governesses in Edwardian popular culture: English responses to German militarism and modernity

2019 ◽  
Vol 28 (2) ◽  
pp. 194-213 ◽  
Author(s):  
Susan Bayley
Keyword(s):  
Short Stories ◽  
Popular Culture ◽  
Radclyffe Hall ◽  
Dorothy Richardson ◽  
Avant Garde ◽  
Mixed Feelings ◽  
Potential Impact ◽  
Selection Of

Historians have tended to focus on propaganda when assessing Edwardian attitudes towards Germans, but a shift of focus to fiction reveals a rather different picture. Whereas propaganda created the cliché of ‘the Hun’, fiction produced non- and even counter-stereotypical figures of Germans. An analysis of German governess characters in a selection of short stories, performances, novels, and cartoons indicates that the Edwardian image of Germans was not purely negative but ambivalent and multifarious. Imagined German governesses appeared as patriots and spies, pacifists and warmongers, spinsters and seducers, victims and evil-doers. A close look at characterisations by Saki [H. H. Munro], M. E. Francis [Margaret Blundell], Dorothy Richardson, D. H. Lawrence, Radclyffe Hall, Frank Hart and others reveals not only their variety but also their metaphorical use as responses to Germany’s aggressive militarism and avant-garde modernity. Each governess figure conveyed a positive, negative or ambivalent message about the potential impact of German militarism and modernity on England and Englishness. The aggregate image of German governesses, and by inference Germans, was therefore equivocal and demonstrates the mixed feelings of Edwardians toward their ‘cousin’ country.

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