Athenaeum, The

2018 ◽  
Author(s):  
Aimee Gasston
Keyword(s):  
Short Story ◽  
Virginia Woolf ◽  
Joseph Conrad ◽  
Theory Of Relativity ◽  
Dorothy Richardson ◽  
The Waste Land ◽  
Political Commentary ◽  
The Arts ◽  
Solid Objects ◽  
May Sinclair

The Athenaeum, "A Journal of Literature, Science, and the Arts," was published weekly in London between 1828 and 1921. John Middleton Murray was appointed as editor in 1919, recruiting Aldous Huxley as his assistant. The magazine featured cultural, scientific, and political commentary, reviews, literary gossip, as well as original poetry and short stories. Contributors included Katherine Mansfield, T.S. Eliot, E.M. Forster, Wyndham Lewis, Paul Valéry, Ezra Pound, and members of the Bloomsbury set, such as Virginia Woolf and Roger Fry. Eliot produced essays such as "The Perfect Critic" for the magazine between 1919 and 1920 while working on The Waste Land, quoting writers like Joseph Conrad and James Joyce alongside canonical references. Mansfield was also employed regularly at this time, reviewing the work of contemporaries such as Woolf, May Sinclair, and Dorothy Richardson, as well as collaborating on translations of Chekhov’s letters. The magazine was the first to publish Woolf’s short story "Solid Objects," and to host an early exposition of Einstein’s Theory of Relativity.

The Analogous Writer: Literary Evolution in Modernist Virginia Woolf

2016 ◽  
Vol 3 (1) ◽  
Author(s):  
Andrew Hall
Keyword(s):  
Short Story ◽  
Virginia Woolf ◽  
Main Character ◽  
Solid Objects ◽  
Literary Evolution ◽  
Modern Fiction

Some of Virginia Woolf's writing is analytical of the literary world, including its history and processes. Woolf's essay "Modern Fiction" and short story "Solid Objects" analyze and criticize modern writing and can be seen as doing so within similar contexts, albeit in different modes. The main character of "Solid Objects" is arguably representative of Woolf's feelings, made clear in "Modern Fiction" of where modern writing is in the midst of going.

Sinclair, May (1863–1946)

2018 ◽  
Author(s):  
Bryony Randall
Keyword(s):  
World War I ◽  
Virginia Woolf ◽  
Literary Critic ◽  
Stream Of Consciousness ◽  
Her Family ◽  
Dorothy Richardson ◽  
Love Story ◽  
Marriage Problems ◽  
World War I Novels ◽  
May Sinclair

May Sinclair was a novelist, journalist and literary critic. She began writing relatively late in life to help support her family, and while most of her novels would most obviously be categorized as realist, she was a great advocate for the experimentation of writers such as Virginia Woolf and Dorothy Richardson, and is perhaps most influential today as a literary critic of modernism; she was for example the first critic to use the term ‘stream of consciousness’ in relation to literature. Her first commercial success came with her third novel The Divine Fire (1904), a philosophical novel combining a love story with an exploration and critique of the contemporary literary marketplace. Subsequent novels focused largely on social and/or marriage problems, prominent themes in literature of the period. A committed campaigner for women’s rights, her World War I novels (Tasker Jevons: the Real Story of 1916 and The Tree of Heaven of 1917) express her support for the war at a time when the suffrage movement was split between pacifist and pro-combat factions. She wrote two identifiably experimental novels, Mary Olivier (1919) and The Life and Death of Harriett Frean (1922), both significantly influenced by her interest in psychoanalysis.

Writing Modernist Women

2020 ◽  
pp. 19-39
Author(s):  
Emily Ridge
Keyword(s):  
Twentieth Century ◽  
Women Writers ◽  
Virginia Woolf ◽  
Edith Wharton ◽  
Dorothy Richardson ◽  
Early Twentieth Century ◽  
Dynamic Potential ◽  
The World ◽  
Alternative Means ◽  
May Sinclair

“Writing Modernist Women: Toward a Poetics of Insubstantiality” traces the development of a “poetics of insubstantiality” across the works of a range of early twentieth-century women writers, including May Sinclair, Dorothy Richardson, Virginia Woolf, Cicely Hamilton, and Edith Wharton, among others. Such a poetics saw a subversive turn towards elements deemed insubstantial, in terms of size and weight, as a means of questioning an established connection of value with the idea of substance. Thus smallness, lightness, and portability are embraced for their dynamic potential in offering an alternative means of engaging with and imagining the world. In demonstrating the dynamic potential of the insubstantial, as conceived by these modernist writers, the chapter builds on recent endeavours, spearheaded by Paul K. Saint-Amour (2018), to conceive of a “weak” modernism, in which “one kind of weakness […] produce[s] another kind of strength.” Likewise, a lack of substance, often even of tangibility, can be found to produce another kind of value in the works I consider here.

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.

scholarly journals TÃO FELIZES, NUNCA FOMOS: LITERATURA E CINEMA EM TEMPOS DE AUTORITARISMO

2009 ◽  
Vol 2 (27) ◽  
Author(s):  
João Manuel Dos Santos Cunha
Keyword(s):  
Short Story ◽  
Military Dictatorship ◽  
The Arts

RESUMO: O texto examina a tradução intersemiótica operada pelo cineastamurilo Salles para o conto de João Gilberto Noll “Alguma coisa urgentemente” (1980), denominada Nunca fomos tão felizes (1984), considerando o contexto da ditadura civil-militar brasileira (1964- 1985), período em que as duas narrativas foram criadas. Reflete, ainda, sobre o fato de que as representações literária e fílmica, em conjunto ou separadamente, podem ser lidas como “lugares de memória” (lieux de mémoire, conceito proposto por Pierre Nora, 1991): textos que, ao cumpriremoofício de lembrar, revelam o possível papel das artes como sendo o de traduzir em discurso fatos que resistem à apreensão até mesmo pelo enunciado explicativo e relativizante da história. PALAVRAS-CHAVE: literatura e cinema, literatura e autoritarismo, tradução intersemiótica, transtextualidade. ABSTRACT: This article examines the intersemiotic translation of a short story by João Gilberto Noll (“Alguma coisa urgentemente”, 1980) into a film by murilo Salles (Nunca fomos tão felizes, 1984), considering the context of the civil and military dictatorship in Brazil (1964-1985), when the story was written and the film made. It also reflects on the fact that the literary and the filmic representations, seen both together and separately, may be read as lieux de mémoire (according to a concept proposed by Pierre Nora, 1991). Those are texts that, as they perform the task of remembering, may be seen as a comment on the possible role of the arts in translating into discourse facts that resist understanding, even by the explanatory and relativizing enunciation of history. KEYWORDS: literature and cinema, literature and authoritarianism, intersemiotic translation, transtextuality.

“Vision and Design” in Virginia Woolf

PMLA ◽  
1946 ◽  
Vol 61 (3) ◽  
pp. 835-847
Author(s):  
John Hawley Roberts
Keyword(s):  
Virginia Woolf ◽  
Bloomsbury Group ◽  
The Arts ◽  
Hogarth Press

The fact that Roger Fry and Virginia Woolf were friends and colleagues in the realm of art needs no demonstration. Not only were they closely associated for many years as members of “the Bloomsbury Group,” but the Hogarth Press, established by the Woolfs in Tavistock Square, published some of Fry's essays. After Fry's death in 1934, it was Virginia Woolf who, at the request of Fry's sister, became his biographer. This portrait of the critic was undertaken, says Margery Fry in the “Foreword” addressed to Mrs. Woolf, as a result of “one of those discussions upon the methods of the arts which illuminated his long and happy friendship with you.”

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