All Contraries Confounded: The Lyrical Fiction of Virginia Woolf Djuna Barnes, & Marguerite Duras

1992 ◽  
Vol 66 (4) ◽  
pp. 790
Author(s):  
Doris Earnshaw ◽  
Karen Kaivola
Keyword(s):  
Virginia Woolf ◽  
Marguerite Duras ◽  
Djuna Barnes

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.

Gerardine Franken, 1920-2004

2019 ◽  
Author(s):  
Ton Naaijkens
Keyword(s):  
James Joyce ◽  
Virginia Woolf ◽  
Djuna Barnes

Gerardine Franken was het vergund vertalingen te mogen maken van werk van Djuna Barnes, James Joyce en Virginia Woolf: drie van de meest vooraanstaande auteurs uit de Engelstalige literatuur van de twintigste eeuw. Bij twee van hen betrof het ook nog eens hun belangrijkste boek. Haar vertaaloeuvre, begonnen toen zij niet meer de allerjongste was en in zekere zin voortijdig gestopt, is niet omvangrijk, maar bestaat voor een substantieel deel uit literaire meesterwerken; haar debuut, het befaamde Nachtwoud van Djuna Barnes, verscheen in 1963, toen zij 43 was.

Invalid Modernism

2019 ◽  
Author(s):  
Michael Davidson
Keyword(s):  
Virginia Woolf ◽  
Henry James ◽  
Medical Discourse ◽  
William Carlos Williams ◽  
Djuna Barnes ◽  
Sensory Response ◽  
Jean Toomer ◽  
Natural Formation ◽  
Progressive Reforms ◽  
Historical Developments

Invalid Modernism contributes to an intersectional moment in disability studies by looking at aesthetics through non-conforming bodies and minds. It also offers an intersectional understanding of modernism by studying the representation of physical and cognitive difference during a period marked by progressive reforms in health, labor, and welfare. Readings of texts by Henry James, Samuel Beckett, Virginia Woolf, William Carlos Williams, James Joyce, Djuna Barnes, Oscar Wilde, F. T. Marinetti, Jean Toomer, an opera by Alexander Zemlinsky, and paintings and constructions of Dadaists and Surrealists are set against historical developments in sexology, medical discourse, and eugenics and anthropometry. Modernist works are well known for challenging formal features of narration and representation, but this challenge has often been enabled by shell-shocked veterans, tubercular heroines, blind soothsayers, invalid aesthetes, and neurasthenic women. Such figures complicate an aesthetics of autonomy by which modernism is often understood. Since its evolution in the eighteenth century modern aesthetics has been seen in terms of judgments based on detached appreciation. What begins as a private sensory response to an object or natural formation results in a disinterested judgment about the value of that response. By looking at modernist aesthetics through a disability optic, Invalid Modernism attempts to restore the missing body to aesthetic discourse through figures marked by medical discourse of the period as “invalid” subjects.

scholarly journals Michelle Porte

2021 ◽  
Vol 74 (3) ◽  
pp. 56-65
Author(s):  
Joan Dupont
Keyword(s):  
Virginia Woolf ◽  
Marguerite Duras ◽  
Insight Into

Film Quarterly contributing editor and Paris correspondent Joan Dupont introduces readers to the films of Michelle Porte, a French director best known for her intimate portraits of writers, actors, and filmmakers. The focus of a retrospective at the Bibliothèque nationale in Paris in 2018, Porte’s films offer remarkable access to the private worlds of their subjects, including Virginia Woolf (1981) and Françoise Sagan (1996). Porte is best known, however, for her long association with the celebrated author, playwright, and filmmaker Marguerite Duras. Following their first meeting in 1966 on the set of Duras’ first film, La musica, Porte became Duras’ frequent collaborator, all the while gathering material for her own film, Les lieux de Marguerite Duras (1976). Dupont’s wide-ranging interview with Porte offers insight into the French televisual landscape that supported Porte’s films as well as into her oeuvre and relationship with Duras.

Modernism’s Unfinished Lives

2019 ◽  
pp. 1-18
Author(s):  
Melanie Micir
Keyword(s):  
Women Writers ◽  
Virginia Woolf ◽  
Literary History ◽  
Life Writing ◽  
Djuna Barnes ◽  
Radclyffe Hall ◽  
Women's Lives ◽  
Sylvia Townsend Warner

This chapter reassesses the importance of biography, broadly conceived, for modernist, midcentury, and contemporary women writers and scholars. It draws together a diverse archive of biographical acts, such as published and unpublished books, drafts, outlines, fragments, letters, annotations, collections, objects, and ephemera. In the experimental life writing of canonical mainstays like Virginia Woolf, the intimate archives of Radclyffe Hall and Sylvia Townsend Warner, the abandoned projects of Djuna Barnes and Hope Mirrlees, the midcentury memoirs and literary collections of Margaret Anderson, Sylvia Beach, and Alice B. Toklas, and the more contemporary recovery projects of Lisa Cohen, Jenny Diski, Monique Truong, and Kate Zambreno, the biographical impulse signals a shared ethical drive to develop a counternarrative of literary history grounded in women's lives. The chapter then tracks the interest in preservation across biographical novels, histories, and archives. It uncovers the modernist prehistory of the contemporary queer feminist recovery project.

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