scholarly journals MODERNISM IN MRS.DALLOWAY

2019 ◽  
Vol 34 (6) ◽  
pp. 1609-1613
Author(s):  
Fatbardha Doko ◽  
Hyreme Gurra ◽  
Lirije Ameti
Keyword(s):  
World War I ◽  
Virginia Woolf ◽  
Henry James ◽  
Joseph Conrad ◽  
Marcel Proust ◽  
Stream Of Consciousness ◽  
World War ◽  
Figures Of Speech ◽  
Life Path ◽  
Style Of Writing

Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stein, and William Faulkner. After First World War a lot of developments took place, new inventions opened up the mind of artists in the 1920s, one of them was Virginia Woolf, a very specific novelist. So, this paper deals with Virginia Woolf’s novel, Mrs. Dalloway, and the main focus is on the elements of modernism in this masterpiece. It is a modern novel which has also most of the features of modernism, or we can say that there are several ways in which one can see Mrs. Dalloway as a Modernist novel. The most dominant characteristic is the content and the narrative style. Virginia Woolf overstepped the traditional writing by describing characters not only superficially but also their inner thoughts. Rather than having a straightforward narrative with a beginning and end and a narrator who knows it all, with Mrs Dalloway we have several narrators, flashbacks, stream-of-consciousness style, and a totally fragmented story. Also there is a connection of the author and her characters; she putted a piece of herself in each one of them. This is how you can find about the author’s life path and how her sufferings, mental illness affected into her writing. Thus, Virginia Woolf is considered an iconic modernist writer and pioneer not only of the stream of consciousness narrative technique, but of the use of free indirect speech, psychological as well as emotional motives of characters. Nevertheless, the unconventional use of figures of speech also makes a great characteristic and a symbol of her novels. Stream of consciousness writing allows readers to “listen in” on a character's thoughts. This will make you explore yourself in ways you have never thought before. Specifically, in Clarissa Dalloway’s preparations to host a party that evening Virginia Woolf records all her thoughts, remembrances and impressions, as well as the thoughts of other characters. There is no actual story, no plots or sub-plots, in fact, there is no action in the traditional sense in this novel, except from the “myriad of impressions” created by Virginia Woolf’s new style of writing.

London

2019 ◽  
pp. 168-220
Author(s):  
Andrew Thacker
Keyword(s):  
Virginia Woolf ◽  
Henry James ◽  
Joseph Conrad ◽  
Late Nineteenth Century ◽  
World War Two ◽  
Hill Area ◽  
Secret Agent ◽  
The City ◽  
Literary Networks

This chapter considers how London developed as a modernist city, from the late nineteenth century to the period after World War Two. It analyses the geographical emotions produced by particular locations within London, such as the London Underground and Metro-Land suburbs; the cultural institutions of Bloomsbury and Fleet Street; the bohemia of Soho and the nightlife of Piccadilly Circus; and the Notting Hill area settled by postwar immigrants to the city. It considers the affective responses of writers such as Virginia Woolf and Henry James to the material restructuring of the city, before turning to the role of publishers, bookshops, and literary networks in helping establish modernism in the city, in the shape of poetic movements such as the Rhymers and the Imagists. The final part of the chapter analyses texts by two important outsiders in London: Joseph Conrad in The Secret Agent and Sam Selvon in The Lonely Londoners.

A Complex Fate

1980 ◽  
Vol 14 (1) ◽  
pp. 67-81
Author(s):  
Roger Asselineau
Keyword(s):  
World War I ◽  
Henry James ◽  
Small Child ◽  
Post Office ◽  
Henry Adams ◽  
World War ◽  
Birth Place ◽  
English Speaking ◽  
The Great War ◽  
The Village

If, according to Henry James, “it's a complex fate, being an American,” it is a no less complex fate being an Americanist, especially when you were born in Europe, in a non-English speaking country. Unlike poets (as well as kings and dalai-lamas and humorists too probably), Americanists are not born, but made. For my part, at least, I was made one by very slow stages, and my education, like that of Henry Adams, began quite early. For, though I didn't go to America until I was nearly thirty, America came to me when I was still a very small child. This occurred during World War I, the Great War, as it was called then. I was living at my great-grand-parents' in a village in Berry, while my father was at the front and my mother worked in the post-office at Orléans (my birth-place). Suddenly — it must have been in 1917 or 1918, I was about three at the time-our village was invaded by a troop of Sammies. I was thrilled. I can still see diem very vividly. They looked so smart and martial in their khaki uniforms and broad-brimmed hats or saucy helmets. They were so different from the jaded French soldiers in faded grey-blue uniforms I saw from time to time, and, above all they spoke a language which no one understood. I gaped at them for hours, while they drilled on the village square or played football, occasionally breaking window-panes, but always paying for the damages right away. They broke one at my great-grand-parents, while we were having lunch, and my great-grand-mother was very angry, but they soon pacified her. They were very generous indeed, especially with children. I loved them. They carried me in their arms, took me on walks, gave me large slices of bread and salt butter, a rare delicacy, and even small coins, nickels and pennies with buffaloes and Indian heads, which I still have.

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.

scholarly journals ‘Between-time stories’: waiting, war and the temporalities of care

2020 ◽  
Vol 46 (2) ◽  
pp. 96-106
Author(s):  
Laura Salisbury
Keyword(s):  
World War Ii ◽  
World War I ◽  
Virginia Woolf ◽  
Melanie Klein ◽  
Elizabeth Bowen ◽  
World War ◽  
Total War ◽  
Wilfred Bion ◽  
Embodied Experiences ◽  
Trench Warfare

This article analyses how World War II shifted and contained embodied experiences of waiting in relation to broader ideas of lived time in modernity. The trench warfare of World War I has often been imagined as a limit experience of anxious waiting, but World War II produced compelling accounts of experiences of suspended time in civilian populations exposed to the threat and anticipation of ‘total war’. This article analyses representations of this suspended present drawn from Elizabeth Bowen and Virginia Woolf, alongside materials in the Mass Observation Archive, to develop an account of how exposure to a future shaped by the potential of annihilation from the air reshaped experiences of durational temporality and the timescapes of modernity in the London Blitz. It also explores the relationship between anxiety, waiting, and care by attending to psychoanalytic theories that developed in the wartime work of Wilfred Bion and Melanie Klein. Extending Freud’s account of anxiety as producing ‘yet time’, this article describes how and why both literary and psychoanalytic texts came to understand waiting and thinking with others as creating the conditions for taking care of the future.

RECORDING WORLD WARS

2014 ◽  
Vol 46 (4) ◽  
pp. 801-807
Author(s):  
miriam cooke
Keyword(s):  
World War I ◽  
20Th Century ◽  
Virginia Woolf ◽  
Early 20Th Century ◽  
World War ◽  
The World ◽  
Wilfred Owen

World War I inspired countless artists, poets, novelists, and even soldiers across the world to record their unimaginable experiences and to reject the millennial lie: dulce et decorum est pro patria mori (it is sweet and appropriate to die for one's country). Early 20th-century European writers like Wilfred Owen, Virginia Woolf, Erich Maria Remarque, and Henri Barbusse have become household names. Less well known are the Arab civilians and soldier writers who struggled on the edges of the war's fronts.

James, Henry (1843–1916)

2018 ◽  
Author(s):  
Harrington Weihl
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Virginia Woolf ◽  
Henry James ◽  
English Language ◽  
Joseph Conrad ◽  
Adult Life ◽  
The United States ◽  
Literary Realism ◽  
Portrait Of A Lady

One of the major literary figures of the late nineteenth and early twentieth century, Henry James was one of the foremost English-language practitioners of literary realism at its height, and was one of the most influential novelists among the modernists that followed him, receiving praise and admiration from T. S. Eliot, Ezra Pound, Virginia Woolf, Joseph Conrad, and others. His novel Portrait of A Lady and novellas Daisy Miller and The Turn of the Screw are among his most widely read, and in The Spoils of Poynton he made some of the first forays into the complexity and depth that would later characterize modernism. Also an accomplished travel writer and memoirist, James's produced literary criticism that is considered some of the deepest and most detailed work on theorizing the English-language novel before the twentieth century. Born in the United States and spending much of his adult life in Britain, James is a transatlantic figure whose influence has been so great as to posthumously justify his nickname of Master.

scholarly journals ENTREVISTA: La angustia y el gozo de traducir. Entrevista a Miguel Martínez Lage

2017 ◽  
Author(s):  
Grupo de Investigación HUM-807
Keyword(s):  
Virginia Woolf ◽  
Henry James ◽  
Samuel Beckett ◽  
Joseph Conrad ◽  
Ernest Hemingway ◽  
Rudyard Kipling ◽  
Aldous Huxley ◽  
Martin Amis ◽  
Roddy Doyle ◽  
The University

ResumenMiguel Martínez-Lage es uno de los más importantes traductores literarios del inglés que hay actualmente en nuestro país. Tras cursar estudios universitarios en Navarra y en la Universidad Autónoma de Madrid, se dedica profesionalmente a la traducción desde 1984. Entre los autores que ha traducido destacan Martin Amis, W. H. Auden, Samuel Beckett, Saul Bellow, J. M. Coetzee, Joseph Conrad, Roddy Doyle, Graham Greene, Ernest Hemingway, Nick Hornby, Aldous Huxley, Henry James, Rudyard Kipling, Edgar Allan Poe, John Steinbeck, Dylan Thomas y Virginia Woolf, entre muchos otros. Ha sido también ponente en numerosos congresos sobre traducción y escritor de artículos y reseñas. Miguel Martínez-Lage mantuvo esta conversación para Odisea en octubre de 2007 como anticipo a una visita a la Universidad de Almería.Palabras clave: Traducción literaria, traducir del inglés, ofi cio del traductor, Samuel Beckett, Samuel Johnson.AbstractMiguel Martínez-Lage is one of the most important English-Spanish literary translators currently working in Spain. He studied at the University of Navarra and at the Universidad Autónoma in Madrid, and he is a full-time translator since 1984. Among the list of authors he has translated into Spanish some names stand out: Martin Amis, W.H. Auden, Samuel Beckett, Saul Bellow, J. M. Coetzee, Joseph Conrad, Roddy Doyle, Graham Greene, Ernest Hemingway, Nick Hornby, Aldous Huxley, Henry James, Rudyard Kipling, Edgar Allan Poe, John Steinbeck, Dylan Thomas and Virginia Woolf, among many others. He has also given papers in several conferences on translation and has written articles and reviews. He had this conversation with Odisea in October 2007 previous to a visit to the University of Almería.Key words: Literary translation, translating from English, the profession of a translator, Samuel Beckett, Samuel Johnson. 

scholarly journals The Representation of Modern Government in W. H. Auden’s Poem “The Unkown Citizen”

2020 ◽  
Author(s):  
Christinawati Christinawati ◽  
Moses Pandin
Keyword(s):  
World War I ◽  
The State ◽  
World War ◽  
Figures Of Speech ◽  
The World ◽  
Average Person ◽  
Modern Era ◽  
Internal Sensation ◽  
Sophisticated Technology

This study aims to identify modern bureaucratic government phenomenon expressed in W.H. Auden’s poem “The Unknown Citizen” (UC). This phenomenon will be revealed through the use of figures of speech, symbols and imagery in the poem. This poem is chosen as the object of the study since phenomenon happened in the poem represents people’s life and government practice in the modern era. Government, in the poem, seems to be very dominant. Its bureaucratic apparatus is powerful. Through its sophisticated technology, the bureau of statistics is able to detect the citizen’s identity. But, ironically, it could have not identified UC’s name as he lived in the world. He, then, was honored by the state by being erected the marble monument. The poem is analyzed by applying phenomenological criticism. The analysis finds that the representation of modern government is expressed through symbols emphasized by dramatic irony and supported by the use of internal sensation imagery. UC is the allegory of the average person with his bravery he sacrifices for the country. The state ought to give him an honor. In this poem Auden, actually, wants to write a parody for establishing monuments in some countries to honor the struggles of their soldiers who died in the World War I. Those monuments are really tombs since the function of a monument is a state’s thanksgiving for their sacrifice.

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