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Title: Narrative Aesthetics and the Visual Arts in Virginia Woolf's London Writings
Author: Lin, Tzu Yu Allison
ISNI:       0000 0004 2685 5429
Awarding Body: Goldsmiths College (University of London)
Current Institution: Goldsmiths College (University of London)
Date of Award: 2010
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My thesis argues that Virginia Woolf's London writings reveal the technique of the visual arts: painting, film and photography, from Impressionism to the Post- Impressionism. Critics have focused on either Woolf's London or on Woolf s, writings and the visual arts. My research synthesises the city and Woolfs Post- Impressionist narrative aesthetics. The idea of `androgyny' shows the transformation from `binary oppositions' to hybrid textuality. This illustrates the way which Woolf uses the aesthetics of the Bloomsbury Group in writing. Drawing on Roger Fry's and Clive Bell's theories of `Post-Impressionism', `significant form' and `emotion', Woolfs `painting-in-writing' technique visualises the `inner life' of her characters through the outer world of `blue and green' atmosphere. Woolfs `fläneuse' shows the androgynous `dual vision' in Jacob's Room. William James's conception of psychology helps the reader to see Woolf s `halo' metaphor. Learning from Henry James's Impressionist `process of vision' in The Ambassadors and his travel sketches of London, Woolf develops Post- Impressionist technique in Night and Day and The London Scene. While Strether internalises the external world as a passive `impression', Katharine's emotion was externalised through lines, colours and shapes in words, moving toward `psychological realism', as emotion comes to reveal the city's spatial relation. I read Cubism, Bergson's `pure duration', Deleuze's `the movement-image' and `the time-image' to theorise the way which Woolf uses cinematic techniques, such as flashback, close-up and montage. Woolfs techniques see `inner' time through `outer' physical movement in words, as Clarissa walks in Mrs Dalloway. Woolf criticises the Victorian aesthetics of Julia Cameron's photography, developing the Post-Impressionist female gaze to show emotion, feeling and thought. Through the `Angel' of the `House', Woolfs London narratives show a transformation of style from Impressionism to Post-Impressionism, as emotions of the female gaze can subvert the patriarchal society in Eleanor's `angle of vision' in The Years
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available