By Savina Stevanato
This booklet bargains an interpretative key to Virginia Woolf’s visible and spatial innovations by way of investigating their nature, position and serve as. the writer examines long-debated theoretical and significant matters with their philosophical implications, in addition to Woolf’s dedication to modern aesthetic theories and practices. The analytical center of the e-book is brought by way of a old survey of the interart dating and demanding severe theories, with a spotlight at the context of Modernism. the writer uses 3 investigative instruments: descriptive visuality, the commonly debated idea of spatial shape, and cognitive visuality. The cognitive and remedial worth of Woolf’s visible and spatial concepts is proven via an inter-textual research of To the Lighthouse, The Waves and among the Acts (with cross-references to Woolf’s brief tales and Jacob’s Room). the improvement of Woolf’s literary output is learn within the mild of a quest for cohesion, a proper try and fix components to wholeness and to rescue Being from Nothingness.
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Additional info for Visuality and Spatiality in Virginia Woolf's Fiction (Cultural Interactions: Studies in the Relationship between the Arts)
Cottington, Cubism (London: Tate Gallery Publishing, 1998), 34. He also defines the cubist conceptual kind of synthesis as ‘the synthesis of what one remembers and what one sees’ (48). 20 Such formal revolution implied that the visual arts abandoned mimetic description early on in favour of a cotextual kind of semiosis. As J. 21 Non-mimetic visuality, spatiality, linear and mnemonic temporality were all made to interact with each other. Impressionism inaugurated the change. It had already tried to involve time in space, by representing the mutability, relativity and f lux of optical impressions (Monet’s series of water lilies, for instance, aimed at capturing temporal f lux).
The Modern Age and the Arts 35 The Visual Arts The visual arts played a leading and pioneering role in experimenting with, and theorizing about temporal and spatial strategies. e. the mnemonic over the traditional representing a moment of time all at once. The result was a spatial triptych: the traditional; the figurative; the literal. The second is comparable to Frank’s and relevant to the mnemonic realization of the whole simultaneous significance of the painting, while the latter is similar to that practised by the Cubists, which turned the image into a conceptual synthesis representing dif ferent sides, seen from dif ferent perspectives, in dif ferent moments of time.
What constantly emerges from these definitions is that the notion of rhythm includes and reconciles f lux, change and passing with stasis (as the return of the same). Such interaction and interdependence between opposing features is the necessary condition for form. 54 Arnheim, ‘Space as an Image of Time’, 2. T. Mitchell, ‘Spatial Form in Literature: Toward a General Theory’, Critical Inquiry 6 (1980), 539–67, 548–9. 52 24 Chapter 1 which provides verbal linearity with spatial simultaneity, revealing the paradigmatic and relational, rather than simply linear, nature of modernist compositional criteria.
Visuality and Spatiality in Virginia Woolf's Fiction (Cultural Interactions: Studies in the Relationship between the Arts) by Savina Stevanato
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