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A work of art written about an artist creating a work of art is, in a sense, a novel in which the author is a character. The essays in this collection examine nineteenth-century texts that attempted to merge fiction and reality into a unified whole.
“We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past,” declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orientation, and gender. Visual Culture assembles some of the foremost scholars of cultural studies and art history to explore new critical approaches to a history of representation seen as something different from a history of art. CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey, John Tagg, Lisa Tickner. Ebook Edition Note: Ebook edition note: all illustrations have been redacted.
"I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill."—Virginia Woolf, Professions for Women Writing The Woman Artist is a collection of essays that explores the ways in which women writers portray women painters, sculptors, writers, and performers. Surveying the works of a variety of women writers—from the nineteenth and twentieth centuries, from different ethnic, national , racial, and economic backgrounds—this book treats their revisions of the Künstlerroman and their perceptions of the relationships between muse, artist, and audience in other genres. Suzanne W. ]ones and her collaborators seek to understand how representations of women artists and their poetics and politics are mediated by social and historical factors, including literary movements and theories of language. In doing so, they make an important contribution to the field of feminist scholarship, and generate new ways of understanding how the dynamics of creativity intersect with the dynamics of gender. Contributors to the volume are Ann Ardis, Alison Booth , Kathleen Brogan, Lynda Bundtzen, Pamela Caughie, Mary DeShazer, Linda Dittmar, Josephine Donovan, Susan Stanford Friedman , Gayle Greene, Linda Hunt, Katherine Kearns, Holly Laird, Estella Lauter, Z. Nelly Martinez, Jane Atteridge Rose, Margaret Diane Stetz, Renate Voris, and Mara Witzling. Writing The Woman Artist is a valuable new resource for scholars and students working in the fields of European and American literature and women's studies.
Downtown Canada is a collection of essays that addresses Canada as an urban place. The contributors focus their attention on the writing of Canada's cities and call attention to the centrality of the city in Canadian literature.
A detailed critique of The sacred fount, a novel by Henry James.
The result of this confrontation, Kimball argues as a central tenet in her unique reading of Ulysses, is the gradual development of a relationship between the two protagonists that parallels C. G.
Writers' lives are endlessly fascinating for the reading public and literary scholars alike. By examining the self-representation of authors across the schism between Victorianism and Modernism via the First World War, this study offers a new way of evaluating biographical context and experience in the individual creative process at a crucial point in world and literary history. Writing Life explores how and why a select group of early twentieth-century writers, including Edmund Gosse, Henry James, Siegfried Sassoon and Dorothy Richardson, adapted the model of the German Romantic Künstlerroman, or artist narrative, for their autobiographical writing. Instead of (mis)reading these autobiographies as historical documentation, Pooler examines how these authors conduct a Romantic-style conversation about literature through literature as a means of reconfirming the role of the artist in the face of shifting values and the cataclysm of the Great War.
This volume marks the birth centenary of a giant amongst contemporary writers: the Australian Nobel prize-winning novelist, Patrick White (1912–1990). It proffers an invaluable insight into the current state of White studies through commentaries drawn from an international galaxy of eminent critics, as well as from newer talents. The book proves that interest in White’s work continues to grow and diversify. Every essay offers a new insight: some are re-evaluations by seasoned critics who revise earlier positions significantly; others admit new light onto what has seemed like well-trodden terrain or focus on works perhaps undervalued in the past—his poetry, an early short story or novel—which are now subjected to fresh attention. His posthumous work has also won attention from prominent critics. New comparisons with other international writers have been drawn in terms of subject matter, themes and philosophy. The expansion of critical attention into fields like photography and film opens new possibilities for enhancing further appreciation of his work. White’s interest in public issues such as the treatment of Australia’s Indigenous peoples, human rights and Australian nationalism is refracted through the inclusion of relevant commentaries from notable contributors. For the first time in Australian literary history, Indigenous scholars have participated in a celebration of the work of a white Australian writer. All of this highlights a new direction in White studies—the appreciation of his stature as a public intellectual. The book demonstrates that White’s legacy has limitless possibilities for further growth.
James Joyce: A Guide to Research, first published in 1982, is a selective annotated bibliography of works by and about James Joyce. It consists of three parts: the primary bibliography – which includes separate bibliographies of Joyce’s major works, of scholarly editions or collections of his works of his letters, and of concordances to his works; the secondary bibliography – which includes bibliographies of bibliographical, biographical, and critical works concerning Joyce generally or his individual works; and major foreign-language studies. This title will be of interest to students of literature.