From Impressionist Paris to Post-Impressionist London: Henry James's and Virginia Woolf's "Painting-In-Writing"  

Oleh:

Lin, Tzu Yu Allison

Jenis: Article from Journal - ilmiah internasional
Dalam koleksi: Fu jen studies: literature & linguistics no. 44 (2011), page 1-27.
Topik: Virginia Woolf; Henry James; Impressionism; Post-Impressionism; Paris; London

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Perpustakaan Pusat (Semanggi) Nomor Panggil: FF10.4 Non-tandon: 1 (dapat dipinjam: 0) Tandon: tidak ada

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This paper presents Henry James and Virginia Woolf's art of writing in terms of the relation between Impressionism and Post-Impressionism by analyzing the consciousness of two protagonists: Strether in James's Paris is an Impressionist painting in words: his character walks and observes the city, internalizing the external spheres into the mind. By contrast, Woolf's London indicates an expression from within, demonstrating the character's mood, emotion and feeling. James's writing highlights the Impressionist way of seeing, using visual sensations to depict "the center of consciousness," aiming to present the moment of revelation. The external world exists as one's own "process of vision" and perception. Wolf's "painting-in-writing" technique, on the other hand, externalizes her character's "inner world" as the mood of the city. Using shapes, lines and colors in words, Woolf is able to bring out the sense of "suggestiveness" in literature, in a way which James's writing does not show. Woolf's novel reveals a transformation of narrative style from Impressionism to Post-Impressionism. The viewer can see the parallel movement between visual and verbal arts, as Monet paints what he sees, and Cezanne portrays what he feels.

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