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Visuality and Spatiality in Virginia Woolf's Fiction
No full textThis book offers an interpretative key to Virginia Woolf???s visual and spatial strategies by investigating their nature, role and function. The author examines long-debated theoretical and critical issues with their philosophical implications, as well as Woolf???s commitment to contemporary aesthetic theories and practices. The analytical core of the book is introduced by a historical survey of the interart relationship and significant critical theories, with a focus on the context of Modernism. The author makes use of three investigative tools: descriptive visuality, the widely debated notion of spatial form, and cognitive visuality. The cognitive and remedial value of Woolf???s visual and spatial strategies is demonstrated through an inter-textual analysis of To the Lighthouse, The Waves and Between the Acts (with cross-references to Woolf???s short stories and Jacob???s Room). The development of Woolf???s literary output is read in the light of a quest for unity, a formal attempt to restore parts to wholeness and to rescue Being from Nothingness
Incest as Form and the Identity Taboo according to Angela Carter
No full textThis paper analyses Angela Carter’s desecrating tendency to taboo-breaking in thematic and formal terms. By referring to her short-fiction production and focusing on “John Ford’s ’Tis Pity She’s a Whore”, I intend to show how gender/patriarchal and genre/authorial taboos are similarly broken and transmuted into daringly subversive outcomes. In line with her feminist agenda and postmodern transformism, Carter superbly challenges, sabotages, violates, de- and re-constructs traditionally codified sexual and gender taboos by mimicking such reversals through new narrative solutions. If diversity, multiplicity and change guarantee the continuity of life, incest can easily metaphorise a taboo relationship based on repetition of the identical, sameness, and immobility, to be finally transformed, if not avoided. Consistent with many of her female characters’ incestuous relationships with parents or siblings, Carter also establishes incest-like relationships with previous authors and narrative discourses, which she predatorily appropriates. Carter’s resulting narrative testifies to the fact that taboos must be first experienced to be eventually broken. It is in the dialectic between rule and infraction, taboo and its violation that Carter’s writing is rooted, constantly looking for borders to be crossed
Recensione al volume: "La scrittura romanzesca nella letteratura inglese", a cura di Vito Cavone e Luisa Pontrandolfo, Ravenna, Longo Editore, 2012
No full text
«The Triple Visual Modality of The Waves by Virginia Woolf»
No full textThe analysis focuses on Woolf's "The Waves", which seems to be informed by a complex kind of visual modality consisting of three components. The first deals with the level of formal structure and involves a formal comparison with spatial arts. The second, and most explicit, is related to Woolf's strong visual sensibility and, hence, to the verbal translation of visual stimuli in order both to describe the phenomenal world and to convey an emotive complex by means of images. The third relates to the gnoseological dimension of the gaze-modality structuring the whole text and representingc the inquiry into the essence of reality
«To the Lighthouse»: The Remedial Function of the Visual and the Spatial
No full textIn this paper I mean to focus on To the Lighthouse and investigate how Woolf develops the relationship between her quest for truth and her investigation into the role of art, as well as her use of visual and spatial strategies. In this novel visuality is all-pervading since painting is widely thematized and exploited as meta-literary discourse in order to shed light upon the motivations and the creative process of literature itself. Painting, seeing and spatial writing are entrusted to women and closely related: seeing is firstly a way of developing awareness of otherness and of establishing relationships (Mrs Ramsay); seeing is then translated into a picture which provides formal wholeness and heals a deep sense of mourning and loss (Lily); the picture is itself contained in, and equals the novel which reaches the same goal by employing similar formal strategies (Woolf). Such relational strategies are all remedial in that they build up union and continuity opposing separation and death
“Un senso di appartenenza: classe sociale e discriminazione negli adattamenti filmici di Pride and Prejudice di Jane Austen”
No full textAnima mundi. Per una lettura ecopacifista di Virginia Woolf
No full textThis paper means to illustrate how Woolf’s macrotext can be read according to an ecopacifist perspective. By focussing first on the pacifism of Three Guineas and then by analysing the environmentalist contents that variously characterize her fiction (both short and long), I intend to shed light on the close relationship between Woolf’s interests in pacifism, feminism and nature as related to her deep sensitivity towards, and respect for, otherness and difference. Her works widely testify to her ecosystemic sensibility and thus encourage serious reflections on current and global issues about power dynamics related to society, politics, gender and the environment, which concurrently fosters a metanarrative consideration on author-ity
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