Please use this identifier to cite or link to this item: http://arks.princeton.edu/ark:/88435/dsp01t435gc99r
DC FieldValueLanguage
dc.contributor.authorShin, Jacquelineen_US
dc.contributor.otherEnglish Departmenten_US
dc.date.accessioned2011-11-18T14:39:18Z-
dc.date.available2011-11-18T14:39:18Z-
dc.date.issued2011en_US
dc.identifier.urihttp://arks.princeton.edu/ark:/88435/dsp01t435gc99r-
dc.description.abstractIn <italic>Picturing Repose: Between the Acts of British Modernism</italic>, I attempt to retell the dominant and widely accepted story of modernism by considering the importance and prevalence of a "dream of rest" within the shock-effects of modernity. Exploring hitherto overlooked "spaces of time" between the major acts of the period before, during, and after the Second World War in Britain, I offer an alternative to Theodor Adorno's desperate description of modern life as a series of "empty, paralysed intervals" between "a timeless succession of shocks." Instead, I uncover the complex and often consolatory counter-pressures exerted by, and within, such intervals. Through an agile play with sightlines, framing, and visibility that resists a transfixing and anaesthetizing flatness, the works of Virginia Woolf, Elizabeth Bowen, Graham Greene, and artists associated with them offer not simply escapes from, but also resources for counterbalancing, a reality that is experienced as in some way overwhelming or exhausting. Connecting literary works with painting, photography, film, and statuary, I trace the mobility of late modernist aesthetic practices. Unfolding in three "acts" that address unsettled vision, intensities of vision, and dynamic vision, <italic>Picturing Repose</italic> proposes that any account of modernism -- and of late modernism in particular -- needs to be wide enough to encompass something more consolatory than the trauma and despair that have largely come to define it. The dominant story about the period, which tells us of fragments shored against ruin, of a relentless barrage of shock and violence, and which largely denigrates what Greene calls "ways of escape," is correct in intertwining modernism and violence, yet the dream of rest that I consider challenges the heroic and anti-escapist underpinnings of much modernist writing and criticism. Woolf, Bowen, and Greene, I suggest, in drawing upon tactics of disorientation that refuse to let the reader settle, unexpectedly yoke together an aesthetics of shock and repose in ways that oppose habitual vision.en_US
dc.language.isoenen_US
dc.publisherPrinceton, NJ : Princeton Universityen_US
dc.relation.isformatofThe Mudd Manuscript Library retains one bound copy of each dissertation. Search for these copies in the <a href=http://catalog.princeton.edu> library's main catalog </a>en_US
dc.subjectBowenen_US
dc.subjectGreeneen_US
dc.subjectmodernismen_US
dc.subjectreposeen_US
dc.subjectresten_US
dc.subjectWoolfen_US
dc.subject.classificationBritish and Irish literatureen_US
dc.subject.classificationFine artsen_US
dc.titlePicturing Repose: Between the Acts of British Modernismen_US
pu.projectgrantnumber690-2143en_US
Appears in Collections:English

Files in This Item:
File Description SizeFormat