THE PICTORIAL BEGINNING IN THE WORKS OF VIRGINIA WOOLF
The article examines the examples of interaction between pictorial arts and literature in Virginia Woolf’s writing. The British writer often used painting language as a source of renewal of fictional inventory. The paper analyzes different cases of intermedial interactions on the level of form (borrowing particular qualities of a genre in combination with peculiarities of composition characteristic of this genre, painting technique and tools) and content (allusions to certain paintings or popular topos, used by artists of different epochs, movements and schools).
Keywords: Virginia Woolf, intermediality, visual poetics of the prose, allusions, impressionism in the literature, effect of the picture frame
References:
1. Louvel L. Telling “by” Pictures: Virginia Woolf’s Shorter Fiction. The Journal of the Short Story in English. Presses universitaires d’Angers, 2008, no. 50, p. 29–40.
2. Tishunina N.V. The Western European symbolism and the problem of interaction of arts: practice of intermedial analysis. Saint Petersburg, 1998. P. 4 (in Russian).
3. Wheelock A. Vermeer: the Complete Works. Harry N. Abrams, 1997. 72 p.
4. Woolf V. The Slater’s pins have no points. A Haunted House and Other Short Stories. Mariner Books, 2002. P. 25–29.
5. Kuklev V., Rovner A. Encyclopedia of symbols, signs and emblems. Moscow, 1999. P. 409 (in Russian).
6. Woolf V. Three Pictures. A Haunted House and Other Short Stories. Mariner Books, 2002. Pp. 35–38.
7. Woolf V. The Lady in the Looking-Glass. A Haunted House and Other Short Stories. Mariner Books, 2002. Pp. 41–44.
8. Woolf V. A Haunted House. A Haunted House and Other Short Stories. Mariner Books, 2002. Pp. 30–31.
9. Woolf V. The Waves. Wordsworth Editions Limited, 2000. 192 p.
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( 1.19 MB )
Issue: 7, 2014
Series of issue: Issue 7
Rubric: RUSSIAN AND FOREIGN LITERATURE: PROBLEMS OF TRANSLATION, HISTORY AND POETICS
Pages: 211 — 217
Downloads: 1433