Virginia Woolf and the European Avant-Garde:London, Painting, Film and Photography

Preface 

ACKNOWLEDGEMENTS
 
LIST OF ABBREVIATIONS 

PROLOGUE Androgynous Woolf

Re-discovering Woolf: an Androgynous Textuality 

Woolf’s Art and the Visual 

Woolf and Her London 

The Aesthetics of the Urban Gaze 

CHAPTER ONE  Virginia Woolf and the Significance of the Eye
 
Introduction 

Reading Virginia Woolf and the Visual 

Woolf’s Roger Fry and Post-Impressionist Psychology 

Bell’s Significant Form and Woolf 

Woolf’s Hybrid Approach 

Woolf’s Dual Vision in the Urban Space 

Gendering the Urban Gaze 

Conclusion 

CHAPTER TWO  The Painter’s Eye in Writing: the James   Brothers and Woolf’s Experimental Practices 

Introduction 

William James’s Stream of Thought 

Henry James’s Impressionist Paris, Pictorial London, and Woolf’s Response

Walking‘a Map of Emotions’: Woolf’s London in Night and Day 

Painting in Writing: Woolf’s Experimental Short Fictions 

Conclusion 

CHAPTER THREE The Dialectic of Time in Film Form: Mrs Dalloway and ‘The Cinema’ 

Introduction 

Part I: The Art of the Cinema in Philosophy and Literature – Bergson, Deleuze and Woolf 

Part II: The Gaze, Montage and Time in Mrs Dalloway 

Part III: The Caligari Connection in Clive Bell and  Virginia Woolf 

Conclusion 

CHAPTER FOUR  Photography in The Years and Three Guineas 

Introduction 

Part I: Virginia Woolf and Victorian Aesthetics 

Part II: The Maternal Imaginary and the Gaze – Barthes and Irigaray 

Part III: Photography in The Years and Three Guineas ‘Her face, as if bathed in inner light, …’:

Conclusion 

Epilogue  The Bodiless and the Invisible: Woolf’s Psychological London 

BIBLIOGRAPHY