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Eudora Welty and Virginia Woolf : gender, genre, and influence

Auteur : Suzan Harrison
Éditeur : Baton Rouge : Louisiana State University Press, ©1997.
Collection : Southern literary studies.
Édition/format :   Livre : Publication gouvernementale provinciale ou d'état : AnglaisVoir toutes les éditions et les formats
Base de données :WorldCat
Résumé :
"The pleasures of reading," writes Eudora Welty, are "like those of a Christmas cake, a sweet devouring." Suzan Harrison here examines Welty's "devouring" of the works of Virginia Woolf and the ways in which Welty assimilates and transforms in each of her major novels the concerns she inherited from Woolf. Harrison avoids the implication of direct imitation. Rather, drawing on Mikhail Bakhtin's theories of the novel
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Détails

Genre/forme : History
Personne nommée : Eudora Welty; Virginia Woolf; Eudora Welty; Virginia Woolf; Eudora Welty; Virginia Woolf; Eudora Welty; Virginia Woolf
Type d’ouvrage : Publication gouvernementale, Publication gouvernementale provinciale ou d'état
Format : Livre
Tous les auteurs / collaborateurs : Suzan Harrison
ISBN : 0807120952 9780807120958
Numéro OCLC : 34996217
Description : xii, 158 p. ; 24 cm.
Contenu : Introduction: "A Sweet Devouring" --
I. Qualified Pastorals: Delta Wedding and To the Lighthouse --
II. Historical Fantasies and Fantastic Histories: The Robber Bridegroom and Orlando --
III. Feminine Epics: Losing Battles and The Waves --
IV. Elegiac Carnivals: The Optimist's Daughter and To the Lighthouse --
V. Orality, Textuality, and Pleasure.
Titre de collection : Southern literary studies.
Responsabilité : Suzan Harrison.

Résumé :

"The pleasures of reading," writes Eudora Welty, are "like those of a Christmas cake, a sweet devouring." Suzan Harrison here examines Welty's "devouring" of the works of Virginia Woolf and the ways in which Welty assimilates and transforms in each of her major novels the concerns she inherited from Woolf. Harrison avoids the implication of direct imitation. Rather, drawing on Mikhail Bakhtin's theories of the novel and his concept of dialogism, as well as various feminist theoretical perspectives, she describes Woolf's influence on Welty as a creative, awakening force that led to her own development as an artist.

In each chapter, Harrison considers a pair of novels, one by Woolf and one by Welty, exploring the dialogues between the two works and illustrating a particular strategy used by these authors to appropriate and revise traditional masculine discourse. Most notable are their portrayal of women, experimentation with multivoiced narrative structures, incorporation of other genres into the context of their novels, and construction of new images of the female artist. To the Lighthouse, Delta Wedding, Orlando, The Robber Bridegroom, The Waves, Losing Battles, The Optimist's Daughter - Harrison covers all these novels, tracing in those by Welty a maturing artistic vision and independence.

By reading Eudora Welty in tandem with Virginia Woolf, Harrison locates Welty's fiction in the tradition of modernism and emphasizes Welty's interest in extending the boundaries of the novel as a genre - features of her work that are obscured by her categorization as a southern writer. Harrison succeeds in creating a new context - one of writers and literary trends outside the South - in which to read Welty's novels while also providing a new vantage point from which to regard Woolf's artistic achievement. Her book deserves the close attention of readers of Welty's and Woolf's fiction as well as scholars of feminist literary criticism, genre studies, and cultural studies.

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