Literatuur Wetenschappen

Essays over aspecten van het werk van de Nederlandse auteur (1921-1995).

In this innovative study, Carol Thysell provides an in-depth examination of Marguerite de Navarre's Heptameron. While this collection of tales is traditionally considered to be secular in nature, Thysell argues that Marguerite de Navarre used it as a vehicle for a constructive theological programme.

Samuel Johnson was concerned with young people's susceptibility to misleading models drawn from fiction: himself brought up on chivalric romance, he remained "immoderately fond" of it through his life, and this study traces the effects of such un-privileged popular literature on both Johnson's writing and on its biographical context. The first chapter categorizes elements in romance, and illustrates them from romances Johnson knew well. A biographical chapter follows, showing chronologically the evidence for Johnson's involvement with romance. This evidence includes his work on the Harleian collection, his sense of himself as an "adventurer" of literature, and as a Quixote, and his use of Cervantean, or mock-romantic, material in all his fiction. We see his collaboration with such medievalists as the Wartons, Collins and Percy, and his remarkable use of romance quotations in the Dictionary. We consider the ambivalence of his response to romantic elements in literature, above all in Shakespeare, and end by briefly pointing out Johnson's pleasure in romantic landscapes and ruins. Johnson's most striking romance imagery of, for instance, quest journeys, sieges, tyrants, dungeons, enchanters, phantoms, and disappearing castles, is found in the periodical essays. Moreover, networks of specifically romance connotations can often be supported by illustrations from the Dictionary. The opening landscape of the Vanity of Human Wishes is a perfect example, and is demonstrably linked to a passage in Palmerin of England. Chapter four expands the Quixote theme: Johnson was unusual in his sympathy for Quixote, and clearly identified with him. Whether exploring the seductive delusions of imagination, or actual madness, whether satirizing through mock-romance and mock-pastoral, or otherwise using the pattern of heroic aspiration followed by bathetic fall, the Vanity of Human Wishes, the periodical essays, and Rasselas are pervaded by Cervantean themes. The popular persona of Johnson as a reductive empiricist is challenged by exploring his powerful response to romance images in every kind of literature. Criticism cannot systematize the transgressive "enchantresses of the soul" that attract the reader against his better judgment in the "illustrious depravity" of Dryden's hero Almazor, in Eloisa, Pope's erotically gothic nun, or in the "licentious variety" which makes Shakespeare irresistible. Johnson spells out his dilemma, in describing "the power of the marvelous, even over those who despise it." In Scotland, Johnson found the remains of the lost feudal world of Macbeth, of abbeys, hermitages, castles and arbitrary power, of violence and luxury, and, in a riot of romantic role-playing, concluded that "the fictions of romantick chivalry" had their basis in history. Throughout his writing, however, Johnson is always ambivalent about romance, and it is his prudent rejection of its seductive dangers that has tended to be stressed by successive generations of critics. This study aims to redress the balance.

Adelaide Proctor (1825-1864) is one of the most important 19th-century women poets to be assessed by literary critics in recent years. She was a significant figure in the victorian literary landscape. A poet (who outsold most writers bar Tennyson), a philanthropist and a Roman Catholic convert, Procter committed herself to the cause of single, fallen and homeless women.

Political and social change during Woolf's lifetime led her to address the role of the state and the individual. Michael H. Whitworth shows how ideas and images from contemporary novelists, philosophers, theorists, and scientists fuelled her writing, and how critics, film-makers, and novelists have reinterpreted her work for later generations. - ;During Virginia Woolf's lifetime Britain's position in the world changed, and so did the outlook of its people. The Boer War and the First World War forced politicians and citizens alike to ask how far the power of the state extended into the lives of individuals; the rise of fascism provided one menacing answer. Woolf's experiments in fiction, and her unique position in the publishing world, allowed her to address such intersections of the public and the private. Michael H. Whitworth shows how ideas and images from contemporary novelists, philosophers, theorists, and scientists fuelled her writing, and how critics, film-makers, and novelists have reinterpreted her work for later generations. The book includes a chronology of Virginia Woolf's life and times, suggestions for further reading, websites, illustrations, and a comprehensive index. - ;this fine study...produces a fresh portrait of Woolf and her multi-faceted contributions to English letters. The book's presentation of modern British literary and cultural history makes it a rich resource for Woolf scholars and an illuminating introduction for students - Woolf Studies Annual, Volume 12 d

Throughout Virginia Woolf’s life and fiction, interruptions arouse inventive impulses, and such disorienting moments constitute, in the author’s view, a key aspect of Woolf’s experimental intention. To remain open to the shock of unmediated experience, what Woolf calls its “anarchy and newness,” is to recognize and celebrate the random diversity of modern life. Those of her characters who allow the chaotic intrusion of events or people to reshape expectations emerge as her most creative heroines. Those who voice distaste for interruption, and succumb to a protective impulse to close themselves off, invariably fall back into postures of self-supporting insularity. In widening perception, the impact of discontinuity occasions a more communal view of art and society—a shift from “I” to “we.” Woolf’s recurring impulse to break derived sequences of art and politics reveals a growing critique of something more fundamental than either patriarchal hierarchy or what Leonard Woolf described as “bourgeois Victorianism.” In the manner of anarchism, she comes to question those presumptions that underlie the theory of governance itself. Central to all her thinking is the revelation of interruption, heralding change, and the growing expectation that society is on the verge of radical transformation. The author studies each novel in turn, showing how the issues that motivated Woolf as a creative writer gradually developed in complexity—from The Voyage Out and its attempt to cultivate the art of doing nothing to Between the Acts and its vision of an egalitarian society where each new interruption emerges with a promise of renewal.

This biography tells the story of Virginia Woolf's last ten years, from the creation of her great visionary novel, The Waves, to her suicide in 1941. Herbert Marder looks closely at Woolf's views on totalitarianism and her depictions of Britain under siege to create a remarkable portrait of a mature and renowned writer during a time of rising fascist violence. The Measure of Life suggests that Woolf anticipated her suicide, and indeed enacted it symbolically many times before the event. Marder's account of her death emphasizes the importance of her relationship with her doctor and distant cousin, Octavia Wilberforce. Wilberforce's letters about Woolf's last months, including some previously unpublished passages, appear in the appendix. Staying close to the spirit of Woolf's own writing, Marder traces her evolving social consciousness in the 1930s, connecting her growing concern with politics and social history with the facts of her daily life. He stresses her endurance as a working writer, and explores her friendships, her complex relations with servants, and her activities at the Hogarth Press.