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Virginia Woolf

Virginia Woolf. MODERNISM. Period from early 1900s to roughly 1965 Sudden and unexpected breaks with traditional ways of viewing and interacting with the world. Experimentation and individualism became virtues. Modernism. The guiding principles of this movement were:

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Virginia Woolf

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  1. Virginia Woolf

  2. MODERNISM • Period from early 1900s to roughly 1965 • Sudden and unexpected breaks with traditional ways of viewing and interacting with the world. • Experimentation and individualism became virtues

  3. Modernism The guiding principles of this movement were: -a break from old traditions, -continual advancement -and the fact that art should be valued for being art

  4. Activity • Write down one observation of your partner • Talk to your neighbor…what they did over winter • break of summer break • write down one line from your conversation that you remember • Look at a word in the sentence. What association do you have? • Look at one spot in the room write down what you see. What does it remind you of? • Ask another person what they did during the freeze out.Write down one sentence • Where were you happiest? • write down one memory from middle school in three words.

  5. Stream-of-consciousness • Writers who create stream-of-consciousness works of literature focus on the emotional and psychological processes that are taking place in the minds of one or more characters. • Important character traits are revealed through an exploration of what is going on in the mind.

  6. Experimental Form • No traditional plot structure and no characterization in the accepted sense. • The action takes place in the mind of the characters. • It captures the fragmented aspects of our mind and the way we think.

  7. Modernism was set in motion through a series of cultural shocks • Both World Wars shell shocked most of the world • People worried about the future of the world

  8. Main tenets • Concern with the inner self and consciousness • Unlike the Romantics, the Modernist cares little for Nature • Modernist intelligentsia sees decay and a growing alienation of the individual. • Modern society is seen as impersonal, capitalist, and antagonistic to the artistic impulse.

  9. Tenets • In modernism, God became useless. • life had lost its mystery. Man, not God, could rule the world. • Irving Howe, a literary critic, once talked about modernism as an "unyielding rage against the existing order". (Van Dusen, 1998)

  10. Modernism is a rejection of tradition and a hostile attitude toward the past. • Modernism preoccupied with the meaning and the purpose of existence. • They are in search of new values and in something new. • Modernism first took place in the Jazz age and/or the roaring twenties

  11. Art • Modernism was the beginning of the distinction between “high” art and “low” art. • Pablo Picasso, best known for Cubism • Salvador Dali, a surrealist painter, • Marcel Duchamp, • Pointillist George Seurat, • Jackson Pollock • Willem de Kooning

  12. Wassily Kandinsky Russian Painter 1866-1944

  13. “Kandinsky removed all traces of the physical world from his paintings, to create a nonobjective art that bears no resemblance to the natural world. In suggesting that he "painted . . . subconsciously in a state of strong inner tension," Kandinsky explicitly expressed a distinguishing quality of modern Western art--the artist's private inner experience of the world. Such a theme serves as a working definition of modernism itself.+ • 2000 Steven Kreis- The History Guide

  14. The Imagist Poets • Sought to boil language down to its absolute essence. They wanted poetry to concentrate entirely upon “the thing itself.” • Replaced romantic, pastoral poetry of the previous generation • New subject matters…burst poetry open

  15. Modernist Poets • T.S. Elliot The Waste land • Loss of traditional structure • Resembles prose • Concern with the individual, not nature

  16. Literature • The Lost Generation • Lost Generation struggled to find some meaning in the world in the wake of chaos. • This was chievedby turning the mind’s eye inward and attempting to record the workings of consciousness.

  17. Experimentation with genre and form • Stream-of-consciousness • Writers looking inward, not outward • Psyhchology also contributed to the question of what constituted truth and reality

  18. Writers • Gertrude Stein, • Ernest Hemingway • F. Scott Fitzgerald, • Joyce

  19. James Joyce

  20. http://www.youtube.com/watch?v=GN_lpbEOzbM

  21. Chapter 1 • Interplay between external world and characters’ consciousness • Style emphasizes importance of the inner life of character • Reproducing thought process

  22. Omniscient Narrator • drifts from consciousness to consciousness in the book • residing for part of a sentence exclusively in one mind and then exclusively in another.

  23. Do we know where we are? • No….not right away. Internal thoughts take precedence over external surroundings Let’s trim out everything except the dialogue from pages 3-16

  24. Homework • For Thursday Read Chapter 2 and 3 • Mark up the passage on ch. 3 for close reading discussion on THursday • For Friday: study guides 3,4,5

  25. What is effective • How does shifting pov and stream of consciousness contribute to Woolf’s purpose? • What is effective? • What is lost?

  26. 'Yes, of course, if it's fine to-morrow,' said Mrs Ramsay. 'But you'll have to be up with the lark'... • 'But,' said his father . . . 'it won't be fine.' • 'But it may be fine - I expect it will be fine,' said Mrs Ramsay . . . • 'It's due west,' said the atheist Tansley . . . • 'Nonsense,' said Mrs Ramsay . . . • 'There'll be no landing at the Lighthouse to-morrow,' said Charles Tansley . . . • 'Would it bore you to come with me, MrsTansley?' • 'Let us all go!' she cried . . . • 'Let's go,' he said. • 'Good-bye, Elsie,' she said. (pp.3-16)

  27. Ch. 3 • Read the passage on p. 14. • Note the strongest word as we read it again. • Share with group the different emotional association she had and how they support the progression of Mrs. R’s thoughts. • Class thoughts… • Read lecture

  28. Ch 3 • P.15 What causes Mrs. Ramsey terror? • The passing of time • The characters can react emotionally to what is going on in her imagination, but people cannot do very uch to order or control that world.

  29. Themes • Truth (at what cost?) • Passing of time (permanence and change) • Meaning of Life • Memory and the past • Gender Roles • Intellect vs. Intuition • The Book is built around views. Perception (views) • How the viewer looks at the known • How one looks at another • How man looks at nature • How the artist looks at life

  30. Gender roles • P. 5-6 What is her view of men? • How is it different from her daughters? P

  31. Mr. Carmichael • His pov on p. 9 • What do we learn about him?

  32. Mr. Tansley and Mrs R’ views of each other?

  33. Homework for Monday • Read chapters 6,7,8: • Bring in one quote for each character portrait: Type if possible/include chapter and page. • Mr. Ramsay • Mrs. Ramsay

  34. “How then did it work out, all this? How did one judge people, think of them? How did one add up this and that and conclude, that it was liking one felt, or disliking?” Lily p. 22

  35. Character Portraits • Find quote • Print clearly on blank paper • Glue or tape it to your character

  36. Find 1 passages each that express the characters views on the following • Group 1: Lily • Group 2: Mr. Bankes • Group 3 Mrs Ramsay • Group 4 Mr. Ramsay • Group 5 Theme of Time (ch.4) • Group 6: The artistic process (end of ch. 3 & 4)

  37. Mr. Tansley “He was an awful prig-oh yes, an insufferable bore.” -Mrs Ramsay “It was him-his point of view. His acid way of peeling the flesh and blood off everything” -The children Charles Tansley felt an extraordinary pride; felt the wind and the cyclamen and the violets for he was walking with a beautiul woman for the first time in his life. He had hold of her bag.

  38. Ch 4 • What are Lily’s views of Mrs. Ramsay? • What does Mr. Bank think of Mr. R? • “Somone had blundered” • A line from the Tennyson’s Charge of the Light Brigade • Did someone blunder? Who?

  39. Read 9-10 Ch 9: • What qualities in Mrs Ramsay does Lily dislike and why? • How are they different? 3. What different aspects does the painting represent at the end of this chapter? 4. Ch. 10: What are Mrs. R’s feelings toward her children? 5. What causes Mrs. R anxiety?

  40. Homework Tuesday: 9-10 (answer questions Wed:Test To The Lighthouse 1-10 • Multiple choice • Vocab • Modernism • Characters Thursday: groups 12-16 Friday: Work on scenes for Dinner Party scene ch. 17

  41. Themes ch. 4 p.17 Art? self-doubt (Lily) “But this is what I see. This is what I see.” p. 19 Time? …both of them looked at the dunes far away, and instead of merriment felt come over them some sadness- because distant views seem to outlast by a million years (Lily thought) the gazer… p. 22-23 contradictory views of people “How then did it work out, all this. How did one judge people, think of them.?” “Pretty Pretty”… Mr. R as seen by Bankes.

  42. Gender Roles and Marriage 6-8The same moment seen through the subjective reality of different characters (no objective narrator telling us what to think.) • Quick write: • How does Woolf depict stereotypical gender roles in these chapters? Or, how would you describe gender relations as viewed in these chapters? THENfrom homework • Write your quote down on a post it note (chapter and page #) and place it on the portrait ch. 6 on top 7 in middle 8 at the bottom (your name)

  43. Ch 6 Mrs. R: How does she view her role? • How does Woolf reveal traditional gender roles in this chapter? Mrs. R • She is the domestic center of the family • Worries about husband and children • See’s his work as more important

  44. Mr R ch. 6: What are his views toward women? • Thinks women are irrational (29) • But later shamed by her silence • Fear of failure (won’t reach r) • Rock will outlast Shakespeare • Restored by image of wife and family. • (How is he like Lily?) • Needs to be alone to do work • Thinks of work as a way to outlive mortality • vision

  45. Ch 6 • What is his confidence crisis? • What do we learn about their relationship p. 30 • “She was not good enough to tie his shoe strings.” (she felt) • He was safe, he was restored to his privacy. (Mr. R’s thoughts)

  46. Ch. 6 • What is with the alphabet? • What does Mr. R fear?

  47. Ch. 7 • Mrs. R What toll does her role take? • Sees that he needs sympathy • P. 35: So boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by… • P. 36: Unable to tell him the truth about the house’s disrepair. • Didn’t want others to see him come to her.

  48. Ch. 7 • Mr. R: • “I am a failure” • James resents father’s need for mother.

  49. Ch. 8 • Mrs. R Feels Rebuffed by Mr. C’s apathy towards her beauty. Wonders if her good deeds are based on vanity? Mr. R wraps himself with the praise of others, although he feels that his professional and intelligent façade is all a disguise.

  50. Ch 8 • Art and Time • 40-41 • Mr. R worries about his legacy

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