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Virginia Woolf, Modernism and the Visual Arts

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Virginia Woolf, Modernism and the Visual Arts Merja Kaipiainen Virginia Woolf, Modernism and the Visual Arts University of Tampere School of Modern Languages and Translation Studies Licentiate’s Dissertation in English Philology February 2006 Tampereen yliopisto Kieli- ja käännöstieteiden laitos Merja Kaipiainen: Virginia Woolf, Modernism and the Visual Arts Lisensiaatintutkimus, 208 s., liite 4 s. Englantilainen filologia Helmikuu 2006 ———————————————————————————————————— Virginia Woolf, Modernism and the Visual Arts -tutkimuksessa etsitään vastaavuuksia Virginia Woolfin romaaneista ja kuvataiteista modernismin viitekehyksessä. Tutkittavat teokset ovat Woolfin kokeelliset romaanit Jacob’s Room (1922), Mrs Dalloway (1925), To the Lighthouse (1927), The Waves (1931) ja Between the Acts (1941). Tutkimukseni käsitttelee modernismin käyttämiä keskeisiä esteettisiä keinoja Woolfin teoksissa, maalaustaiteessa, valokuvassa ja elokuvassa. Toinen tärkeä aihepiiri on feminiininen modernismi ja naistaiteilijat. Tutkimuksen teoreettisena viitekehyksenä ovat kirjallisuustieteen ja taidehistorian tutkimus sekä feministinen teoria. Erityisesti narratologinen teoria (Bal, Genette, Friedman, Rimmon-Kenan, Uspensky) ja kuvan ja sanan välisten suhteiden tutkimus ovat keskeisiä teoreettisia apuvälineitä esteettisiä piirteitä tarkasteltaessa. Tutkimuksessa käytetään myös muuta soveltuvaa teoriaa, esim. metaforan, valokuvan ja elokuvan analyysejä. Tutkimukseni ensimmäisessä osassa selvitetään modernismin keskeisiä piirteitä kirjallisuudessa ja kuvataiteissa. Toisessa pääluvussa tutkin eräitä modernismin ideoita, jotka liittyvät aikaan ja tilaan. Aika on kirjallisuuden peruselementti ja tila puolestaan kuvataiteen tärkeä elementti. Moderni maalaustaide oli läheisessä vuorovaikutuksessa modernistisen kirjallisuuden kanssa, ja kirjallisuudessa esiintyy samanlaista fragmentaarisuuden ja samanaikaisuuden esittämistä kuin kuvataiteissa. Esimerkiksi kubismissa ja Virginia Woolfin teoksissa on havaittavissa samanaikaisuuden kuvaamista ja moniperspektiivisyyttä, mutta hänen romaaneissaan eri tavalla käsitettyinä ja esitettyinä kuin maalaustaiteessa. Samanaikaisuus on yksi “tilallisen muodon”(Joseph Frankin termi spatial form) ilmentymä Woolfin modernistisissa romaaneissa, ja tutkimukseni päätyy toteamukseen, että spataalisuus on Woolfilla ainoastaan efekti, jonka kirjailija luo käyttämällä erilaisia kirjallisia tekniikoita. Siten spatiaalinen muoto täytyykin aina käsittää metaforisesti, koska kirjallisuuden on kielen lineaarisuudesta johtuen aina tyydyttävä kuvaamaaan tilaa ja samanaikaisuutta ainoastaan mielikuvina, joista lukija muodostaa tilakokemuksensa. Kuvataiteissa, erityisesti futurismissa, puolestaan pyrittiin kuvaamaan kirjallisuuden keskeistä elementtiä aikaa. Woolfin romaanit muistuttavat elokuvaa, koska molemmissa aika on ominaispiirre, johon nämä taidemuodot perustuvat. Olen analysoinut romaanien aikarakenteita käyttäen apunani Gérard Genetten jaottelua (analepsis, prolepsis). Myös elokuvakerronta rakentuu näille samoille muistelua ja tapahtumien ennakointia ilmentäville tekniikoille, joita elokuvatutkimuksessa on kutsuttu nimillä takauma ja ennakointi. Etenkin Jacob’s Room -romaanissa Woolf käyttää elokuvan montaasitekniikkaa. Yhdistän tutkimuksessani mm. valokuvan, impressionistisen maalauksen ja Woolfin hetkien kuvaamisen. Woolfin teoksista löytyy yhtäläisyyksiä James Joycen teoksien 2 yhteydessä käytetylle käsitteelle “epihanic moment”, joka on eräänlainen uskonnollisluonteinen elämyksellinen oivalluksen hetki. Liittän tämän “epifaanisen hetken” Henri-Cartier Bressonin valokuvan oivalluksen hetkeen, jota hän kutsuu “ratkaisevaksi hetkeksi”. Sekä Cartier-Bressonin, Woolfin että impressionistien hetkessä on sama haihtuvuuden ja hetkellisyyden ajatus kuin Baudelairen kuvauksissa modernin kokemuksen luonteesta. Eräs keskeinen kysymys tutkimuksessani on sanan ja kuvan suhde Virginia Woolfin romaaneissa. Tutkimuksessa todetaan, että Woolfin teksteistä on mahdollista löytää vastineita visuaalisille kuville erilaisten kirjallisten keinojen avulla. Näitä keinoja ovat esimerkiksi kuvaus, metafora ja ekfrasis. Tutkimuksen kolmannessa osassa tarkastelen mm. Woolfin teosten yhteyksiä symbolismiin ja surrealismiin, Woolfin teosten monimerkityksellisyyttä ja metaforisuutta. Metaforisuus nähdään eräänä visuaalisuuden piirteenä Woolfilla, ja metafora ymmärretään mentaalisen kuvan verbaalisena kuvana Mieke Balin määritelmän mukaan. Esimerkiksi To the Lighthouse -romaani käsitetään kokonaisuutena mentaalisena kuvana, metaforana, jossa rinnastuu kaksi toisiinsa liittymätöntä kuvaa. Modernissa kuvataiteessa, esim. Marcel Duchampin teoksissa, metaforisuus liittyy ironiaan tai naissurrealisteilla ja Woolfin romaanin To the Lighthouse Mrs Ramsayn hahmossa luonnosta kumpuavaan luovuuteen. Työni neljännessä osassa etsin feminiinisen modernismin representaatioita Berthe Morisot’n, Mary Cassattin, Gwen Johnin ja Vanessa Bellin maalauksista sekä Woolfin romaaneista. Esimerkiksi rinnastamalla Woolfin teokset naisimpressionistien teoksiin pyrin lukemaan impressionismia feminiinisenä taidesuuntauksena. Toisin kuin maskuliinisessa taidekritiikissä, feminiinisyys ymmärretään tutkimuksessani modernismin “toiseutena”, positiivisena tai arvovapaana ominaisuutena. Gwen Johnin kautta piirtyy kuva myös Virginia Woolfista sisäisen maailman ja mielen kuvaajana ja Vanessa Bellin taiteen kautta Woolf yhdistyy postimpressionistisen taiteen esteettisiin pyrkimyksiin ja keinoihin. Bellillä ja Woolfilla postimpressionismi perustuu vahvasti itse elettyyn todellisuuteen eikä konstruoituihin fantasioihin kuten esimerkiksi Picassolla ja Matissella. 3 Contents Introduction 5 Part One MODERNISM IN ART AND LITERATURE 14 1. The Modernist Novel 14 2. Virginia Woolf and Visual Modernism 30 Part Two TIME AND SPACE 41 3. The Momentary Impression 41 4. The Fusion of Temporal Dimensions 63 5. Simultaneity and Multiple Perspectives 79 Part Three THE ART OF SUGGESTION 99 6. The Symbolic Mode 99 7. Correspondences of the Arts 114 8. Ambiguity in Images 129 Part Four FEMININE MODERNISM 145 9. Virginia Woolf and Feminine Impressionism 145 10. Images of Self in the Works of Gwen John and Virginia Woolf 158 11. Feminine Versions of Post-Impressionism in Vanessa Bell and Virginia Woolf 170 Conclusion 180 Bibliography 187 Appendix 209 4 INTRODUCTION In Virginia Woolf, Modernism and the Visual Arts I am looking for parallels between Virginia Woolf’s experimental novels and the visual arts in the context of modernism. Even though Virginia Woolf has become known chiefly as a writer, it is possible to see her also as a visualizer in words, or even in images, for she showed enthusiasm also for domestic photography. The family photographs taken and collected in albums by Woolf and her sister Vanessa Bell are reproduced in a recent study written by Maggie Humm Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography and Cinema (2002). Furthermore, in her essay “The Cinema”(1926) Woolf discusses the possibilities of the new art form of cinema, its capacity of presenting thought without the help of words. She saw the huge potential of cinema not only in its visuality but in its power to express emotions, its speed and slowness, the exactitude of reality, and its power of suggestion (Woolf 1966b, 268-72). Related to the discrepancy between word and image, the aim of this study is to offer the reader of literature and the spectator of the visual arts new ways of reading different works of art by juxtaposing visual and literary art. Virginia Woolf’s novels are ideal material for this kind of study, because her work contains many allusions and connections to visuality and the visual arts. Her novel To the Lighthouse (1927) is a story of a female painter whose artistic creation and growth as an artist is one of its central themes. Woolf’s fiction is linked with the visual arts also through their modernism, for modernism was a common phenomenon in music, literature and the visual arts. Modernist schools and movements were born in all the arts approximately at the same time in the latter half of the nineteenth century (Impressionism and Symbolism) and in the 5 first decades of the twentieth century. Impressionism, Symbolism, Futurism and Surrealism were movements both of literature and the visual arts, and many ideas, devices and stylistic innovations were shared by all arts. But these ideas were expressed differently in different art forms, according to their medium. Moreover, modernist literature is particularly visual, as Mieke Bal points out (1997, 168), although already the nineteenth-century novel may be characterized by an increasing appeal to visual display, for example in the works of Flaubert and Zola. As an example of modernist visuality Bal quotes a passage from The Waves. Virginia Woolf had also many connections with the art world, in particular through her participation in the Bloomsbury group of writers and Post-Impressionist painters. Woolf was in close contact and dialogue with the Bloomsbury painters, especially the influential modernist art theorist and painter Roger Fry whose writings on modernist aesthetics Woolf read. The relations between different arts have interested writers and researchers already in the days of antiquity. Aristotle in his Poetics discussed the affinities between literature (tragedy) and painting, and called both the art forms imitations (Beardsley 1988, 159). Poetry has been compared to painting in Horace’s Ars Poetica: “a poem is like a painting,” (ut pictura poesis) and in the seventeenth century
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