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Visions in a Frame: a Study of Development Through Gaze Refinement in Dorothea Brooke, Isabel Archer, and Lily Briscoe

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Visions in a Frame: a Study of Development Through Gaze Refinement in Dorothea Brooke, Isabel Archer, and Lily Briscoe Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Visions in a frame: a study of development through gaze refinement in Dorothea Brooke, Isabel Archer, and Lily Briscoe Müller, Tina Abstract: In Middlemarch, The Portrait of a Lady and To the Lighthouse, a development process as a gaze refinement and Bildung-durch-Bilder process takes place. In this thesis, the Awakening Conscience Model is developed to discuss the heroines’ developments. The model combines painting theory, a visual reading of the text and a psychological understanding that images reveal a viewer’s state of maturity. It is built on Millais’s Mariana and Hunt’s The Awakening Conscience which are evoked at different points in the novels and mark crucial moments in the heroines’ self-consciousness building processes. Stage 1 of the model represents a dreaming gaze; Stage 2 the awakened gaze; Stage 3 the production of this awakened gaze – an image – which allows for the claim that, with a mature gaze, certain power over one’s representation can be gained. An emancipation story is studied within the novels and across the novels. In Middlemarch, the heroine manages to develop an idea of her self-representation, but is still deeply rooted in the limiting Victorian world. Isabel, although believed much freer, is stuck on the threshold – just like Henry James’s novel remains on the threshold between Victorian and modern literature. Lily is clearly modern and emancipates herself as a female artist and positions the novel as a discussion of female agency through an active and productive own gaze. Own and others’ views are limiting if not developed properly – not only men’s of women, but also women’s own. Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-171394 Dissertation Published Version Originally published at: Müller, Tina. Visions in a frame: a study of development through gaze refinement in Dorothea Brooke, Isabel Archer, and Lily Briscoe. 2016, University of Zurich, Faculty of Arts. Visions in a Frame A Study of Development Through Gaze Refinement in Dorothea Brooke, Isabel Archer, and Lily Briscoe Thesis presented to the Faculty of Arts and Social Sciences of the University of Zurich for the degree of Doctor of Philosophy by Tina Müller Accepted in the fall semester of 2016 on the recommendation of Prof. Dr. Elisabeth Bronfen and Prof. Dr. Barbara Straumann Zurich, 2017 Abstract In Middlemarch, The Portrait of a Lady and To the Lighthouse, a development process as a gaze refinement and Bildung-durch-Bilder process takes place. In this thesis, the Awakening Conscience Model is developed to discuss the heroines’ developments. The model combines painting theory, a visual reading of the text and a psychological understanding that images reveal a viewer’s state of maturity. It is built on Millais’s Mariana and Hunt’s The Awakening Conscience which are evoked at different points in the novels and mark crucial moments in the heroines’ self-consciousness building processes. Stage 1 of the model represents a dreaming gaze; Stage 2 the awakened gaze; Stage 3 the production of this awakened gaze – an image – which allows for the claim that, with a mature gaze, certain power over one’s representation can be gained. An emancipation story is studied within the novels and across the novels. In Middlemarch, the heroine manages to develop an idea of her self-representation, but is still deeply rooted in the limiting Victorian world. Isabel, although believed much freer, is stuck on the threshold – just like Henry James’s novel remains on the threshold between Victorian and modern literature. Lily is clearly modern and emancipates herself as a female artist and positions the novel as a discussion of female agency through an active and productive own gaze. Own and others’ views are limiting if not developed properly – not only men’s of women, but also women’s own. Middlemarch, The Portrait of a Lady und To the Lighthouse zeigen Entwicklungsprozesse der drei Heldinnen als Prozesse zur Schärfung des Blicks und als Bildung durch Bilder. Diese Doktorarbeit entwickelt das Awakening Conscience Model für die Diskussion dieser Entwicklungsprozesse. Das Modell bringt Malereitheorie, eine visuelle Leseart der Texte und das psychologische Verständnis, dass Bilder den Stand des Selbstbewusstseins des Betrachters wiederspiegeln, zusammen. Das Modell baut auf Millais’ Mariana und Hunts The Awakening Conscience auf, die beide an bedeutenden Stellen in den Entwicklungen der Heldinnen in den Romanen hervorgerufen werden. Phase 1 des modellierten Prozesses steht für den träumenden Blick, Phase 2 für den erwachten und Phase 3 für das, was ein wacher Blick erschaffen kann – ein eigenes Bild – was die Schlussfolgerung erlaubt, dass ein entwickelter Blick einen Einfluss auf die eigene Darstellungskraft und Sichtweise ermöglicht. Die darin enthaltene Emanzipierung wird analysiert innerhalb der Texte und über die Texte hinweg. Dorothea erlangt gewisse Selbstdefinition; Isabel bleibt auf der Schwelle zwischen der einschränkenden Viktorianischen Welt und der Moderne stehen, genau wie Henry James‘ Roman, Lily emanzipiert sich als Künstlerin, als gestaltende Frau, in einer modernen Welt. Ein unentwickelter Blick – der eigene oder der von anderen – schränkt die eigene Handlungsfähigkeit ein. 2 Table of Contents 1 A Painting Analysis of Middlemarch, The Portrait of a Lady, and To the Lighthouse...................... 5 1.1 A Study of Seeing and Being Perceived ..................................................................................... 6 1.1.1 On the Lookout for Pictorial Indicators........................................................................................ 9 1.1.2 Spectators of Evoked Paintings and Image Negotiation........................................................... 15 1.1.3 Characters’ Images as Paintings.............................................................................................. 19 1.2 The Triptych of Dorothea’s, Isabel’s, and Lily’s Development Processes ................................ 23 2 The Awakening Conscience – A Development Process by Means of Images.............................. 32 2.1 Dorothea’s Vocation Captured in Artistic Language not Understood ....................................... 32 2.2 Modelling the Stages of the Gaze Refinement and Consciousness Building Process ............ 47 2.2.1 Stage 1 – A Dreaming Gaze Ignores the Multi-Layeredness of the Seen................................ 53 2.2.2 Impulse 1 – A Conflict of Images Begins to Manifest Itself....................................................... 75 2.2.3 Stage 2 – The Shock of Confrontation and Realization Opens Eyes....................................... 78 2.2.4 Impulse 2 – Full Realization...................................................................................................... 88 2.2.5 Stage 3 – Self-Conscious and In Charge................................................................................. 91 2.3 From Self-Consciousness to Self-Confidence and Emancipation ............................................ 94 3 The Challenge of the Model – I Know the Experience; I am Mature..............................................98 3.1 The Middle Piece of the Bildung-durch-Bilder-Triptychon – the Threshold Piece .................... 98 3.2 A Modernist Approach to the Awakening Conscience Model................................................. 105 3.2.1 Stage 1 – Multiplying and Fragmenting of the Mariana Stage................................................ 105 3.2.2 Stage 2 – Awakening Conscience Step by Step and Relationship by Relationship............... 131 3.2.3 Stage 3 – Has Isabel Become the Spectator-Painter?........................................................... 138 3.3 Isabel’s Intersubjective Third Painting .................................................................................... 141 4 The Abstraction of the Model – I Can Break Open the Frame of Mariana’s Room......................144 4.1 The Female Spectator-Painter has Emerged ......................................................................... 144 4.2 “Das Schöpferische des Zeitgenössischen” – Lily’s Painting ................................................. 161 4.2.1 In Stage 1 – Lily’s Mariana Stage: “Intensity of Perception” Blocked..................................... 164 4.2.2 In Stage 2 – A Mirror Stage without A Mirror in Actuality........................................................ 175 4.2.3 In Stage 3 – Painting Multiple Actualities and One Painting................................................... 181 4.3 Vision Accomplished ............................................................................................................... 186 5 The Gained-Consciousness Triptych........................................................................................... 188 6 Bibliography................................................................................................................................. 192 3 Table of Figures Figure 1 Four film stills from Campion’s The Portrait of a Lady. ............................................................. 5 Figure 2 The Sistine Madonna by Raphael. .......................................................................................... 28 Figure 3 The Milkmaid by Vermeer ....................................................................................................... 39 Figure
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