ii both with a cognitive quest and an inquiry into the role that artistic crea- tion plays in the quest. Consistently, these novels also illustrate the cog- nitive and remedial value of Woolf ’s visuality and spatiality: visuality as a means of perceiving the contradictory essence of being; spatiality as an artistic remedy for modern nihilism through the spatial wholeness that form achieves. This is remedial as it restores parts to wholeness and f low to unity or, in philosophical terms, becoming and non-being to being. My analysis takes into consideration how the nature and development of visual and spatial strategies are both thematized and formally epitomized in the novels. The relevant comparison between them further reveals an outcome which was seemingly unintentional on Woolf ’s part, that is to say, a decreasing correspondence between content and form. On the former level, form is topicalized in meta-artistic terms by Lily’s painting, Bernard’s writing and visualizing, and Miss La Trobe’s pageant. On the latter, it is concretely represented by the spatial strategies of the texts. Novel by novel, the remedial function of art is increasingly questioned by content but constantly reasserted by form. Paradoxically, the latter keeps on testifying to the possibility of unity and resists the author’s own explicit denial of it. Through spatial means, the very same form reveals its simultaneous ability to convey two opposing meanings: one explicit and related to the narrated object, the other implicit and related to narration. This is how form states its independence...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.