This Timecoloured Place: The Time-Space Binarism in the by Agnieszka Graff

By Agnieszka Graff

Within the cultural debates of modernism the innovations of time and house have been juxtaposed, representing disparate sensibilities, kinds of artwork, even political camps. Artists and thinkers of the period took aspects: with time, i.e. all that's fluid and transitory, or with area, i.e. constitution and permanence. The «space-time wars» concerned such key figures as Henri Bergson, Wyndham Lewis and Gertrude Stein. Joyce was once either a player - person who usually replaced camps - and an avid chronicler and interpreter of the clash. This examine employs glossy narrative thought to learn Joyce during the time-space binarism. Philosophical and cultural heritage is tested, attaining again to Aristotle, Giordano Bruno, St. Augustine, Lessing, and Bergson. the tale of the talk itself is instructed in a few aspect. subsequent, its strains are tested in A Portrait of the Artist, Ulysses and at last Finnegans Wake, learn right here as an attempt to go beyond the competition. a lot recognition is paid to Joyce feedback; it really is argued that the common sense of the binarism underlies a lot of what has been stated approximately his texts.

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Extra resources for This Timecoloured Place: The Time-Space Binarism in the Novels of James Joyce (Katowice Interdisciplinary and Comparative Studies: Literature, Anthropology and Culture, Volume 1)

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Beare (Whitefish MT: Kessinger, 2007). George Berkeley, “Essay towards a New Theory of Vision,” in New Theory of Vision and Other Writings (London: J. M. Dent, 1910), 1-86.

I shall pass like a cloud on the waves. Perhaps it may be that though we change, one flying after another, so quick, yet we are somehow successive and continuous we human beings, and show the light through. 63 Paradoxically, the sense of order and pattern and the fascination with what is fleeting and transitory are both central to Woolf’s sensibility as a writer. “The two contradictions,” as she calls them, can be felt in all her novels, while her anxiety about the inconsistency in her own worldview finds its figurative expression in the peculiar selfconsciousness of her spatial metaphors for time.

Time tapers to a point. 59 The drop which had fallen from the roof of the soul was, as it now appears, the outcome of a complex, strangely unreal and yet amazingly vivid and systematic process of landscape transformation: time, a sunny pasture, becomes pendent, tapers to a point, and finally, heavy with sediment, falls. Within a single line, between the words “pendent” and “tapers,” Woolf performs a masterful adjustment of language: a smooth shift from one metaphorical realm to another. “Pendent,” an adjective whose synonyms are “slanting,” “suspended,” and “unsettled” refers to time imagined as landscape, while suggesting imminent change; “tapers” moves us back to the metaphor of time as a liquidous substance: to taper is to diminish gradually in breadth or thickness towards one end, to lose intensity, disappear gradually.

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