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Trajanoska, Ivana. "La Musique dans Pilgrimage de Dorothy Richardson." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30066/document.
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La musique dans Pilgrimage de Dorothy Richardson joue un rôle important. C'est avant tout un élément crucial dans la quête identitaire de la protagoniste, Miriam Henderson. Récit de la formation d'une artiste, Pilgrimage est aussi celui de la quête d'une identité religieuse, nationale et féminine de la protagoniste. La musique accompagne le récit et offre la possibilité à Miriam de (ré)évaluer sa relation aux différentes religions organisées, de redéfinir son anglicité et de construire une identité féminine authentique. La musique ouvre également la voie à la « joie indépendante », au « centre de son être » où se loge une identité préexistante sur laquelle repose l'identité authentique qu'elle cherche. Par ailleurs, la musique aide Richardson à rompre avec la tradition romanesque du dix-neuvième siècle et à exprimer sa défiance à l'égard du langage et sa capacité à représenter la « réalité ». En intégrant les principes musicaux à la construction du texte narratif, l'auteur met en valeur son désir d'utiliser la musique comme modèle du fonctionnement sémiotique du texte narratif, d'influer sur la façon dont celui-ci fait sens et le communique en réfractant la « réalité » sur un axe à la fois vertical et horizontal et présente ainsi sa conception du temps comme échappant à la division entre passé, présent et futur. En outre, Richardson a recours à la musique pour mieux représenter la conscience, le processus de réflexion et le monde intérieur de sa protagoniste. Enfin, l'accompagnement musical sollicite la coopération de la conscience créatrice du lecteur en s'assurant sa collaboration dans la construction de la « réalité » que le roman tente de représenterMusic plays an important role in Pilgrimage by Dorothy Richardson. On the one hand, music is a crucial element in the protagonist's search for identity. Reading Pilgrimage as a story of a quest and the formation of an artist shows that the quest of the protagonist Miriam Henderson is also that of a religious, national and feminine identity accompanied by music. Music provides the protagonist with the opportunity to (re)assess her relationship with various organized religions, redefine her Englishness, and build an authentic female identity. Music also reveals the “independent joy,” at “the center of being,” where a pre-existing identity can be found upon which the authentic identity that Miriam seeks rests. On the other hand, Richardson relies on music to break with the nineteenth-century writing conventions and express her distrust in the capacity of language to render “reality.” Her effort to integrate musical principles in the construction of the narrative emphasizes her desire to use music as a model for the semiotic functioning of the text, to influence how the text makes sense and communicates it refracting “reality” on an axis, both vertical and horizontal, thus presenting her concept of time which is outside the division into past, present and future. Furthermore, Richardson uses music to represent consciousness, the thinking process, and the inner world of the protagonist. Finally, the musical accompaniment generates the cooperation of the reader's creative consciousness securing his collaboration in the construction of the “reality” that the novel is trying to represent
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Worlton-Pulham, Kathryn. "Dorothy Richardson and the cinematic writing of temporal perception." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553121.
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By the early twentieth century, the epistemology oftime had become a question of an individual's changing perceptions. In this context, Dorothy Miller Richardson (1873-1957) provided one of the most striking studies of an individual's varying perceptions of time in her magnum opus, the multi-volume Pilgrimage (published 1915-1967). Frequently overlooked as a theorist of time, Richardson developed innovative literary techniques to represent this new understanding of the variable quality of temporal perception. Drawing on her affinity with film for its ability to disrupt linear chronology, Richardson appropriated cinematic devices and the experience of the silent cinema into Pilgrimage. By choosing a technique that combines notions of time, human mentality, and cinema-and the implicit relationships between philosophy, art, and science-Richardson contributes to the very definition of "modernism." This thesis incorporates Richardson's unpublished and published literary and film theory into her predominant works, including but too often limited to Pilgrimage and her column in the film journal Close Up, in order to provide a more detailed contextual and theoretical explanation of Richardson's cinematic writing. This explanation reveals that her fiction and non-fiction mutually support her position that certain cinematic themes--change, silence, and openness to interpretation-express temporal perception. This intertextual analysis is also a method of providing Richardson studies a contextual interpretation of Richardson's Close Up articles, now widely available. This examination grounds Richardson's cinematic fiction in her own philosophy in order to illuminate the consistent themes throughout her works. As Richardson's philosophy corresponds with and diverges from philosopher Henri Bergson's ideas on time and the cinema, it concludes that the problems with articulating temporal perception reside in verbal language. The temporal capacities of the "language" of film explain Richardson's motivation to transform cinematic devices into literary techniques. This thesis will analyze her use of specific cinematic devices throughout Pilgrimage, supported by her philosophy on the cinematic nature of existence. This analysis reveals that Richardson's cine-literary theory was shared by the writer Gertrude Stein, who unknowingly complements Richardson's approach by privileging the temporal abilities of cinematic "language" over traditional verbal language. Outlining Richardson's equation of silence with free contemplation, this thesis also reinterprets her feminism as her push towards both human intellectual freedom and the emancipation of her own identity. Ultimately, this thesis's intertextual reconstruction of Dorothy Richardson's identity inaugurates her as an analyst ofmodemity, substantiating the contextual relevance of this single-author study and providing a methodology for bringing neglected authors like Richardson out of obscurity.
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Joubert, Claire. "Lire le féminin : Dorothy Richardson, Katherine Mansfield, Jean Rhys /." Paris : Éd. Messene, 1997. http://catalogue.bnf.fr/ark:/12148/cb36187766k.
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Rauve, Rebecca Suzanne. "Immanent fiction : self-present consciousness in the novels of Dorothy Richardson /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/9498.
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Westbury, Louisa Minna. "'The strife of words' : violence in the writing of Dorothy Richardson." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367894.
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Fox, Stacey Jade. "The idea of madness in Dorothy Richardson, Leonora Carrington and Anais Nin." University of Western Australia. English and Cultural Studies Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0194.
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Law, Sarah Astrid Jacqueline. "Ecriture spirituelle : the mysticism of Evelyn Underhill, May Sinclair and Dorothy Richardson." Thesis, Queen Mary, University of London, 1997. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25545.
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The association of women and mysticism this century is not always perceived as a positive one. In Power, Gender and Christian Mysticism (1995), the feminist philosopher of religion, Grace Jantzen, suggests that the experience of mysticism gradually became defined as an ineffable, private emotional encounter in order to remove it from the sphere of political management of society and religion. She writes of a direct increase of association between mysticism and women, who were permitted to have spiritual experiences, but powerless to speak with authority about their insights. Jantzen's view of this association of women with mysticism is therefore somewhat negative; she warns of mysticism's ability to silence and disempower. But as women mystics, particularly in the medieval period, have spoken and written of their (often vivid and imaginative) experiences with authority, this thesis explores how ideas about mysticism have been addressed by women writers this century. In particular, 1investigate whether the women writers treated in this thesis developed the definition of such spiritual experience in a more affirmative and expressive way than Jantzen suggests. Rather than assuming that mysticism is an unchanging spiritual experience within a strictly religious context, this thesis explores how women writers discovered a creative expression of their inner spirituality through the inspiration of contemporary ideas about mysticism, and how they helped to move these ideas on. I introduce my argument, therefore, by examining constructions of mysticism at the beginning of the twentieth century, when the idea of mysticism was defined and developed both in terms of experiential philosophy and of psychology. In particular, the attention paid to the emotional effects of a "mystical experience" became associated, by William James, with the importance of what he termed the "subliminal realm" of the mind, a realm which would subsequently be defined as the unconscious by Freud, but which James saw as a valid channel for imagination and spirituality As well as drawing attention to the "subliminal realm" and its role in spiritual experience, James first suggested the idea of the "stream of consciousness", a term which became important for much modernist literature, but which James did not link directly with the expression of mysticism. Not all psychological studies of mysticism were as open-minded as James'; I also look at texts which were hostile and eclectic in turn. And James himself was not immune to contemporary prejudice regarding gender. But the period's general interest in the imaginative workings of the mind, flowing from the unconscious into consciousness, and the struggle to express this imaginative process, has led me to the study of its literature in order to explore how such ideas about mysticism were used, by women writers, within a creative context. Evelyn Underhill provides a link between the areas of religious thought and women's fiction writing. Underhill in fact started her writing life as a novelist, exploring those themes of spirituality which she was later, more famously, to address in texts such as Mysticism, in which James' ideas are acknowledged. Importantly, Mysticism was certainly read by two women writers - May Sinclair and Dorothy Richardson - who, while fascinated by mysticism, were equally concerned to develop the novelistic form in order to allow the expression of individual consciousness. They were also interested in the subject of gender to a greater degree than was Underhill. By examining the work first ofMay Sinclair, whose mysticism is chiefly concerned with loss, then of Dorothy Richardson, who was to develop the mystical concepts of vision and illumination, I trace the progression of mysticism's influence in women's writing, an influence which Underhill had to a large extent initiated. Underhill, Sinclair and Richardson were not the only women writers to explore mysticism alongside stylistic innovation and an awareness of gender issues. There was, for example, Virginia Woolf, whose aunt, Caroline Stephen, was a respected Quaker. But rather than continue to explore all the women writing in this period, a task too large for this thesis, I move on to show how ideas about mysticism, gender and writing have developed in later thinkers. In examining the ideas of the feminist critics Cixous, Irigaray, and Kristeva, I show that mysticism, and the ways of articulating what James termed an "ineffable" experience, are even more strongly linked with gender and innovative creative writing in their work, whether "novelistic" in a strict sense or not. I have not anal.vsed the work ofUnderhill. Sinclair, and Richardson solely. in terms of psychoanalytically acute feminist criticism I, although I introduce such Such work is generally available: Jean Radford's examination of PiIbTfi mauc. for example critical ideas where appropriate, and have shown that these writers point towards the critical concepts of later feminist writers and thinkers. My emphasis is on the particular space lor creativity which mysticism develops and towards which psychoanalysis with its emphasis on the talking curehas indicated but paid less attention to than the aetiology and symptoms of madness and hysterical disorders. Rather than continue to pursue this psychoanalytical preoccupation, I have looked at the work of the later feminist critics as experimental mystical writers in their own right, and I suggest that it is mysticism. rather than hysteria or other forms of "madness", which has provided the creative space for gendered exploration of imagination and writing. Just as psychoanalytic criticism seeks to explore those "moments of vision" which madness has been said to facilitate in writers such as Woolf I have set out to show that the insights of mysticism, classed as neither mental illness nor rigorous rationality, have played an essential part in the development of women's fiction-writing, criticism and religious thought this century, allowing, additionally, the closer relationship of these three disciplines. In concluding this thesis therefore, I examine the way in which mysticism has provided a place for "visionary" gendered discourse in contemporary theology, and return to the area of religious thought, where I had begun my research. I examine ways in which there is now an increased awareness of the imagination in feminist theology and, specifically, in mysticism within a feminist theological context. The developments of mysticism's creative space have facilitated this awareness in theology, just as they have in the fiction and criticism through which I have traced its influence. Although the question of what constitutes mysticism and who counts as a mystic may remain open (plurality being one of the emphases of feminist critical thought), the conclusion of this thesis affirms that the space of spiritual creativity developed by mysticism has been one of the major forces to have shaped women's writing and critical thought (both literary and religious) this century.
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Vanacker, Sabine Anne. "The presence of women : modernist autobiography by Dorothy Richardson, Gertrude Stein and H.D." Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3480.
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Pooler, Mhairi Catriona. ""The history of a poet's mind" : the autobiographical writing of Henry James, Siegried Sassoon and Dorothy Richardson." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=174676.
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This thesis considers the method and motivation of the self-representation of the author as a literary artist-hero in the autobiographical sequences of Henry James, Siegfried Sassoon and Dorothy Richardson, and in particular it traces the parallels between these texts and the model of the German Romantic Künstlerroman. In so doing, I show that the tropes and themes of the Künstlerroman genre assist the autobiographers’ representation of artistic identity in a period of increasingly fragmented conceptions of selfhood. Underlying my hermeneutic approach is the concept of literary inheritance as a movement from tradition to individual innovation, reflected in a motif of the parent-child relationship, and in autobiographical tropes, and language usage. These are traced in each text under review and weave together issues of historical context, genre innovation, and literary self-invention. The three authors demonstrate a shared preoccupation with the role of life experience in the creation of art, and with the interconnection of personality and style. This study concludes that an understanding of the relation of the artist to the literary account of their own life creates a challenge to poststructuralist perceptions of the gap between author and text. The introduction outlines the particular relevance of the historical moment between 1910 and 1920 for the study of these autobiographical works. Chapter one presents my methodological approach in relation to pertinent autobiography theory and provides an overview of the Künstlerroman genre, its transference from German to English literature, and the changing intentions of autobiographers between the nineteenth and twentieth centuries as demonstrated in Edmund Gosse’s Father and Son. Chapters two and three consider James’s A Small Boy and Others, Notes of a Son and Brother and The Middle Years, while chapters four and five examine Sassoon’s The Old Century and Seven More Years, The Weald of Youth and Siegfried’s Journey. These four chapters analyse the narrative technique employed in each case and its intimate relationship with the authors’ self-image. Chapter six focuses on the stylistic innovations of Richardson’s Pilgrimage. The conclusion then addresses the idea that ‘style is the man himself’, that a second ‘portrait’ can be read in the formal choices made in the text’s construction, and, as a result, considers the particular role of autobiographical writing for our reading of the artist.
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Dackombe, Amanda Marie. "Making thought visible : colour in the writings of Virginia Woolf, Dorothy Richardson, Samuel Beckett and T.S. Eliot." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28586.
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This thesis explores colour as a philosophical means of transit between literature and the visual arts. I explore a new way of thinking about the self and about thought, developmg the significance of colour alongside, and internal to, modes of representation in the modernist movement. The interaction of art and literature is crucial to much debate on modernist aesthetics. DevelopIng the debate into the history of colour phenomena, I argue that colour aHows a philosophical inflection to certain clich6s (such as stream-of-consciousness) that are attached to modernist writing. In the work of Virginia Woolf, Samuel Beckett, Dorothy Richardson and TS Eliot, I argue that the modernist preoccupation with the seeming unpasse between thought and representation can be seen to be 'made visible' through the theme of colour. Colour is a vehicle through which to explore the relation between thought and perception, subject and object, and offers a new way of engagement with recent research into theoretical comparisons between thinking, writing and visual arts.
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Horrocks, Deniz M. "Dorothy Richardson to Miriam Henderson : le nom du pere to le nom de la mere, reconstructing femine self-identity." Thesis, University of York, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284136.
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Drewery, Claire. "Liminal entities : transition and the 'space between' in the short fiction of Katherine Mansfield, Dorothy Richardson, May Sinclair, and Virginia Woolf." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:5672.
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The relationship between literary Modernism and the short story is a neglected area, particularly in terms of women's writing. Traditionally, critical interest in Virginia Woolf's novels and essays has tended to eclipse her short fiction, whilst the stories of Dorothy Richardson and May Sinclair are virtually absent from serious critical discussion. Only Katherine Mansfield has received due attention, though rarely in relation to her women contemporaries. Since the early 1990s, however, there has been a renaissance of interest in the Modernist short story. This draws attention to a recurring preoccupation in the genre: that of transgressing boundaries. A connection between the short story and liminality (deriving from the Latin word limen meaning boundary or threshold) has, however, rarely been explicitly made in literary criticism. This thesis redresses this critical neglect, exploring the literary, contextual and theoretical implications of the Modernist fascination with liminality through the experimental genre of the short story. Liminality is ambiguous and paradoxical, encapsulating a simultaneous capacity for liberation and restriction. This paradox forms the central focus of attention in this thesis, which explores how Mansfield, Richardson, Sinclair and Woolf use liminality to explore the shifting, fragmented identity of the Modernist subject. My chapters examine various liminal entities - the pilgrimage, war, the inner life, the `moment of being', mysticism, mortality and immortality - relating to the form, context or content of the Modernist short story. This discussion ultimately demonstrates that it is through the intrinsically liminal genre of the short story, more than any other form, that these four writers use the liminal trope to discard their Victorian heritage through experimental writing styles which offer a unique contribution to the development of literary Modernism.
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Pulis, Anne Elizabeth. "The vanishing inquiry : modernists in pursuit of spirit /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974673.
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Saeed, Alan Ali. "'Liberties and licences' : gender, stream of consciousness and the philosophy of Henri Bergson and William James in selected female modernist fiction 1914-1929." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/13582.
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This thesis reconsiders in detail the connections between a selection of innovative female modernist writers who experimented variously with stream-of-consciousness techniques, May Sinclair, Dorothy Richardson, Katherine Mansfield and Virginia Woolf. It describes in this context the impact of the philosophy and thoughts of both William James and Henri Bergson upon these women writers’ literary work. It also argues for a fundamental revision of existing understandings of this interconnection by considering the feminist context of such work and recognising that the work of these four female writers in effect incorporates a ‘gendered’ reading of James and Bergson (encountered both directly and indirectly through the cultural and intellectual zeitgeist). In establishing a feminist perspective as key elements of their aesthetic the thesis explores the vital influence of existing tradition of female autobiography upon their reception and usage of both James and Bergson. The latter’s impact on such women writers were so distinctive and powerful as the work of these philosophers seemed to speak directly to contemporary feminist concerns and in that context to represent a way of thinking about society and culture. This echoes and has parallels with existing attempts at revisions of patriarchal society and creating new spaces for female independence. In the above context the thesis reviews existing research on the impact of James and Bergson on these four writers and offers new insights into how each of them made use of these two seminal thinkers by analysing the relationship between theories, selected literary and philosophical texts. Stream-of-consciousness ought to be seen as a distinctive, specific tradition connected with feminist concerns and as a way of writing the inner and hidden self, rather than just a narrow formal feature of literary texts; it offers women a continuing, creative exploration of its possibilities as fictional practice. The female modernists included in this account represent the celebrated: Virginia Woolf and Katherine Mansfield, together with writers largely and unjustly forgotten in subsequent periods: Dorothy Richardson and May Sinclair. However, the thesis demonstrates that such female modernist writers gained much from being part of a range of informal networks, being almost within a tradition in which they learnt, borrowed and reacted to each other; an interconnection that requires new critical recognition.
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Joubert, Claire. "La lectrice dans le texte : écriture et lecture au féminin dans les oeuvres de Dorothy Richardson, Katherine Mansfield et Jean Rhys, 1919-1939." Paris 3, 1993. http://www.theses.fr/1994PA030015.
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Ce travail explore le domaine d'intersection entre le texte et la sexualite, en proposant d'etudier l'inscription d'une subjectivite feminine au sein des recits de dorothy richardson (pilgrimage), katherine mansfiels (the collected short stories), et jean rhys (the left bank, quartet, after leaving mr mackenzie, et good morning, midnight). Il s'appuie sur les theories lacaniennes de l'ordre langagier pour faire apparaitre dans ces ecritures feminines des modeles enonciatifs particuliers, fondes sur une pratique de la litterature comme espace de lecture. La figure de la lectrice dans le texte surgit dans ces textes comme le trope revelateur de la nature discursive de la feminite qui s'articule a la sexuation des proces de la signification. Dorothy richardson, katherine mansfield et jean rhys, en textualisant la femme, orientent d'ecriture vers un deficit semantique, et, de diverses manieres, presentent la lecture comme un discours (du) femininThis study explores the field of intersection between text and sexuality, as it proposes to examine the inscription of a feminine subjectivity within the fictional writings of dorothy richardson (pilgrimage), katherine mansfield (the collected short stories), and jean rhys (the left bank, quartet, after leaving mr mackenzie, and good morning, midnight). This analysis of gender takes root in the lacanian theories of the symbolic order of language in order to identify particular enunciative patterns, based on the practice of literature as a reading activity. The figure of the female reader in the text appears in these texts as the narrative locus for the exposition of the discursive nature of feminity and of gender identity, bound up with the sexual implications of signifying processes. By writing feminity into their texts, dorothy richardson, katherine mansfield and jean rhys direct the writing activity toward a semantic loss, and, through diferrent narrative strategies, offer a vision of reading as a feminine form of discourse, as the discourse of the female gender
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Maddison, Isobel Judith. "The geography of gender : an analysis of female literary space with particular reference to the work of Elizabeth von Arnim, Katherine Mansfield and Dorothy M. Richardson." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620535.
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Banks, Gemma. "Impressions of an analyst : reassessing Sigmund Freud's literary style through a comparative study of the principles and fiction of Ford Madox Ford, Henry James, Virginia Woolf & Dorothy Richardson." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8368/.
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The connection between Sigmund Freud and modernism is firmly established and there is an increasing (though still limited) body of scholarship that adopts methods of literary analysis in approaching Freud's texts. This thesis adds depth and specificity to a broad claim to literariness by arguing that Freud can be considered a practitioner of modern literary impressionism. The claim is substantiated through close textual analysis of key texts from James Strachey' s Standard Edition of the Complete Psychological Works of Sigmund Freud, alongside theory and fiction by significant impressionist authors Ford Madox Ford, Henry James, Virginia Woolf and Dorothy Richardson. The authors' respective approaches to various aspects of literary impressionism are considered, such as the methods of textual development, the instability of genre, and the stylised techniques utilised to convey the impression. This research illustrates that whilst each of the chosen novelists engages with literary impressionism differently, Freud's texts share common practice with each, facilitating the reassessment of the analyst as a specifically 'impressionist' author.
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Rawlinson, Alison. "Linguistic style in Dorothy Richardson's Pilgrimage." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/23163.
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Dorothy Richardson's Pilgrimage is increasingly being recognized as a significant work of fiction - historically, thematically and technically. Its subject matter (the life of a woman), the perspective (focalization through a female consciousness), and the frequent direct and free indirect representation of thought, all mean that Pilgrimage is a text often referred to as steam of consciousness writing or feminine writing. However, despite frequent allusions to the form of Pilgrimage, there has so far been no detailed analysis of the language of the text. In this thesis many aspects of linguistic form that have previously gone unconsidered, or been ill-defined or mis-interpreted in criticism of Pilgrimage, are discussed in terms of their functions and effects, in developing an argument about the importance of linguistic form in Pilgrimage. A variety of linguistic approaches demonstrate various ways in which the text of Pilgrimage is innovative and highly complex. This thesis explores in detail, and with extensive reference to the text, three central factors in the language of Pilgrimage - narrative structure, metaphor, and rhythm. Through textual analysis, the thesis demonstrates that the narrative is not simply a stream of the undiluted thoughts of Miriam Henderson, the protagonist, but a highly complex narrated, indirect and direct representation of Miriam's consciousness. The perspective of the narrative fluctuates as the relationship between Miriam and the narrator varies with alternating pronominal representation of Miriam (in the first- second- and third-person) and as Miriam matures and becomes less distanced from the narrator. Meanings are expressed metaphorically as Miriam's perspective cannot be recorded without radical linguistic innovation. Analysis of the processes of metaphor and metonymy reveals how Miriam's perspective is continually present (although there can be other points of view as well).
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Mullholland, Terri Anne. "The literature of the boarding house : female transient space in the 1930s." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f465b620-5d86-4634-83c7-69ea9b9d1054.
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This thesis investigates a neglected sub-genre of women’s writing, which I have termed the literature of the boarding house. Focusing on unmarried women, this is a study of the alternative rooms ‘of one’s own’ that existed in the nineteen thirties: from the boarding house and hotel, to the bed-sitting room or single room as a paying guest in another family’s house. The 1930s is defined by the conflict between women’s emerging social and economic independence and a dominant ideology that placed increased importance on domesticity, the idea of ‘home’ and women’s place within the familial structure. My research highlights the incompatibility between the idealised images of domestic life that dominated the period and the reality for the single woman living in temporary accommodation. The boarding house existed outside conventional notions of female domestic space with its connotations of stability and family life. Women within the boarding house were not only living outside traditional domestic structures; they were placing themselves outside socially and culturally defined domestic roles. The boarding house was both a new space of modernity, symbolising women’s independence, and a continued imitation of the bourgeois home modelled on rituals of middle-class behaviour. Through an examination of novels by Elizabeth Bowen, Lettice Cooper, Stella Gibbons, Storm Jameson, Rosamond Lehmann, Dorothy Richardson, Jean Rhys, Virginia Woolf, and E. H. Young, this study privileges the literary as a way in which to understand the space of the boarding house. Not only does the boarding house blur the boundaries between public and private space, it also challenges the traditional conceptions of the family home as the sole location of private domestic space. I argue that by placing their characters in the in-between space of the boarding house, the authors can reflect on the liminal spaces that existed for women both socially and sexually. In the literature of the boarding house, the novel becomes a site for representing women’s experiences that were usually on the periphery of traditional narratives, as well as a literary medium for articulating the wider social and economic issues affecting the lives of unmarried women.
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Winning, Joanne Louise. "Dorothy Richardson's Pilgrimage as archive of the self." Thesis, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286212.
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Pritchett, Elizabeth Reed Jackson. "Vital texts : democratic intertextuality in Dorothy Richardson's 'Pilgrimage'." Thesis, Keele University, 2017. http://eprints.keele.ac.uk/3868/.
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'Pilgrimage' (1915-1938/67), Dorothy Richardson’s long modernist novel of female consciousness, has a history of mischaracterisation. The first novel to be termed stream of consciousness, Pilgrimage offers an account of New Woman, Miriam Henderson, as she comes of age in fin-de-siècle Britain and becomes a writer in the first decades of the twentieth century. Adhering strictly to Miriam’s consciousness, Pilgrimage is often read as a byword for high modernist style: hermetic, elitist, and anti-democratic. By examining the power relations behind Pilgrimage’s other key formal system of representation, not stream of consciousness but intertextuality, this thesis offers a new understanding of Pilgrimage as a vital text of democratic modernism. Dialogic, diffuse, and dissensual, Pilgrimage’s intertextuality provides a counter-balance to the novel’s stream of consciousness, revealing the diverse and polyphonic voices of which Miriam’s subjectivity is composed. By staging its intertexts in relation to the perceiving subject, Pilgrimage constructs a space of democratic intertextuality: a space between texts where hierarchical distinctions between text and intertext, author and reader, self and other break down. This in turn points to the need for other equally open spaces of representation to emerge for women, not just in the artistic sphere but also in the socio-political arena. Using four case studies – Pilgrimage’s recourse to the personal letter, Charlotte Brontë’s Villette, Richardson’s nonfiction for The Crank and The Saturday Review, and Beethoven’s Sonata Pathétique – this study examines how the intertextual replaces distinctions between ‘high’ and ‘low’ art with an understanding of art as a node of intersubjective connection and play. Moreover, by dramatising the acts of reading and interpretation, Pilgrimage reframes textual ‘value’ in contingent terms that invite readers to apply the same principles to itself. As such, Richardson’s novel of the single female consciousness opens itself up to the processes of democratic contestation, debate, and reform.
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Finn, Howard John. "Romantic subject/modernist object : Dorothy Richardson's 'Pilgrimage' and modernist individualism." Thesis, Queen Mary, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325063.
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Bowler, Rebecca. "Dorothy Richardson's ways of seeing : perception and representation in Pilgrimage." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/3341/.
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Wong, Yong Yi. "Journeys through architecture : the body, spaces, and arts in Dorothy Richardson's 'Pilgrimage'." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12173/.
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The inter-arts potential of Dorothy Miller Richardson’s life’s work, Pilgrimage, has been gaining critical attention since the end of the twentieth century, with continuous scholarly efforts dedicated in revealing the cinematic, painterly, and musical depths of the novel sequence. Building on such established foundation, this study responds to this inter-arts call of Richardson scholarship by taking an architectural turn, and contends Pilgrimage as a piece of architectural construct—a literary work that demonstrates the coming together of the body, spaces, and arts. Interdisplinary in nature, this study draws on diverse fields of inquiry in its configuration of the architectural as manifested in Pilgrimage, with two interconnecting sections. Merleau-Ponty’s perceptual phenomenology and recent theorisations of body-space interaction in various disciplines, such as cultural geography and anthropology, underpin the first section of the discussion, which attempts to explicate the spatial significance implied in Miriam’s (the protagonist) sensuous interactions with the different kinds of space around or within her. While the first section underscores how the art of literature embodies Miriam’s sensuous-spatial dynamics, the second section illuminates how the spatial arts of painting and architecture come into contact with Pilgrimage. Collaborating biographical, painterly, literary, and phenomenological approaches, the thesis considers the sequence’s manoeuver over the issues of simultaneity, instaneity, moment, and subject matter as the manifestation of literary impressionism. After contemplating Pilgrimage as a piece of literary impressionism, the discussion concludes by considering the sequence as a piece of haptic architecture, with the notion of ‘fragile architecture’ formulated by Juhani Pallasmaa. By re-examining how Miriam’s body, spaces, and arts interact and integrate throughout Pilgrimage, the thesis aspires to bring to light its architectural disposition.
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Elliott, Gemma Louise. "'Once more she was part of a novel' : Dorothy Richardson's doubly autobiographical Pilgrimage." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30742/.
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This thesis examines Dorothy Richardson's thirteen-volume novel sequence Pilgrimage (1915-1967) as a doubly autobiographical text. Pilgrimage is widely considered to be a fictionalised retelling of Richardson's own life, and many critics have found little difference between the lives of Dorothy Richardson and her protagonist Miriam Henderson. Following the Künstlerroman tradition, Richardson's novel sequence concerns itself exclusively with the life and coming to adulthood of Miriam Henderson who, like her creator, has an interest in documenting her own life. Thus, as Pilgrimage is the product of Richardson's struggle to find a place within literature, it is Miriam's too. I begin by foregrounding the theoretical landscape of autobiographical theory to date, focusing on feminist works and noting a historical concentration on male autobiography in critical pieces. In particular, Laura Marcus's Auto/biographical Discourses (1994) and Max Saunders' Self Impression (2010) are used to discuss the uneasy space Pilgrimage occupies as an example of autobiographical fiction, fitting into neither binary genre. Pilgrimage is then read chronologically, noting Richardson's development as a writer alongside her protagonist's. Miriam is a voracious reader and the progression of her interest in reading is discussed throughout this thesis, finding the influence of a variety of writers such as Ralph Waldo Emerson, Ouida, Charlotte Brontë, Henry James and more. The following of this interest in literature is accompanied by a tracking of the narrative innovations Richardson employs in the writing of the Pilgrimage sequence, such as narrative shifts and unusual punctuation formations, which she uses to suggest points in the text in which Miriam can be seen to be telling her life story in the same way that Richardson has. A case is then made for Pilgrimage as doubly autobiographical, meaning that it is Miriam Henderson writing about herself, by Richardson writing about Henderson as herself. This dual mode of life writing can be traced through the novel sequence, developing in its many narrative innovations, as well as in Miriam's clear interest in both the reading and the writing of literature. Pilgrimage then represents both Dorothy Richardson and Miriam Henderson's attempts to represent their lives in literature.
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Barratt, St-Jacques Kelly M. ""But who was there to describe her?": The manuscripts of Dorothy M. Richardson's "Pilgrimage"." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7717.
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Yates, Juliet Rose. "Hands-on modernism : representations of the hand in Dorothy Richardson's Pilgrimage and modernist literature 1914-1939." Thesis, Keele University, 2012. http://eprints.keele.ac.uk/1186/.
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The fragmentation endemic to modernism poses the difficult question of how we read the modernist body. In this thesis, I propose a new critical approach in response to this question – theoretical partialism – whereby looking at the particular and reading the representation of the hand as a signifier offers further insight into wider concerns such as, female subjectivity, performativity, sexuality and societal positioning. Because the hand can be both male and female, it allows for an interpretation of the body which does not rely on biological determinism, masculine discourse or essentialist feminism but, instead, provides the site for a new understanding of the body and constructions of gendered identities. Theoretical partialism finds its origins in psychoanalysis, sexology and feminist discourse and suggests that the hand can be used as a starting point for a wider theoretical discussion of totality. The paradox of the hand’s power of unification and differentiation is explored and the fetishistic approach reveals that there is not necessarily one totality but the potential of understanding different interpretations of the total. Therefore, theoretical partialism is used not as a method of regaining conventional ideas of totality but rather as a means for gaining a reconstituted notion of the whole and of selfhood from the fragments of modernity. My thesis develops this approach through readings of six texts: predominantly Dorothy Richardson’s Pilgrimage; Arthur Munby’s material is also investigated in order to establish the hand’s significance in the Victorian imagination; and as a method of illustrating the extent to which the hand features as a signifier in modernism, I explore the fragmented form and gendered identities in James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Katherine Mansfield’s “The Little Governess” and Jean Rhys’s Voyage in the Dark.
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Brüning, Jochen [Gutachter], Schüth [Gutachter] Dorothee, and Richardson [Gutachter] Ken. "Induced Dirac-Schrödinger operators on $S^1$-semi-free quotients / Gutachter: Jochen Brüning, Schüth Dorothee, Richardson Ken." Berlin : Humboldt-Universität zu Berlin, 2017. http://d-nb.info/1189327856/34.
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Oakshott, Stephen Craig School of Information Library & Archives Studies UNSW. "The Association of Libarians in colleges of advanced education and the committee of Australian university librarians: The evolution of two higher education library groups, 1958-1997." Awarded by:University of New South Wales. School of Information, Library and Archives Studies, 1998. http://handle.unsw.edu.au/1959.4/18238.
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This thesis examines the history of Commonwealth Government higher education policy in Australia between 1958 and 1997 and its impact on the development of two groups of academic librarians: the Association of Librarians in Colleges in Advanced Education (ALCAE) and the Committee of Australian University Librarians (CAUL). Although university librarians had met occasionally since the late 1920s, it was only in 1965 that a more formal organisation, known as CAUL, was established to facilitate the exchange of ideas and information. ALCAE was set up in 1969 and played an important role helping develop a special concept of library service peculiar to the newly formed College of Advanced Education (CAE) sector. As well as examining the impact of Commonwealth Government higher education policy on ALCAE and CAUL, the thesis also explores the influence of other factors on these two groups, including the range of personalities that comprised them, and their relationship with their parent institutions and with other professional groups and organisations. The study focuses on how higher education policy and these other external and internal factors shaped the functions, aspirations, and internal dynamics of these two groups and how this resulted in each group evolving differently. The author argues that, because of the greater attention given to the special educational role of libraries in the CAE curriculum, the group of college librarians had the opportunity to participate in, and have some influence on, Commonwealth Government statutory bodies responsible for the coordination of policy and the distribution of funding for the CAE sector. The link between ALCAE and formal policy-making processes resulted in a more dynamic group than CAUL, with the university librarians being discouraged by their Vice-Chancellors from having contact with university funding bodies because of the desire of the universities to maintain a greater level of control over their affairs and resist interference from government. The circumstances of each group underwent a reversal over time as ALCAE's effectiveness began to diminish as a result of changes to the CAE sector and as member interest was transferred to other groups and organisations. Conversely, CAUL gradually became a more active group during the 1980s and early 1990s as a result of changes to higher education, the efforts of some university librarians, and changes in membership. This study is based principally on primary source material, with the story of ALCAE and CAUL being told through the use of a combination of original documentation (including minutes of meetings and correspondence) and interviews with members of each group and other key figures.
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Smith, Lenora Penna. "Revising the feminine self in the fiction of Dorothy Richardson and Virginia Woolf." Thesis, 1992. http://hdl.handle.net/1911/16554.
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The fiction of Dorothy Richardson and Virginia Woolf is situated, as are the writers themselves, in the late-Victorian middle-class ideology of individualism, defining the self as autonomous and self-determining and positioning women with domesticity, defining them as relational and self-denying. Although their representations of women and strategies of point of view indicate construction within these dominant discourses, their narratives also refute, sometimes inadvertently, these same discourses.
Richardson's fiction suggests an image of identity rooted in individualism, in notions of an autonomous, unified individuality, associated in her culture with the masculine, whereas Woolf's suggests a basis in individualism's denial of an autonomous, unified feminine identity. The fiction of both assumes a transcendental self, a notion key to individualism, in the image of a "true" self that avoids situation within material and social circumstances. This image appears in Richardson's fiction in the perception of an untouched self and in Woolf's, in the perception of a dispersed self. In their representations of women, both also rely on notions of feminine identity that reiterate the cultural definitions of gender. In Pilgrimage, Richardson's central character, Miriam imagines her self as autonomous, essential, and transcendental. This notion also appears to govern the narrative focused through Miriam's perspective and related through a voice sometimes indistinguishable from hers. But the narrative provides a dual perspective on Miriam that refutes the notions of individualism grounding it and her imagined self. In contrast to Richardson's, Woolf's female characters, in particular in Mrs. Dalloway and To the Lighthouse, are not unified, autonomous individuals, but instead are fragmented and dispersed, and in their dispersal, they recapitulate both relational, self-denying femininity and transcendental individuality. Woolf's narrative techniques also seem to valorize the culturally constructed feminine by incorporating multiple perspectives and voices. However, Woolf's narrative strategy, like Richardson's, exposes the ideology that grounds it by granting the female narrators an authority ordinarily denied women and by exposing the failure of the relational ego to create a community of characters.
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Wang, Han Sheng, and 王瀚陞. "Narrating the mobile: The writings of Amy Levy, Dorothy Richardson, and Virginia Woolf." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/5vc9r7.
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博士國立政治大學
英國語文學研究所
97
This study has examined the numerous roles played by women entering the public spaces of London in the half century from the 1880s to the 1930s as workers, shoppers, diners, clubbers, cinema-goers, philanthropists, and tourists, a wide spectrum of active female social actors that until recently have not attracted enough attention from scholars of late-Victorian and Edwardian literature. The neglect of these newly pubic women in the fin de siècle period, who are distinct from their home-bound Victorian predecessors, is largely ascribed to an uncritical acceptance of or surrender to the long-held, dominant assumption of separate spheres in the nineteenth century. Through examining the writings of Amy Levy, Dorothy Richardson, and Virginia Woolf, who portray the multifarious pictures of women rambling the streets of modern London, this study has demonstrated that female public visibility and mobility have at least since the fin de siècle period been commonly practiced by a conglomerate of middle-class women. Mobility and spectatorship are thus two significant tropes applicable to women’s spatial and visual explorations of the fin de siècle city, the former underscoring their meandering footsteps threading through the increasingly egalitarian public space while the latter their roving eyes casting glances at those enticing urban spectacles which are already a phantasmagoria of commodity display, jostling crowd, and bustling streetscapes. Through writing about fin de siècle female streetwalking, the three women writers have demonstrated that those seemingly passive women of the middle-class may indeed be capable, through their public presence and their incessant footsteps, of pushing at the established boundaries.
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"Journeys viewed, heard and read: literary impressionism, music and consonance in Dorothy Richardson's Pilgrimage." 2008. http://library.cuhk.edu.hk/record=b5893664.
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Wong, Yong Yi.Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 143-151).
Abstracts in English and Chinese.
Abstract --- p.i
摘要 --- p.iii
Contents --- p.iv
Introduction --- p.1
Chapter Chapter 1 --- Colours and Letter; Painting and Writing: Literary Impressionism in Pilgrimage --- p.32
Chapter Chapter 2 --- Notes and Words; Listening and Reading: Music and Reading in Pilgrimage --- p.79
Chapter Chapter 3 --- Consonance --- p.113
Conclusion Arts in a Chord --- p.132
Work Cited --- p.143
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Yeh, Ya Ju, and 葉雅茹. "Refiguring the working woman: body and public space in Henry James, Grant Allen, and Dorothy Richardson." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/76833196203524155136.
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博士國立政治大學
英國語文學研究所
98
This dissertation aims to explore how working women take advantage of urban public space and develop specific bodily experiences in Henry James, Grant Allen, and Dorothy Richardson’s novels. The booming public spaces of fin-de-siècle London, including galleries, clubs, restaurants, teashops, and department stores—all served as new spaces which gave urban women to access a public life. Working women, who entered those public places for employment, directly encountered the conventional masculine codes and discourses with regard to the real difficulties of independent lives in the city. However, their social and economic disadvantage, at a more profound level, reflects the complex social reality and bodily experiences as well as reinforces volatile urban space where working women are involved and perceived. This complicity and volatility is, in fact, characteristic of the late Victorian working heroine’s new participation in the labor market. Centering Grosz’s concept, this study is structured into three chapters: the first chapter analyzes the displaying body and the department store in Henry James’s The Princess Casamassima; the second chapter deals with the laboring body and the office in Grant Allen’ The Type-Writer Girl; the third chapter discusses the consuming body and the dining places in Dorothy Richardson’s Pilgrimage. By asserting a positive relationship between the body and the public space from the feminist perspective, this study proposes that, while social discourses, mostly permeated with dominant oppressive powers and ideologies, give strict constraints to the working women, their bodies still acquire certain agencies to transform public places into a place for their ways of experience and appropriation.
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Gear, Nolan Thomas. "Spectatrices: Moviegoing and Women's Writing, 1925-1945." Thesis, 2021. https://doi.org/10.7916/d8-an6s-j049.
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How did cinema influence the many writers who also constituted the first generation of moviegoers? In Spectatrices, I argue that early moviegoing was a rich imaginative reservoir for anglophone writers on both sides of the Atlantic. Coming to cinema from the vantage of the audience, I suggest that women of the 1920s found in moviegoing a practice of experimentation, aesthetic inquiry, and social critique. My project is focused on women writers not only as a means of reclaiming the femininized passivity of the audience, but because moviegoing offered novel opportunities for women to gather publicly. It was, for this reason, a profoundly political endeavor in the first decades of the 20th century. At the movies, writers such as Jessie Redmon Fauset, Zora Neale Hurston, H.D., Dorothy Richardson, and Virginia Woolf developed concepts of temporary community, alternative desire, and discontinuous form that they then incorporated into their literary practice.
Where most scholarship assessing cinema’s influence on literature is governed by the medium-specificity of film, my project emphasizes the public dimension of the movies, the fleeting and semi-anonymous intimacy of the moviegoing audience. In turning to moviegoing, Spectatrices opens new methods of comparison and cross-canonical reorganization, focusing on the weak social ties typified by moviegoing audiences, the libidinal permissiveness of fantasy and diva-worship, the worshipful rhetoric by which some writers transformed the theater into a church, and most significantly, the creation of new public formations for women across different axes of class, gender, and race. In this respect, cinema’s dubious universalism is both an invitation and a problem. Writers from vastly different regional, racial, linguistic, and class contexts were moviegoers, together and apart; but to say they had the same experience is obviously inaccurate. In this project, I draw from historical accounts of moviegoing practices in their specificity to highlight that whereas the mass-distributed moving image held the promise, even the premise, of shared experience, moviegoing was structured by difference. The transatlantic organization of the project is meant to engage and resist this would-be universality, charting cinema’s unprecedented global reach while describing differential scenes and modes of exhibition. Focusing on moviegoing not only permits but requires a new constellation of authors, one that includes English and American, Black and white, wealthy and working class writers alike. Across these axes of difference, women theorized the politics and possibilities of gathering, rethinking the audience as a vital and peculiar social formation.
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Thomson, Tara S. ""Behind the cotton wool": Everyday Life and the Gendered Experience of Modernity in Modernist Women's Fiction." Thesis, 2014. http://hdl.handle.net/1828/5388.
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This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts.
The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies.
This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives.Graduate
2015-04-16
0593
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