A Moment of Joy: Essays on Art, Writing and Life | 誠品線上

A Moment of Joy: Essays on Art, Writing and Life

內容簡介

內容簡介 This book is for readers who are interested in literature, visual arts and writings about life. Most of the time, life itself, including personal ones and collective ones (such as nation, natural environment and so forth), gives incredible inspirations to the one who is writing. And yet, through more reading and more thinking, the writing self can imagine someone else’s way of living, as if he or she is living through it. This collection of essays brings literature and visual arts together, as their aesthetics come to complete each other.

作者介紹

作者介紹 ■作者簡介林孜郁(Allison Tzu Yu Lin)Dr Tzu Yu Allison Lin received her PhD in English and Comparative Literature from Goldsmiths, University of London. Her research interests include visual and verbal representations, literary theory and criticism, writers and cities. Dr Lin has publications such as articles and books in English and in Chinese, including Virginia Woolf and the European Avant-Garde (2009) and Mystic Virginia Woolf (2012). She is an assistant professor in Faculty of Education, Gaziantep University, Turkey.

產品目錄

產品目錄 Acknowledgements Preface Chapter 1 Through the Gaze: History, Literature and Arts Chapter 2 Jane Eyre: Arts in the Novel of Charlotte Brontë Chapter 3 Teaching English and Cultural Exchange in Gaziantep Chapter 4 Roger Fry, Istanbul, and the Art of Seeing Chapter 5 The Dialectical Relation: Landscape and History in The Last of the Mohicans and The Course of Empire Chapter 6 Self, Art, Fiction: The Portrait of a Lady Chapter 7 London and Crisis in Henry James’s The Awkward Age Chapter 8 The Flâneur’s Gaze and the Dialectical Representation of London: Using Woolf’s “Street Haunting” as an Example

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內文 : Preface by the author

The idea of having a collection of essays published is quite a recent one. Right after I joined Education Faculty, about one year ago, it came to my mind. In Turkey, the study of literature is actually quite a problematic one. Students in departments which are related to literary studies (in Faculty of Letters or Faculty of Letters and Sciences) mostly worry about their futures, since the system itself will represent a bit of challenge for them to become language teachers. Any studies related to literature, in general, is not for enjoyment or or fun. The study itself, indeed, expresses a general anxiety of facing a future of uncertainty.
Under such a different, and yet challenging academic environment, it is really difficult to teach literature, especially literature in English. Students are used to be passive. Creative thinkings and links (for example, literature and critical theory, literature and visual arts) are not so much expected as in other countries. Too much links and creative works would be seen as unclear and as something unnecessary.
Teaching and doing research are truly quite different things. In research, I am able to care more about what I can achieve, instead of thinking about what can students achieve in the class. It may look very much impossible, to make students see what I see; still, it is worth it to put those ideas into words. In reading, rather than in listening and taking notes, they can also at least try to appreciate not only literature as literature, arts as arts, but to feel the connection which is beyond words and images.

Jane Eyre: Arts in the Novel of Charlotte Brontë

I want to demonstrate the way in which ‘art’ is seen as an expression of the inner self. The main character Jane Eyre’s psychology, through Charlotte Brontë’s verbal art and the narrator ‘I’, comes to show the complicated art of Brontë’s novel. I focus on the relation between the external and the internal worlds. Through arts, the reader can see that there are at least two kinds of paintings and portraits: one aims to represent what the external world looks like, while the other serves to depict one’s own thoughts and imaginations.
Critics mentioned about the role of the eye, visual objects and visual arts in Charlotte Brontë’s novels. Among them, Peter J Bellis, in his article ‘In the Window-Seat: Vision and Power in Jane Eyre’, argues that through Lacan’s usage of the gaze, the reader can see the social meaning of Jane’s gaze. Crucial moments of the gaze in the novel, according to Bellis, come to define the relation between the inner and the outer spheres in Brontë’s writing. For example, Jane’s window seat at Gateshead in the breakfast room, behind the curtain, shows a ‘boundary’ (Bellis 640) between her imaginary world and the external world. The curtain allows her to have ‘visual access to the outside world’ (Bellis 640). On the other hand, it also keeps her eye on ‘the book in her lap’ (Bellis 640).
For Alison Byerly, Jane’s approaches to visual images show a strong sense of ‘an imaginative truth’, in a way in which visual arts─including illustrations in a book such as Thomas Bewick’s History of British Birds or Jane’s own landscape sketches─are ‘artificial, theatrical world[s] of exterior representation from the real world of inner feeling’ (Byerly 97). George Levine, in his ‘Realism, or, in Praise of Lying: Some Nineteenth Century Novels’, also claims that ‘realism’ is a ‘notion of mimesis in literary art’ (Levine 355). Literature, in the sense of realism as a form of verbal arts, has its feature of recording reality, as the reader can see in Henry James’s novels. And yet, art can also be seen as a mimesis of nature. It is also artificial. It is a lie in Oscar Wilde’s sense, since ‘[e]very detail is chosen and arranged by the novelist’ (Levine 356), creating a reality which belongs to the novelistic world.
Charlotte Brontë’s sense of reality comes from a tension between the inner desire─’inner urgencies’ as in Robert B Heilman’s term─and the ‘observed outer life’ (qtd. in Levine 361). I would suggest, Jane Eyre’s inner world represents a power of her own, allowing her to overcome class differences and the boundary between imagination and reality. The master/slave dialectic is particularly significant, when one sees Jane’s paintings as representations of her non-linguistic power. When Jane is with Rochester, she cannot say things which are against Rochester. In the realm of the symbolic order, language comes to reveal class and gender differences, as Jane is the governess and Rochester is the Master. A governess is somehow treated as a high-level servant, who has ‘a use value and an exchange value’ (Allen 111). Jane needs to earn money from the Master. As Jane needs to go back to Gateshead to see the Reeds, Rochester becomes her ‘banker for forty pounds’ (Brontë, Jane Eyre 223). The governess, at this moment, is an object which has exchange values. The position of Jane, in the realm of the symbolic, is the Other, the passive and the oppressed.
Jane is happy and ‘self-satisfied’ (Brontë, Jane Eyre 128) when she paints. Representing the imaginary, Jane’s portfolio contains her fantasy of ‘artist’s dream-land’ (Brontë, Jane Eyre 128), affecting Rochester deeply while responding her works of art in the library. Through visual arts, Jane and Rochester become spiritually united, in a way which gender and class differences are dismissed. Visual elements in Jane’s paintings, such as the ‘vision of the Evening Star’, the ‘grassy hill with a large expanse of deep blue twilit sky’, and ‘a bust-length view of a woman’ (qtd. in Kromm 379), all come to reveal the Romantic sense of love and tranquility through nature, transcending the realistic and the mechanical external world to a ‘pre-social’ self, as the self is ‘free also to progress, move through the class-structure’ (Eagleton 39).
The relation between space and psyche is significant, in a way which Jane’s inner world is accommodated through the environment, as the interior comes to serve as a private space, revealing Jane’s shifting moods. For Charlotte Brontë, I would argue, the interior which the self is located in not only show as physical surroundings, but also a sense of inner reality. Visual objects characterise Jane’s mood and her ‘faculty of reflection’ (Brontë, Jane Eyre 320). For instance, Jane ‘pauses’ her ‘strange fears’ ‘in the centre of the obscured ceiling’ (Brontë, Jane Eyre 316) in her room, during the night before she leaves Rochester. The ceiling is transformed from a visible object to an imaginary cinema screen, revealing Jane’s imagination and her childhood memory with a cinematic technique, known as flashback─a cinematic way which Marcel Proust also uses in his auto-biographical novel, Remembrance of Things Past. The childhood memory of the red-room ‘trauma’ (Moglen 48) at Gateshead comes back to Jane, as her room in Thornfield at that moment is no longer ‘a heaven’ (Brontë, Jane Eyre 317), although it used to be. Leaving Rochester, Jane is ‘weeping’ in her mind (Brontë, Jane Eyre 318), reminding the reader her ‘silent tears’ (Brontë, Jane Eyre 22) after the nightmarish mood of ‘humiliation, self-doubt, forlorn depression’ (Brontë, Jane Eyre 18) in the red room, as the visual objects in the ‘interior space’ (Malane 91) re-define the room as a mental space.