19 research outputs found
IllanĂł lepkeszárnyak vaskapcsos tartĂłszerkezettel—érzĹ‘ terek Ă©s testek Virginia Woolf A világĂtĂłtorony cĂmű regĂ©nyĂ©nek „hĂşsában”
Virginia Woolf 1927-ben Ărt, A világĂtĂłtorony cĂmű regĂ©nyĂ©nek poĂ©tikája kĂ©tsĂ©gkĂvĂĽl számos kritikai megközelĂtĂ©st tesz indokolttá, melyek közĂĽl a regĂ©ny posztimpresszionista Ă©s formalista elkötelezĹ‘dĂ©sĂ©bĹ‘l fakadĂł vizualitás az egyik legkĂ©zenfekvĹ‘bb terĂĽlet az elemzĹ‘k számára. Doktori Ă©rtekezĂ©sem a Paul CĂ©zanne letĂ©temĂ©nyesekĂ©nt Ă©s a festĹ‘, esztĂ©ta Roger Fry kĂ©pzeletbeli tanĂtványakĂ©nt is felfoghatĂł Lily Briscoe-t (a regĂ©ny egyik központi alakját) Ă©s munkáit, formanyelvi sajátságait, technikáját ugyanakkor elsĹ‘sorban tĂ©r- Ă©s testelmĂ©leti, valamint fenomenolĂłgiai Ă©rtelmezĹ‘i keretek között vizsgálja. Lily esztĂ©tikájának Ă©s festĂ©szeti formáinak Ă©s tereinek elemzĂ©se során a mű egĂ©szĂ©t áthatĂł szerkesztĹ‘i elv rajzolĂłdik ki. A szöveg szintjĂ©n konstituálĂłdĂł festmĂ©nyek a narratĂva alteregĂłinak is tekinthetĹ‘ek. A regĂ©ny szövedĂ©kĂ©ben megjelenĹ‘ testek Ă©s terek egyĂĽttállása egy Ăşjfajta Ă©szlelĹ‘i Ă©s Ă©rtelmezĹ‘i megközelĂtĂ©st tesz szĂĽksĂ©gessĂ©.
A regĂ©ny elsĹ‘ rĂ©szĂ©t uralĂł művĂ©szi kihĂvást az jelenti, hogy a festĹ‘t körbevevĹ‘ valĂłságelemek megfelelĹ‘ vizuális trĂłpusokra leljenek, hogy a valĂłság tĂ©rbeli viszonyrendszere Ă©s a Lily vásznának „szignifikáns formái” (Clive Bell terminusa) közötti analĂłgia helytállĂł legyen. Miközben testek, dolgok Ă©s az azokat körbeölelĹ‘ terek szövedĂ©kĂ©t tĂ©rkĂ©pezi fel, a festĹ‘ ráébred az Ă©n Ă©s a másik közötti viszony megismerhetĹ‘sĂ©gĂ©nek nehĂ©zsĂ©geire is. Ez a felismerĂ©s az Ă©nteremtĂ©s problematikájával szembesĂt Ă©s rávilágĂt A világĂtĂłtorony ontolĂłgiai kĂ©rdĂ©sfelvetĂ©seire is.
A szubjektum lĂ©trejöttĂ©t az Ă©pĂtĂ©szeti, korporeális Ă©s esztĂ©tikai terek fenomenolĂłgiai Ă©rtelemben vett Ă©szlelĂ©se Ă©s megĂ©rtĂ©se teszi lehetĹ‘vĂ©. Az Ă©rtekezĂ©s Ă©rtelmezĹ‘i keretĂ©t három tĂ©rbeli Ă©s testi alapokra helyezett lĂ©telmĂ©let adja: „Az ablak” cĂmű elsĹ‘ rĂ©szt Emmanuel LĂ©vinas Ă©s Jean-Paul Sartre fogalmai mentĂ©n elemzem, mĂg a zárĂłfejezet Maurice Merleau-Ponty fenomenolĂłgiájának alkalmazását teszi indokolttá. A „MĂşlik az idő” cĂmű közĂ©psĹ‘ rĂ©sz, a kĂ©t keretet adĂł fejezettel ellentĂ©tben, a tĂ©rbelisĂ©get sajátságos mĂłdon jelenĂti meg, leginkább annak hiányakĂ©nt, Ă©s szubverzĂv mĂłdon ugyan, de inkább az idĹ‘belisĂ©g jellemzi.
Az elsĹ‘ fejezetet a szĂłrĂłdás, elválasztĂłdás, távolság mechanizmusai szervezik. Mrs. Ramsay, a regĂ©ny központi nĹ‘alakja, elsĹ‘dlegesen a család nyári lakával, annak tereivel azonosĂthatĂł. Teste rĂ©vĂ©n maga is egy tĂ©rbeli konstrukciĂł, Ăgy a házba hĂşzĂłdása, annak belsĹ‘ tereiben valĂł lĂ©tezĂ©se egy többszörösen magába zárulĂł tĂ©rbelisĂ©get eredmĂ©nyez. Ez a szerkesztĹ‘i elv LĂ©vinas „lakozás” fogalmát idĂ©zi meg, melyet a filozĂłfus a lĂ©t alapvetĹ‘ feltĂ©telĂ©nek tekinti. A lakozás elengedhetetlen mozzanata a „behĂşzĂłdás” aktusa, a világ kĂĽlsĹ‘legessĂ©gĂ©tĹ‘l valĂł visszavonulás, egyfajta bensĹ‘sĂ©gessĂ©g, amely a szubjektum lĂ©trejöttĂ©nek feltĂ©tele.
A lĂ©vinasi modell Mrs. Ramsay Ă©nteremtĂ©sĂ©t szolgálja, mĂg a többi szereplĹ‘ egymáshoz Ă©s Mrs. Ramsayhez valĂł tĂ©rbeli viszonyát hangsĂşlyosabban a szĂłrĂłdás Ă©s a távolság dinamizmusai alakĂtják. Ez a szervezĹ‘ elv a sartre-i szubjektum lĂ©trejöttĂ©t szolgálĂł feltĂ©telrendszert idĂ©zi, amelyben a világ Ă©s többi test „ott-lĂ©te”, egzisztenciális eltávolĂtása Ă©s meghaladása elengedhetetlen elĹ‘feltĂ©tele az Ă©n felbukkanásának. Ez ugyanakkor nem ássa alá az Ă©n Ă©s a világ egyneműsĂ©gĂ©t, az Ă©n elĹ‘bb önmagát is meg kell haladja, hogy önmagává lehessen.
A „MĂşlik az idő” mindent elnyelĹ‘, feneketlen sötĂ©t kamrája, paradox mĂłdon mĂ©gis kĂ©pes rávilágĂtani a kĂ©t keretezĹ‘ fejezet kiazmikus viszonyára is. EnyĂ©szpontkĂ©nt begyűjti a „Az ablak” szĂłrĂłdĂł tematikus Ă©s esztĂ©tikai motĂvumait, majd elĹ‘revetĂti azok kĂ©sĹ‘bbi egybefonĂłdását kivĂ©telesen reflexĂv mivoltának köszönhetĹ‘en. Köztes tĂ©rkĂ©nt szolgál a kĂ©t vĂ©gletet jelentĹ‘ tĂ©rbelisĂ©g között, elĹ‘kĂ©szĂtve a zárlatot uralĂł szinergiát, testek Ă©s terek egyĂĽttállását.
A távolság mint tĂ©rszervezĹ‘ erĹ‘ „A világĂtĂłtorony” cĂmű rĂ©szben is jelen van, de ezĂşttal egy sokkal kĂ©plĂ©kenyebb tĂ©r körvonalazĂłdik általa. A festĹ‘ számára megĂşjult kihĂvás a korábban rögzĂtett viszonyĂtási pontok (Mrs. Ramsay, a ház, a világĂtĂłtorony, a szalonba vezetĹ‘ lĂ©pcsĹ‘k) által körĂĽlhatárolt tĂ©r fluiditása, vásznának „kĂ©rlelhetetlen ĂĽressĂ©ge”, Mrs. Ramsay hiánya. Egy merĹ‘ben Ăşj Ă©szlelĂ©s Ăştján kell megtapasztalnia az Ĺ‘t körĂĽlvevĹ‘ valĂłságot, feladva korábbi, állványa mögötti rögzĂtett Ă©s elszigetelt pozĂciĂłját, mellyel festĹ‘i tĂ©máját eltárgyiasĂtotta Ă©s ellehetetlenĂtette a vele valĂł testi-tĂ©rbeli azonosságot is. El kell sajátĂtania a Merleau-Ponty által „vad Ă©szlelĂ©snek” hĂvott tapasztalati mĂłdozatot, amely a „világ hĂşsát”– a testeket is magába foglalĂł testközötti kĂ©plĂ©keny szövet, amelyben a testek Ă©s a világ folytonosan átlĂ©pnek egymásba, egymásba tĂĽremkednek – a nyelvi Ă©s medializált fogalomalkotás elĹ‘tti állapotban konstituálja. A korábban szĂłrĂłdĂł, szĂ©ttartĂł, elkĂĽlönĂĽlĹ‘ valĂłságtöredĂ©kek „vad Ă©szlelĂ©se” Ă©s a világ hĂşsával valĂł azonosság fel- Ă©s elismerĂ©se teszi lehetĹ‘vĂ© Lily számára, hogy lĂ©trehozza a cĂ©zanne-i esztĂ©tika rendjĂ©t Ă©s a formák egysĂ©gĂ©t, hogy – Fry fogalmait idĂ©zve – látomását kompozĂciĂłvá szilárdĂtsa.
The poetics of Virginia Woolf’s To the Lighthouse (1927) unquestionably attracts numerous interpretative approaches out of which one of the most conspicuous is visuality owing to the novel’s Post-Impressionist legacy. My analysis grew out of the painterly quality, too, yet the examination of the formalist relations of the textually embedded paintings led to the realisation of a wider compositional principle. This eventually delineated a spatio-corporeal quality prevalent in the entirety of the novel. Lily Briscoe’s paintings, hence can be considered as textually generated pictorial alter-egos of To the Lighthouse. The interrelatedness of bodies and spaces necessitates an altered mode of perception and apprehension both from the artist’s and the analyser’s part, which eventually outlines the phenomenological embeddedness of the narrative.
Lily—a Cézanne surrogate or Roger Fry’s imaginary disciple—encounters the significance of the analogy between the spatial and bodily relations of animate and inanimate entities inhabiting her immediate environment and the stylised blocks of colours, the “significant forms” (Clive Bell’s term) of her canvas. By tracing up the spatial network of bodies and things, Lily, primarily, is confronted with a need for finding the proper visual equivalence for Mrs. Ramsay, which process unravels the difficulty concerning the knowability of the self and the other. Subject formation, as a subsequent concern for all of the characters, appears to be accomplished through the phenomenological apprehension of architectural, corporeal and aesthetic spaces. The confluence of space and the body triggered the fundamental interpretative framework of the dissertation: the spatio-existential philosophy of Emmanuel Levinas and Jean-Paul Sartre, and the embodied subjectivity of Maurice Merleau-Ponty.
Structurally the novel’s two framing chapters—unlike the central section that is apparently temporally designated—perform different spatial relationships. Whereas “The Window” section is dominated by dispersal, separation, and distance, as well as by its central trope, that is, the window, the means of liminality, the closing chapter, “The Lighthouse,” is characterised by synergy and convergence, a constellation of bodies, things, and their enveloping space. Mrs. Ramsay’s centrality in the first part is complemented by her analogy with spaces (actual and metaphorical alike), first and foremost with the Ramsays’ summer cottage. Her body as a spatial construction itself is located within the house, which arrangement produces a structure of multiple spatial enclosures.
This evokes Levinas’s notion of the dwelling which he considers as a basic existential mode, an essential condition for the resurgence of the self. Levinas imagines dwelling as “recollection,” that is, a withdrawal from the exteriority of the world, an emphatic inwardness. Due to the separation from the external sphere, the self experiences the sense of being at home with itself, subsequently, the potential to be, to resurge Levinas’s concept determines Mrs. Ramsay’s own subject formation procedure. Distance, on the other hand, as the other dominant structural force, characterises the relationship of the others towards Mrs. Ramsay, which calls for Sartre’s notion of “to-be-thereness.” The self has to cause the world, with which it shows contiguity, to be there, at an existential distance for the sake of becoming able to emerge from it. Mrs. Ramsay through her association with architectural spaces appears to be the surpassable body for the others, from which all the family members and their guests separate themselves.
“Time Passes,” the central section of the novel, temporarily suspends spatiality, yet due to its highlighted structural position, as well as its reflexive quality, it functions similarly to Mrs. Ramsay within the composition of the entire novel. It serves as the limen of the narrative, a point of convergence and, at the same time, a viewing point. It reflects on, among other instances of internal mirroring, the very relationship of the two framing chapters. “Time Passes” becomes the surpassed, distanced body for the first part, to enable the final aesthetic and existential accomplishment of the closing chapter.
“The Lighthouse” section inevitably experiences an altered spatiality. Bodies, things, forms resurface in a dynamic spatial modulation that is attributed with synergy. Even though distance prevails, it becomes a fluid category, the very means of outlining the organic relatedness of the formerly disparate components. Lily is forced to surrender her exterior position with respect to her painterly theme. Her new referential points (the Lighthouse, Mr. Ramsay, the empty drawing room steps, the staring emptiness of her canvas, etc.) do not signify fixity, they do not impose limitations on her, and she is no longer separated by her easel from the rest of the world. The surrounding world with all its bodies and things is in a constant movement, forcing the painter to constantly redefine the notion of distance and her own position within such a plastic space. She realises that she herself is encrusted in, what Merleau-Ponty calls, “the flesh of the world,” an intercorporeal tissue of encroachments in which external and internal fluctuate.
Lily adjusts herself to this environment by performing “a dancing rhythmical movement” that is also the reformulation of her “agitated” brush. She perceives her reality by her whole body through the confluence of the visual, aural, and tactile sensory experiences. Consequently, the painter can conjure up the absent Mrs. Ramsay’s phenomenal body and re-establish her spatio-corporeal relationship with her that enables her to transpose this relationship onto the canvas as a Cézannesque constellation of forms and spaces: her former vision turns into what Fry calls design, the ultimate order of forms.d
"Az egész testemmel hallok" : szonorikus testek jelenlét és nem-jelenlét határán
The contemporary Hungarian artist, Hajnal NĂ©meth is concerned with the visual, corporeal, and aural chasm opened up by the frequently invisible, dislocated or muted object proper of her works. Music, sounds, noises pour into the exhibition spaces constituting, what Don Ihde terms, the shape- aspect of things and bodies. The abyss automatically calls for surrogate narratives, identities, and artefacts to defy our existential insecurity. NĂ©meth creates the conditions for this pluralism through a Merleau-Pontian synergy of the tangible and the visible, as well as by exploiting the conventionally unnoticed sonorous quality of shapes, surfaces, and interiors, evoking Ihde’s aural phenomenology. NĂ©meth offers the promise of a recreated subjectivity at the concurrence of the aural, the visible and the tangible.NĂ©meth Hajnal alkotásainak gyakran láthatatlan, jelenlĂ©tĂĽkben kizökkentett vagy elnĂ©mĂtott tárgyai vizuális, aurális vagy testi hiánykĂ©nt manifesztálĂłdnak. Zene, hangok, zörejek áramlanak a kiállĂtĂłtĂ©rben, ezzel, Don Ihde terminusát idĂ©zve, alak-jelleget biztosĂtva a tĂ©rben fellelhetĹ‘ tárgyaknak, beleĂ©rtve a látogatĂłk testĂ©t is. A hiány szĂĽksĂ©gszerűen alternatĂv narratĂvák, identitások Ă©s tárgyak egĂ©sz sorát idĂ©zi meg, hogy egzisztenciális bizonytalanságunkat nĂ©mileg helyre billenthessĂĽk. NĂ©meth egyfelĹ‘l a láthatĂł Ă©s a tapinthatĂł merleau-ponty-i szinergiáján keresztĂĽl teremti meg művei pluralizmusát, másrĂ©szt pedig a formák, felszĂnek Ă©s belsĹ‘ terek hagyományosan mellĹ‘zött szonorikus minĹ‘sĂ©gĂ©t aknázza ki Ihde aurális fenomenolĂłgiáját idĂ©zve. Művei a szubjektum ĂşjrateremtĹ‘dĂ©sĂ©re tesznek kĂsĂ©rletet, ott ahol a hallhatĂł, a láthatĂł Ă©s a tapinthatĂł egymásba hatol Ă©s egybefonĂłdik
A lét és a semmi határán – Mrs. Ramsay test-terei
The structural plasticity of Virginia Woolf ’s To the Lighthouse defines the figure of Mrs. Ramsay, one of the central characters of the novel, as a spatio-corporeal entity. She occupies a transitory space in the texture of the novel, frequently being associated with the window, a trope of mediation and liminality itself. The ambiguity of her status rests in her incessant inclination to unite the family members and guests and to create stability and order while she herself withdraws into her “wedge-shaped core of darkness” remaining inaccessible and invisible for others. Mrs. Ramsay’s bodily presence appears analogous with a whole series of literal and imaginary architectural constituents and architectonic forms (windows, stairs, the drawing room steps, the lighthouse, the dome shaped hive, the tombs of kings, a cathedral-like space) primarily, through her identification with the Ramsays’ summer cottage, with the interiority of its domestic milieu. This, however, is expanded by her subsequent identification with the Lighthouse, a minimalist, emphatically vertical and guiding architectural design of the novel. Thus, Mrs. Ramsay emerges as an existential referential point in Sartre’s term. For Sartre,—as he argues in his Being and Nothingness— the upsurge of the self rests on the demarcation of an existential distance from the things of the world and the surpassing of one’s own body as yet another necessary obstacle. Mrs. Ramsay, as the basis of the spatio-corporeal existence, serves as space proper for the others: simultaneously, offering the potential for spatial embeddedness, as well as the delineation of corporeal distances within the network of things and bodies.The structural plasticity of Virginia Woolf ’s To the Lighthouse defines the figure of Mrs. Ramsay, one of the central characters of the novel, as a spatio-corporeal entity. She occupies a transitory space in the texture of the novel, frequently being associated with the window, a trope of mediation and liminality itself. The ambiguity of her status rests in her incessant inclination to unite the family members and guests and to create stability and order while she herself withdraws into her “wedge-shaped core of darkness” remaining inaccessible and invisible for others. Mrs. Ramsay’s bodily presence appears analogous with a whole series of literal and imaginary architectural constituents and architectonic forms (windows, stairs, the drawing room steps, the lighthouse, the dome shaped hive, the tombs of kings, a cathedral-like space) primarily, through her identification with the Ramsays’ summer cottage, with the interiority of its domestic milieu. This, however, is expanded by her subsequent identification with the Lighthouse, a minimalist, emphatically vertical and guiding architectural design of the novel. Thus, Mrs. Ramsay emerges as an existential referential point in Sartre’s term. For Sartre,—as he argues in his Being and Nothingness— the upsurge of the self rests on the demarcation of an existential distance from the things of the world and the surpassing of one’s own body as yet another necessary obstacle. Mrs. Ramsay, as the basis of the spatio-corporeal existence, serves as space proper for the others: simultaneously, offering the potential for spatial embeddedness, as well as the delineation of corporeal distances within the network of things and bodies