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• W59814297 abstract "In Ambassadors (1903), Henry James illustrates way of depicting visual of character, corresponding his brother William James's concept of stream of consciousness. observation of visual and sensational atoms constitutes his narrative form, creating fictional writing as work of art. Henry James transforms narrative from depiction of objective events portrayal of perception and interpretation of the external visible world through character's consciousness. His use of visual does not simply express the stream of thought but also explores its complexity in the process of its formation. James brothers' writings mark phenomenon in which the outer visible world and the stream of thought are presented as one pure experience in one's own impression. In Henry James's novels, the reader will not realize what has happened until he reaches the last page. Henry James shows the plot not through events but through the character's complex response the external world. In 1905 Virginia Woolf commented that Henry James's way of depicting simple plot needs skill of the highest make novels out of such everyday material (E I 22). Ambassadors illustrates James's of fictional writing. I argue that this novel portrays an Impressionist Paris, because the city is bright, and bathed in sunlight, as in Impressionist paintings. Impressionist way of depicting sunlight and visual fulfills Henry James's aesthetic theory in The of Fiction (1884), making fictional writing form of fine arts (James, Art 6). In the essay, he highlights the Impressionist view of using visual sensations in writing. This artistic faith backs his theory of fictional writing. Fictional writing is not business, which after all only makes novel production of make-believe plots (James, Art 4) entertain the readers. Rather, the of fiction is to represent (James, Art 4-5). In this respect, James's fiction represents the life of character--his or her impression of the external world as filtered through consciousness. Like Henry James, Virginia Woolf also thinks that is the key element of fictional writing. Indeed, Woolf believes that '[t]he foundation of good fiction is creating and nothing else' (E III 421). Woolf's experimental character (Guiguet 19) has attracted considerable critical attention. Woolf's characters are experimental, because they are on for the meaning of love and life. Indeed, Ford Madox Hueffer (Ford) saw Night and Day (1919) as novel which reminded in him much of the late Henry James (CH 73). Also, in 1982, Eric Warner, in panel discussion of the Virginia Woolf Centenary Conference at Fitzwilliam College, Cambridge, said that he himself sees Woolf very much in the tradition of Henry James, [...], in the sense that she is clearly concerned with drama of consciousness, drama of perception, and [...] quest (Warner 154). Character is equally important in Henry James's and Virginia Woolf's fictional writings. For James, the process of fictional writing is select a myriad forms of experience (James, Art 10). James depicts one's own impression, as the external world is perceived by one's own consciousness. He sees the same attempt on the canvas of the Impressionists. external visible world is internalized as one's inner life, which can be objectified through impressions in painting and writing. Henry James sees the profound relation between the visual and verbal arts, and their ways of depicting life: only reason for the existence of novel is that it does attempt represent life. When it relinquishes this attempt, the same attempt that we see on the canvas of the painter, it will have arrived at strange pass. It is not expected of the picture that it will make itself humble in order be forgiven; and the analogy between the art of the painter and the art of the novelist is, so far as I am able see, complete. …" @default.
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• W59814297 date "2011-09-01" @default.
• W59814297 modified "2023-09-27" @default.
• W59814297 title "From Impressionist Paris to Post-Impressionist London: Henry James's and Virginia Woolf's Painting-in-Writing" @default.
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