No Place Like Home: Nightwood 's Unhoused Fictions

Wilson, Mary

doi:10.1353/sdn.2011.0053

Cited by 4 publications

(3 citation statements)

References 27 publications

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“…More recently, more research has emerged that takes an interest in the agency of things as well as their felt materiality in fiction, including modernist texts (Bernaerts et al 2014;Majumdar 2006;Nishimura 2015). 3 Several researchers have explored Barnes's interest in commodities and fashion (Oliver 2014), as well as the relationship of her work to the politics of space (Wilson 2011), and to nonhuman animals (Rohman 2009(Rohman , 2007. Julie work on affectivity in Barnes's work is in many ways in line with my approach to it, although it does not specifically focus on things, materialities or experientiality.…”

Section: Reading Things Senses and Meaningsmentioning

confidence: 99%

“…Detail can be read as archaic and archival, in the vein of comparing the stories to museums or curiosity cabinets, filled with potentially useless information (Wilson 2011); another, opposite approach could be to read detail as symbolic and thereby central to the meaning of the story. What I want to suggest and what I hope my method of reading will demonstrate is that neither is quite the case in Barnes's short fiction.…”

Section: Djuna Barnes's Detail and The Materiality Of The Symbolicmentioning

confidence: 99%

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Materiality in Modernist Short Fiction

Oulanne¹

2021

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Among the Victorians and Modernists Materiality in Modernist Short FictionMateriality in Modernist Short Fiction provides a fresh approach to reading material things in modern fiction, accounting for the interplay of the material and the cultural. This volume investigates how Djuna Barnes, Katherine Mansfield, and Jean Rhys use the short story form to evoke the material world as both living and lived, and how the spaces they create for challenging gendered social norms can also be nonanthropocentric spaces for encounters between the human and the nonhuman. Using the unique knowledge created by literary works to spark new conversations between phenomenology, cognitive studies, and new materialisms, complemented with a feminist perspective, this book explores how literature can touch the basic experience of being in, feeling and making sense of a material world that is itself alive and active. From a sensitive reading of how three women used the material world to make their readers see, feel, and question the norms shaping our experience, this volume draws a theory of reading affective materiality that illuminates modernism and the short story form but also reaches beyond them.

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Section: Reading Things Senses and Meaningsmentioning

confidence: 99%

Section: Djuna Barnes's Detail and The Materiality Of The Symbolicmentioning

confidence: 99%

Materiality in Modernist Short Fiction

Oulanne¹

2021

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“…Taking the lead from Wittig (), Carolyn Allen's Following Djuna: Women Lovers and the Erotics of Loss reads Barnes alongside the circles of women writers influenced by her to explore these writers' “universalizing” ability to make queer desire and play between women the norm (, 5). Building on earlier work, Allen offers a powerful critique of Freudian constructions of homosexuality and narcissism, an approach which would see further developments in the coming years (see Allen 1991, 1993, 1996, Backus, Wilson , Bockting , Berni 1999, Hutchinson, Veltman, Rupprecht, Coffman and De Lauretis ).…”

Section: –1999: Silence and Powermentioning

confidence: 99%

“The Great Djuna:” Two Decades of Barnes Studies, 1993–2013

Setz

2014

Literature Compass

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From virtual oblivion, to queer feminist rebel, to significant author of the early twentieth century, Djuna Barnes has begun to be regarded an integral figure in studies of modernist literary history. Her work requires a particular attention to “high” and “low” material culture, style and form, and offers productive challenges to (among other things) genre, narratives of trauma, sexual and racial constructions of identity, exilic and transnational subjects. As students and scholars come to the author through recent critical work attuned to her modernist literary and artistic practices, it is important to take stock of this growing field. Intended as an introductory guide focused on three waves of scholarship since 1993, this article maps the key pioneering and influential critical voices, issues and directions that have illuminated Barnes studies over the past twenty years. “The great Djuna,” as one critic called her, is a moniker finally shedding its outdated irony.

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Autobiographical Representations: Family in Djuna Barnes's NIGHTWOOD

Musselman

2016

The Explicator

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No Place Like Home: Nightwood 's Unhoused Fictions

Cited by 4 publications

References 27 publications

Materiality in Modernist Short Fiction

Materiality in Modernist Short Fiction

“The Great Djuna:” Two Decades of Barnes Studies, 1993–2013

Autobiographical Representations: Family in Djuna Barnes's NIGHTWOOD

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