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The essay focusses on how Woolf's quest for a 'universal' language of the mind can be read as redefining and even reinventing the notion of mother tongue. In particular, "The Waves" offers a reconfiguration of the process of language acquisition that symbolically reverses its linear development. Woolf's stress on a dynamic, ever-moving conception of language, her connection with Coleridge's perspectives on language, and her view of ancient Greek as an ideal lost language reveal her questioning of the idea of a culturally homogeneous and monolithic language. The notion of mother tongue is thus reconfigured by the writer in terms of a dreamed and imagined ideal language combining familiarity and foreignness, reality and ideality, exactness and the perpetual deferral of meaning.
Although Dante’s influence on modernism has been widely explored and examined from different points of view, the aspects of Virginia Woolf's relationship with the Florentine author have not yet been extensively considered. Woolf's use of Dante is certainly less evident and ponderous than that of authors such as T.S. Eliot and James Joyce; nonetheless, this connection should not be disregarded, since Woolf's reading of Dante and her meditations on his work are inextricably fused with her creative process. As Teresa Prudente shows in this essay, Woolf's appreciation of Dante is closely connected to major features of her narrative experimentation, ranging from her conception of the structure and design of the literary work to her reflections concerning the meaning and function of literary language.
Rezension zu Finn Fordham: I Do I Undo I Redo. The textual Genesis of Modernist Selves in Hopkins, Yeats, Conrad, Forster, Joyce, and Woolf. Oxford (Oxford University Press) 2010. 281 S.
"Why are not excrements, children and lice works of art?" fragt sich James Joyce 1903 in seinem Pariser Notizbuch. Im elf Jahre später fertig gestellten 'Portrait of the Artist as a Young Man' schreibt er die Frage Stephen Dedalus als Eintrag in dessen Notizbuch zu. Finn Fordhams Band 'I Do I Undo I Redo' verspricht, den Prozess der Verfertigung von Kunstwerken zu analysieren, der bei Joyce in Frage stehen bleibt.