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Vision and Violence in Virginia Woolf’s The Waves

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Otto P. D., University W. K., Peggy Otto is assistant professor of English at Western Kentucky University in Bowling Green K.

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

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2015

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vol. 3

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issue 2

EN

Virginia Woolf describes her artistic goal in The Waves as an attempt to create “an abstract mystical eyeless book.” Yet, in creating her eyeless book, one that eschews a single narrative perspective, Woolf amasses abundant visual details. For each of her six characters, visual images mark significant moments of being. In fact, Woolf emphasizes the characters’ capacity for sight as a vulnerability that allows them to be violated and wounded over and over. This article analyzes connections between visual imagery and themes of violence in the novel to demonstrate how they cohere into an extended metaphor for the ways in which acts of looking can elicit powerful emotions that threaten to fragment individual identity in painful ways. While Woolf’s novel has received critical commentary that focuses on the role of vision in the narrative and critics have also noted how violence in the text supports other themes, the explicit relationship between sight and violence has not yet been fully explored. A close examination of the visual imagery in key scenes of the novel demonstrates how Woolf engages the reader to participate in the characters’ deepening sense of fragmentation as they are repeatedly assaulted by experience, as the eyes themselves become symbols of the twin dynamics of desire and destruction.

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Koncepcja uwagi wizualnej

75%

Młodkowski J., Instytut Psychologii U. Ł.

Acta Universitatis Lodziensis. Folia Psychologica

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2008

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vol. 12

EN

According to the general theory of attention the selective function creates the perceptive and cognitive fractions. Conversely the controlling function creates behavioural and immanent fractions. Particular connection with visual attention has the perceptive function. It as two types such as an exploratory attention and as a penetrative attention. Former guides the process of focusing areas of retina with an existing image onto the central area ranking them accordingly with their physical properties such as density, contrast, motion, etc. The penetrative attention constantly creates a program of an object’s identification comprised of memory imprints and current spacial relation between the observed object and the observing eye. The cognitive attention supports only processing of imagering. It doesn’t involve oculomotoric activity. The full text of the article explores as well relationships between visual attention and phenomenons of classic psychology: Perky’s effect, eidetic imagery and alternative figures and silhouettes.

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The sense of sight in Jan Kochanowski’s poetry: A research reconnaissance

63%

Krzywy R., Krzywy R.

Ruch Literacki

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2019

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issue 2

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1 Acta Universitatis Lodziensis. Folia Psychologica

1 Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

1 Ruch Literacki

1 Instytut Psychologii U. Ł.

1 Krzywy R.

1 Młodkowski J.

1 Otto P. D.

1 Peggy Otto is assistant professor of English at Western Kentucky University in Bowling Green K.

1 University W. K.

1 2019

1 2015

1 2008

Vision and Violence in Virginia Woolf’s The Waves

Koncepcja uwagi wizualnej

The sense of sight in Jan Kochanowski’s poetry: A research reconnaissance