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Studies in the novel, 2011-12, Vol.43 (4), p.428-448
Ort / Verlag
Denton: Johns Hopkins University Press
Erscheinungsjahr
2011
Link zum Volltext
Quelle
Project MUSE
Beschreibungen/Notizen
Portraits of her great-uncle, Llewellyn, who died in the Civil War, faded pale carpets, curtains that resembled columns from their time in stillness, a plume and an ink well-the ink faded into the quill; standing, Nora looked down into the body of the house, as if from a scaffold, where now Robin had entered the dream, lying among a company below. Associations between the novel and the house, between domestic space and novelistic space, have become so commonplace as to go almost unnoticed.\n In a different context, Jean Gallagher notes that Nightwood's revision of typical "visual fields" upends the traditional perspectives of visual theorists, who see "the attempt to place the viewer in the interior of the visual field...as a desirable freeing of the eye from an illusory 'epistemological mastery,'" whereas in Nightwood such a move is "anything but liberatory" (281).