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Collection Highlights

Beyond the Victorian Modernist Divide 1st Edition Anne

Florence Gillard Estrada Anne Besnault Levita

Testing New Opinions and Courting New Impressions New

Perspectives on Walter Pater 1st Edition Anne Florence
Gillard Estrada Editor Martine Lambert Charbonnier Editor
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Testing New Opinions and Courting New Impressions New

Perspectives on Walter Pater 1st Edition Anne Florence
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Beyond the Victorian/
Modernist Divide

Beyond the Victorian/Modernist Divide contributes to a new phase in

the ­Victorian-modern debate of traditional periodization through the
perspective lens of literature and the visual arts. Breaking away from
conventionally fixed discourses and dichotomies, this book utilizes an
interdisciplinary approach to examine the existence of overlaps and un-
explored continuities between the Victorians, the post-Victorians, and
the modernists, including the fields of music, architecture, design, sci-
ence, and social life. Furthermore, the book remaps the cultural history
of two critical meta-narratives and their interdependence – the myth of
“high modernism” and the myth of “Victorianism” – by building on
recent scholarly work and addressing the question of the “turn of the
century break theory” with a new set of arguments and contributions.

Anne-Florence Gillard-Estrada is Associate Professor at the University

of Rouen. She defended a PhD on Hellenism and Greece in Walter Pater’s
works at Paris -7-Denis Diderot (received with highest honors) and has
published articles on Pater, Wilde, and Victorian “classical / Aesthetic”
painting. She has coedited Écrire l’art / Writing Art: Formes et enjeux
du discours sur les arts visuels en Grande-Bretagne et aux Etats-Unis
(Paris: Mare et Martin, 2015) She is currently writing a monograph on
the figurations of Greece and the body in British paintings of Antiquity
(1860–1900) and their reception in art criticism and periodicals.

Anne Besnault-Levita is Senior Lecturer at the University of Rouen

where she teaches English literature; she is also the Vice President of
the French Virginia Woolf Society. In 1997, she defended her PhD
dissertation on the short stories by Katherine Mansfield, Virginia
Woolf, and Elizabeth Bowen, at the University of Paris III – Sorbonne
­Nouvelle and obtained first class honors. She is the author of Katherine
­M ansfield: La voix du Moment (Paris: Messène, 1997) and coeditor of
­C onstruire le sujet. Dirs (eds) Anne Besnault-Levita, Natalie Depraz et
Rolf ­Wintermeyer (Limoges: Lambert ­Lucas, 2014) and The Journal of
the Short Story in English 64 (Spring 2015), Part One: The Modernist
Short Story. She is currently working on a book on Virginia Woolf’s
conception of literary history.
Among the Victorians and Modernists
Edited by Dennis Denisoff

This series publishes monographs and essay collections on literature,

art, and culture in the context of the diverse aesthetic, political, so-
cial, technological, and scientific innovations that arose among the
Victorians and Modernists. Viable topics include, but are not limited
to, artistic and cultural debates and movements; influential figures and
­communities; and agitations and developments regarding subjects such
as animals, commodification, decadence, degeneracy, democracy, desire,
ecology, gender, nationalism, the paranormal, performance, public art,
sex, socialism, spiritualities, transnationalism, and the urban. S­ tudies
that address continuities between the Victorians and Modernists are
welcome. Work on recent responses to the periods such as neo-Victorian
novels, graphic novels, and film will also be considered.

1 Arthur O’Shaughnessy, A Pre-Raphaelite Poet in the British Museum

Jordan Kistler

2 Dialectics of Secrecy and Disclosure in Victorian Fiction

Leila May

3 Louise Jopling
Patricia de Montfort

4 Gender and the Intersubjective Sublime in Faulkner, Forster,

Lawrence, and Woolf
Erin K. Johns Speese

5 Victorian Sustainability in Literature and Culture

Edited by Wendy Parkins

6 The Occult Imagination in Britain, 1875–1947

Edited by Christine Ferguson and Andrew Radford

7 Beyond the Victorian/Modernist Divide

Remapping the Turn-of-the-Century Break in Literature, Culture
and the Visual Arts
Edited by Anne-Florence Gillard-Estrada and Anne Besnault-Levita
Beyond the Victorian/
Modernist Divide
Remapping the Turn-of-the-Century
Break in Literature, Culture and the
Visual Arts
Edited by
Anne-Florence Gillard-Estrada and
Anne Besnault-Levita
First published 2018
by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an
informa business
© 2018 Taylor & Francis
The right of the editors to be identified as the authors of the
editorial material, and of the authors for their individual
chapters, has been asserted in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted
or reproduced or utilized in any form or by any electronic,
mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be
trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
CIP data has been applied for.

ISBN: 978-1-138-57204-1 (hbk)

ISBN: 978-0-203-70237-6 (ebk)
Typeset in Sabon
by codeMantra
Contents

List of Figures vii

Acknowledgments ix
Notes on the Contributors xi

Introduction 1
A nne B esnault- L evita and A nne - F lorence
G illard - E strada

Part I
Questioning Labels and Periodization: Toward New
Literary Genealogies 19

1 Crossing the Victorian/Modernist Divide: From Multiple

Histories to Flexible Futures 21
M elba C uddy- K eane

2 Victorian Gothic and Gothic Modernism: Remapping

Literary History across the Centuries 40
A nne B esnault- L evita

3 Between the “English nuvvle” and the “Novel of

Aloofness”: Charles Dickens’s Proto-(High) Modernism 55
G eorges L etissier

4 Impressions of Modernity: May Sinclair, Ford Madox

Ford and the First World War 69
C harlotte J ones

5 Currents of Art and Streams of Consciousness: Charting

the Edwardian Novel 82
L ee A nne M . R ichardson
vi Contents
6 “Reading the Two Things at the Same Time”: Victorian
Modernism in To the Lighthouse 99
M arie L aniel

Part II
Art History and the Visual Arts across the Victorian/
Modernist Divide 113

7 The Greek Body and the Formalist Quest across the

Divide: From Aestheticism to Bloomsbury Painting 115
A nne - F lorence G illard - E strada

8 The Velazquez Aesthetic: John Singer Sargent,

Impressionism, and Victorian Modernism 130
L i z R enes

9 Pioneers of Modern Design: From the Cole Circle to

Walter Gropius 142
A nna A ntonowic z

Part III
Interdisciplinary Approaches 161

10 Dorothy Bussy, the Strachey Family, and

Sapphic Literature 163
K athryn H olland

11 An Entomology of Literature: Male Taxonomies and

Female Antennae from Mrs Gaskell to Virginia Woolf 181
C atherine L anone

12 Victorian Song across the Modernist Divide: From

Edmund Gosse to T.S. Eliot 197
F rances D ickey

13 Rhythm and the Measures of the Modern 211

L aura M arcus

Index 229
List of Figures

1.1 Victorian and Modernist to 193023

1.2 Periodizing terms to 2000 24
1.3 Gradual decrease 25
1.4 Sudden emergence 25
1.5 Steady use 26
1.6 Substitutions 26
1.7 War Humps 27
1.8 Palimpsest 28
8.1 John Singer Sargent, Figure of Apollo from “The Forge
of Vulcan,” after Velazquez, 1879, oil on canvas on
board, 45.7 × 26.7 cm, Russborough, Blessington, Ireland 133
9.1 Teapot designed by Christopher Dresser around 1879,
made from 925/1000 silver and ebony, manufactured
by Brian Asquith, Derbyshire, England, for Alessi
S.p.A. Crusinallo, Italy. Exhibition in the Pinakothek
der Moderne, München 152
12.1 Cover. From Edmund Garrett, ed., Victorian
Songs: Lyrics of the Affections and Nature (Boston:
Little, Brown and Company, 1895). (This work is in
the public domain.) 198
12.2 Table of Contents, Victorian Songs. 199
12.3 Index of First Lines. Victorian Songs. 199
12.4 List of Illustrations. 200
12.5 Introduction, Victorian Songs. 200
Acknowledgments

This book began as particularly fruitful discussions during the Beyond

the Victorian and Modernist Divide International Conference that took
place at the University of Rouen in March 2014. We first thank the
­English Department and Professors Miguel Olmos and Marc M ­ artinez,
directors of our research center ERIAC, who supported our project.
Many thanks to our keynote speakers, Professors Michael Bentley,
Laura Marcus, and Melba Cuddy-Keane, and to all the participants and
the colleagues, who helped us with the organization of the conference
and the scientific committee: Christine Reynier, Géraldine Vaughan,
Anne-Laure Tissut, and Myriam Boussahba-Bravard.
We are also grateful to our colleagues and friends Professors ­Catherine
Bernard, Isabelle Gadoin, Elizabeth Prettejohn, and Claire Joubert who
provided expertise to define the outline of the volume and who com-
mented on parts of its drafts.
We express our sincere thanks and appreciation to Dennis Denisoff,
who encouraged and assisted us in the process of publication of this
volume, and to Michelle Salyaga at Routledge for her enthusiasm and
her help.
Notes on the Contributors

Anna Antonowicz is Lecturer at John Paul II Catholic University of

­Lublin, Poland. Following a Ph.D. dissertation “Orientalism Revis-
ited: Indian art in the policy of the Victoria and Albert Museum in the
mid-Victorian period” her continued research focuses on aesthetics
and art, and in particular on the question of modernity in Victorian
dress and design.
Anne Besnault-Levita is Associate Professor at the University of Rouen-
Normandy. She is also the Vice-president of the French V ­ irginia
Woolf Society (SEW). Her research and teaching interests are British
modernism, the short story, genre and gender in the nineteenth and
twentieth centuries, feminist criticism. She is the author of Katherine
Mansfield: La voix du Moment (Paris: Messène, 1997), and co-­editor
of Construire le sujet. Textes réunis et édités par Anne Besnault-­
Levita, Natalie Depraz et Rolf Wintermeyer (­ Limoges: Lambert
Lucas, 2014). Her recent publications include papers on French and
Anglo-Saxon feminism, Virginia Woolf as critic, the modernist and
contemporary short story. She is currently working on a book on Vir-
ginia Woolf’s conception of literary history.
Melba Cuddy-Keane is Emerita Professor, University of Toronto-­
Scarborough and an Emerita Faculty Member of the University of
Toronto’s Graduate Department of English. Her research areas are
modernism, narratology, book history/print culture, and cognitive
studies; her publications include Virginia Woolf, the Intellectual, and
the Public Sphere (Cambridge University Press, 2003), the ­Harcourt
annotated edition of Woolf’s Between the Acts (2008), and, co-­
authored with Adam Hammond and Alexandra Peat, Modernism:
Keywords (Wiley-Blackwell, 2014). Her current work pursues con-
nections between narrative and neuroscience, focusing specifically on
cognitive flexibility, movement, and space.
Frances Dickey is Associate Professor of English at the University of
Missouri, where she teaches modernism and American literature. Her
2012 book, The Modern Portrait Poem: From Dante Gabriel Rossetti
to Ezra Pound (University of Virginia Press), follows the development
xii Notes on the Contributors
of portraiture in painting and poetry from the 1860s to the 1920s.
Along with chapters on Rossetti and Pound, this book includes dis-
cussions of Swinburne, T.S. Eliot, William Carlos Williams, Amy
Lowell, and other American poets. Dickey co-edited Volume 3 of the
Complete Prose of T.S. Eliot: The Critical Edition (Johns Hopkins
University, 2015), a digital edition that for the first time collects and
annotates all of Eliot’s over 800 prose pieces in one place. She also
co-edited and contributed to the Edinburgh Companion to T.S. Eliot
and the Arts, and has published on American poetry in Contempo-
rary Literature, Twentieth-Century Literature, New England Quar-
terly, and other journals.
Anne-Florence Gillard-Estrada is Associate Professor at Rouen University.
Her research and teaching interests include British literature, aes-
thetics, art criticism and painting of the 1860s–1890s. She has
co-edited Écrire l’art / Writing Art: Formes et enjeux du discours
sur les arts visuels en Grande-Bretagne et aux Etats-Unis, with
A.-P. Bruneau-Rumsey and S. Wells-Lassagne (Paris: Mare et Martin,
2015) and “Curiously testing new opinions”: New perspectives on
Walter Pater (Routledge 2017), with Martine Lambert-Charbonnier
and Charlotte Ribeyrol. She has also published a number of articles
on Walter Pater, Oscar Wilde and British painting, such as “Fanta-
sied images of women: representations of myths of the golden apples
in “classic” Victorian paintings,” Polysèmes 2016 (http://polysemes.
revues.org/860) and “Oscar Wilde’s Aesthetics in the ­M aking: The
Reviews of the Grosvenor Gallery ­exhibitions of 1877 and 1879,” in
“The Pictures of Oscar Wilde,” ed. X. ­Giudicelli, Études anglaises
69/1 (janvier-mars 2016). She has a book forthcoming on the
“Greek” body in British paintings of Antiquity (1860–1900) and its
reception in Victorian art criticism and periodicals.
Kathryn Holland is Senior Research Fellow with the Orlando Project
(orlando.cambridge.org) and teaches English at MacEwan University.
Her research is based at the intersections of modernist literary
­history, feminist studies, and digital humanities. She has published
in such venues as Tulsa Studies in Women’s Literature, Modernism/
modernity, and the Canadian Journal for the Scholarship of Teach-
ing and Learning, as well as the essay collection Reading Modernism
with Machines: Digital Humanities and Modernist Literature. She
completed her doctorate at the University of Oxford and has held
fellowships at the University of Texas at Austin and the University of
Saskatchewan.
Charlotte Jones is a departmental lecturer at St Hilda’s, Oxford, hav-
ing recently completed a thesis on realism and the Edwardian novel
at University College London. She has published previously on Ford
 Notes on the Contributors xiii
Madox Ford and Rebecca West in War and the Mind: Ford Ma-
dox Ford’s Parade’s End, Modernism and Psychology, ed. Ashley
Chantler (2015, Edinburgh University Press). She has essays forth-
coming on May Sinclair and idealist philosophy, and George Eliot
and nineteenth-century French art.
Marie Laniel is a Senior Lecturer at the Université de Picardie-Jules Verne
(France). Her research focuses on Victorian subtexts in the works of
E.M. Forster and Virginia Woolf. She has published several papers on
this topic, particularly on Virginia Woolf’s rewritings of the works of
Matthew Arnold (“Virginia Woolf, lectrice de ­Matthew Arnold: la
fortune littéraire du ‘scholar-gipsy’ dans les essais et la fiction,” Études
britanniques contemporaines, automne 2007), Thomas Carlyle (“Re-
visiting a Great Man’s House: Virginia Woolf’s C ­ arlylean Pilgrim-
ages,” Carlyle Studies Annual 24, 2008), Leslie ­Stephen (“Généalogies
de l’essai: de Leslie Stephen à Virginia Woolf,” ­L’Atelier 2.2, 2010)
and Alfred Tennyson (“‘The Name E ­ scapes Me’: Virginia Woolf’s Dis-
location of Patrilineal Memory in A Room of One’s Own,” Études
britanniques contemporaines 46, 2014). Her r­ ecent publications also
include papers on intertextuality in the works of contemporary British
writers (Ian McEwan, Jeanette Winterson). She is currently complet-
ing a book on Victorian subtexts in the works E.M. Forster and Vir-
ginia Woolf to be published by the Presses Universitaires de Rennes.
Catherine Lanone is a Professor at the University of Sorbonne ­Nouvelle-
Paris 3. She has written a book on E.M. Forster and a book on Emily
Brontë, as well as articles on the Brontës, E.M. Forster and Virginia
Woolf, among others. She is currently working on Victorian legacy
and twentieth-century literature, either in terms of mapping (gen-
dered representations of ice and snow) or of feminine takes on Nat-
ural History. Thus she has a forthcoming chapter in the book edited
by Keith Williams for IAWIS, “Stone Spirals and Retro-Fiction: Tracy
Chevalier, Joan Thomas and Mary Anning.”
Georges Letissier is professor of English Literature at Nantes ­University,
France. He has published articles both in French and ­ English,
in France and abroad (Aracne, Palgrave Macmillan, Rodopi,
­Routledge, Dickens Quarterly) on Victorian literature (C. Dickens,
G. Eliot, W. Morris, C. Rossetti) and on contemporary British fic-
tion (P. ­Ackroyd, A.S. Byatt, A. Gray, A. Hollinghurst, L. Norfolk,
I. ­McEwan, G. Swift, S. Waters, J. Winterson). He has published a
monograph on Ford Madox Ford’s The Good Soldier (Éditions du
Temps, 2005). He has edited a volume entitled Rewriting, Repris-
ing: Plural Intertextualities (Cambridge Scholars Publishing, 2009)
and co-edited with Michel Prum a book on Darwin’s legacy in
­European cultures (l’Harmattan, 2010). He has worked extensively on
xiv Notes on the Contributors
Dickens and After Dickens recently whilst keeping a keen interest in
the most recent developments in contemporary British fiction-­writing.
His most recent publications on contemporary literature include “‘cir-
cling and circling and circling ... whirligogs’: A Knotty Novel for a
Tangled Object. Trauma in Will Self’s Umbrella.” In Contemporary
Trauma Narratives: Liminality and the Ethics of Form, eds. Susana
Onega & Jean-Michel Ganteau (Routledge, (2014) and “Hauntology
as Compromise Between Traumatic Realism and Spooky Romance
in Sarah Waters’s The Little Stranger.” In Trauma and Romance in
Contemporary Literature, Susana Onega & Jean-Michel Ganteau
(eds.) (Routledge, 2012). More specifically on Dickens his most recent
publications are “A Tale of Two Cities as Entertainment.” In Charles
Dickens: A Tale of Two Cities (online review Cercles 31/2013 http://
www.cercles.com/somma.htm); “The Dickens Tropism in Contempo-
rary Fiction.” In Dickens in the New Millenium, Cahiers victoriens et
édouardiens (Février 2012): 245–259; and “The Havisham Affair or
the Afterlife of a Memorable Fixture.” In Persistent Dickens, Études
Anglaises 65/1 (Janvier-Mars 2012): 30–42.
Laura Marcus is Goldsmiths’ Professor of English Literature and Pro-
fessorial Fellow of New College, Oxford. She has published widely
on a range of topics in nineteenth- and twentieth-century literature
and culture. Her book publications include Auto/biographical Dis-
courses: Theory, Criticism, Practice (1994), Virginia Woolf: Writers
and their Work (1997/2004), The Tenth Muse: Writing about Cin-
ema in the Modernist Period (2007; awarded the 2008 James Russell
Lowell Prize of the Modern Language Association), Dreams of Mo-
dernity: Psychoanalysis, Literature, Cinema (2014) and, as co-editor,
The Cambridge History of Twentieth-Century English Literature
(2004). She is currently working on a study of the concept of ’rhythm’
in the late nineteenth- and early twentieth-centuries, in a range of
disciplinary contexts.
Liz Renes is a recent History of Art graduate from the University of
York. Her Ph.D. thesis explored John Singer Sargent’s relationship
with the British Aesthetic and French Impressionist Movements in his
early career between 1878–1886. She currently has a number of up-
coming publications in relation to this research, such as “’Selecting,
transforming, recombining’: John Singer Sargent’s Madame X and
the Aesthetics of Sculptural Corporeality” to be published in 2017
in the conference proceedings from Decadence and the Senses, and
an as yet untitled work on global Impressionism for the Edinburgh
Companion to Art and Literature. She will be co-editing a special
edition of Visual Culture in Britain on Sargent related topics for print
in 2018. At present, she is the editor for Sargentology.com, a web-
space for Sargent studies, Co-Editor in Chief for HARTS & Minds,
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