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Essay / Research Paper Abstract
A 12 page paper which examines
James Joyce’s “Ulysses” and Virginia Woolf’s “To The Lighthouse” in terms of
modernist writing. The issue addressed is whether or not the principal subject of
modernist writing is writing itself. Bibliography lists 3 additional sources.
Page Count:
12 pages (~225 words per page)
File: JR7_RAwlfmod.rtf
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Unformatted sample text from the term paper:
presented a powerful shift in the field of literature as it brought out symbolism and often surreal conditions. Virginia Woolf and James Joyce are two of the most famous modernist
authors who offered the world of literature a new perspective in writing, as well as reading. One of the elements, or conditions, of modernist literature is that which presents
us with the possibility that the principal subject of modernist writing is writing itself. Now, this particular statement can be seen from at least perspectives. For example, when people argue
this statement they may be claiming that the subject material of the novel makes the novel modernist, regardless of the writing. From another perspective we can argue that the statement
illustrates that the subject matter, or the plot, lends itself to modernist writing. In either case the statement attends to the fact that the subject material, or the plot, of
the story is the foundation for modernist writing. In examining whether or not this is a statement which holds true we examine what makes literature modernistic, and then discuss James
Joyces "Ulysses" and Virginia Woolfs "To The Lighthouse" separately. The paper then concludes with a brief discussion of what has been examined. What Makes Modernist Literature? One of
the most important elements of modernist literature is that which involves perspective. With modernist literature this involves "the locating of meaning from the viewpoint of the individual; the use of
narrators located within the action of the fiction, experiencing from a personal, particular (as opposed to an omniscient, objective) perspective; the use of many voices, contrasts and contestations of perspective;
the consequent disappearance of the omniscient narrator, especially as spokesperson for the author; the author retires from the scene of representation, files her or his fingernails" (Lye modernism.html). Through a
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