VIRGINIA WOOLF AND THE EUROPEAN AVANT-GARDE：LONDON, PAINTING, FILM AND PHOTOGRAPHY

Virginia Woolf and the European Avant-Garde: London, Painting, Film and Photography explores the aesthetics of Woolf's image of London in her writings. The image of London does not make Woolf a stay-at-home writer. Through her life long engagement with the visual arts, art criticism and philosophy, Woolf finds related expression in literature, as one can see in her narrative: the Post-Impressionist dual vision of painting in writing, Cubist cinematic flashback and montage of shots, and Surrealist snapshort of life, death and desire. Woolf's narrative from defines her own modernism in the context of the city. Her vision shows the dialectics of inner and outer spheres, in which the aesthetics of the urban gendered gaze is significant.

Allison Tzu Yu Lin
does her doctorial research at Goldsmiths College, University of London. She is now teaching at National Taiwan Ocean University, Keelung, TAIWAN

Preface 
ACKNOWLEDGEMENTS
LIST OF ABBREVIATIONS 
PROLOGUE Androgynous Woolf
Re-discovering Woolf: an Androgynous Textuality 
Woolf's Art and the Visual 
Woolf and Her London 
The Aesthetics of the Urban Gaze 
CHAPTER ONE Virginia Woolf and the Significance of the Eye
Introduction 
Reading Virginia Woolf and the Visual 
Woolf's Roger Fry and Post-Impressionist Psychology 
Bell's Significant Form and Woolf 
Woolf's Hybrid Approach 
Woolf's Dual Vision in the Urban Space 
Gendering the Urban Gaze 
Conclusion 
CHAPTER TWO The Painter's Eye in Writing: the James Brothers and Woolf's Experimental Practices 
Introduction 
William James's Stream of Thought 
Henry James's Impressionist Paris, Pictorial London,
and Woolf's Response
Walking'a Map of Emotions': Woolf's London in Night and Day 
Painting in Writing: Woolf's Experimental Short Fictions 
Conclusion 
CHAPTER THREE The Dialectic of Time in Film Form:
Mrs Dalloway and 'The Cinema' 
Introduction 
Part I: The Art of the Cinema in Philosophy and Literature
– Bergson, Deleuze and Woolf 
Part II: The Gaze, Montage and Time in Mrs Dalloway 
Part III: The Caligari Connection in Clive Bell and
Virginia Woolf 
Conclusion 
CHAPTER FOUR Photography in The Years and Three Guineas 
Introduction 
Part I: Virginia Woolf and Victorian Aesthetics 
Part II: The Maternal Imaginary and the Gaze
– Barthes and Irigaray 
Part III: Photography in The Years and Three Guineas 
'Her face, as if bathed in inner light, …':
Conclusion 
Epilogue The Bodiless and the Invisible:
Woolf's Psychological London 
BIBLIOGRAPHY