...Max Saunders Lasting Impressions: The Legacies of Impressionism in Contemporary Culture , by Matz Jesse . New York : Columbia University Press , 2017 . 352 pages. Copyright © 2018 Hofstra University 2018 There can be few movements in art to have suffered such dramatic...

...- acterized it, “once declared, [has] made everything possible, including a return to story, character, and the conventions of representation” (20)? In what follows, I consider these questions by examining one of the most prominent inheritors of Impressionism’s synthesis of content and form, sensation...

... Violet followed this outburst by saying that she regularly denied she was a Protestant, she found that her remarks carried no weight: “Useless! A ‘Prot’ I am, and seemingly must remain so in the eyes of this black Papist.” 18 In Literary Impressionism and Modernist Aesthetics , Jesse Matz...

...” and “impressionism” in fiction, holding that Hemingway is an impression- ist, like Cezanne among painters, in that his fiction depicts consciousness by focusing not primarily on subjective response but on external data. Lamb illustrates his position with extensive analyses of Chapter XI of  In Our Time...

..., perception and composition, in To the Light­ Ihouse. According to Virginia Woolf, Roger Fry held that “Cézanne and Picasso had shown the way; writers should fling representation to the winds and follow suit. But [Fry] never found time to work out his theory of the influ­ ence of Post-Impressionism...

... impressionability of any reader of surrealism and takes for granted the shaky proposition that the aesthetic representation of crime is somehow a more powerful and insidious influence than the real, violent thing. Against this critical tendency to couch discussions of surrealism and crime solely in terms...

... and, by extension, to link Woolf’s presentation of painting in her novels, particularly To the Lighthouse, to Post-Impressionism. But almost none have noted the genre of the painting and considered the role that still life might play in Woolf’s relationship to the visual arts.4 In fact, there exist only...

.... Ahistorical, pre-sexual, in suspension between the archaic and the modern, we were as susceptible and impressionable as the drinking water that stood in a bucket in our scullery: every time a passing train made the earth shake, the surface of that water used to ripple...

... this division, Izenberg proposes a new distinction—based on “ontological commitments” and “intention- ality” (10) and less marred, in his opinion, by a superficial “impressionism” (31)—through which we might survey the twentieth century. In one corner, we have the poetry of “aesthetic splendor,” poetry...

... in “small, dry things” (131). Pound began with early Imagism’s faith in subjective perception and individual genius, but his trajectory was influ- enced by Ford Maddox Ford’s literary impressionism, which he valued for its near-scientific fidelity to the concrete, immediately given world. “Mr...

...). By invoking Seurat in a poem that reflects on surface and depth, Bish­ op acknowledged that her poem engages the aesthetic theory surrounding impressionism. That discourse concerned how painting combined the sensations and emotions received from nature with individual tempera­ ment. Within...

... of a symptom of the very shame that might motivate postcolonial writers to opt for such depersonalizing tactics in the first place? And the desire for “machinic writing” per se is hardly unprecedented: standing in stylistic opposition to the sensuous, multiperspectival impressionism of James and Woolf...

... wrote the poem after seeing a reproduction of Manet’s painting in a book on French impressionism (Powel 90).2 It is not at all surprising that Eliot would have been struck by Manet’s work, in view of the apprenticeship to Laforgue, and then to Laforgue’s master Baudelaire, that he took up almost...

...), American vs. French dinosaurs (187), jazz in France and Impressionism in the US (194), being often alone but not lonely in Paris compared to being surrounded but lonely in New York (207), American sport as entertainment and French sport (soccer) as ex­ perience (224), the cohort as the crucial...

... Important approaches to theorizing ethics in Woolf include Berman 2011 , Cuddy-Keane 2009 , Froula 2005 , Oser 2007 , and Sherman 2007 (Sherman follows Hollander in employing the ethics of Levinas). 13 In his canonical critical work “On Impressionism,” first published in Poetry and Drama...

... as it challenges imperial orders of history and place, Woolf’s subjective impressionism also presupposes that the timeless essences and atavistic or universal forces that expose and threaten modernity are themselves inherent in and expressed by the Hebrides. These aesthetic maneuvers in turn obscure the material...

... part of the School-Family couple, the school and family together shaping children in their most impressionable years. Combining both elements of this couple in a single structure, boarding schools educate the child to become an ideologically compliant citizen and to take on the role and functions...

.... Like “impressionism,” “sentimentalism” was coined to mock the mode of artistic production it described; unlike the former, it was never fully salvaged from its original negative connotations. As Jennifer Fleissner (2004 : 166) explains, Its recent critical recovery aside, the term sentimentality...

... impressionism.” Nonetheless, Brantlinger detects a tentative redemptive radicalism: There are few novels, however, which so insistently invoke a moral idealism they do not seem to contain and in which the modernist will-to-style is subjected to such powerful self-scru­ tiny—in which...

... Elkins 2013 . Works cited Armstrong Isobel . 2008 . Victorian Glassworlds . Oxford : Oxford University Press . Banfield Ann . 2003 . “ Time Passes: Virginia Woolf, Post-Impressionism, and Cambridge Time .” Poetics Today 24 , no. 3 : 471 – 516 . Best Stephen...