... in contemporary society and politics. Demonstrating how John Dowell’s impressionistic narrative signals the dangers of social disengagement and political isolation, the essay also addresses the novel’s historical allusions to the English Reformation and the latent correlations between characters’ behavior...

... scoffed at Monet’s “Impression: Sunrise,” titling his review in Le Charivari “The Exhibition of the Impressionists.” But the group liked the term, and adopted it. When young Henry James saw their second show in Paris two years later, he was comparably unimpressed: “To embrace [these artists] you must...

... “the Impressionist ‘impres- sionistically as Matz points out in a critique of Michael Cunningham’s simulation of  Woolfian sensuousness in The Hours (1998), a rendition that “ends up trivializing both the writer and her style” (“Pseudo” 115). Rather, The Line of Beauty demonstrates a specific mode...

..., there cannot be many other English hedgerows which have actually housed a Cézanne” (136). But in 1918, the excitement over the manner of the painting’s arrival soon gave way to the thrill of examining a Cézanne up close and in color. It had been six years since the last Post-Impressionist Exhibition...

... come as no surprise, given her engagement with the 1910 Post-Impressionist exhibit that Roger Fry organized in London and the political reactions it prompted, reactions that W oolf traces in her 1940 bi­ ography of Fry.36 As Jane Goldman notes, the exhibit was lambasted both by those...

... of the impressionists; they called him rather their “father.” Clement Greenberg influentially claimed that Manet’s modernism lay in his rejection of the illusion of depth: Manet’s paintings became the first Modernist ones by virtue of the frankness with which they declared the surfaces on which...

... novel exposed Lennox’s novel. As the realist novel renders femininity abject, it relies on the female figure and the romantic conven- tions with which it is associated to mediate its message. 594 The Drama of Gender and Genre in Edith Wharton’s Realism In Impressionist Subjects, Tamar Katz...

..., and status as well-to-do local entrepreneur” (177). Ng is not so much an unreliable narrator, Spencer argues, as one whose tale is “impressionistic” and “incomplete” and as such encourages readers to take a critical stance, to “listen for the echo” rather than the “report” (179). For Spencer...

... for visual culture studies. As a young poet, Pound worked under the spell of Pre-Raphaelite painters and the impressionist James Abbott McNeill Whisder; later, as he “modernized,” Wyndham Lewis and Henri Gaudier-Brzeska (among others) showed him the way. Throughout his London years (1908-20) Pound...

... omniscient narration, Cather situates the reader between these two angles of vision. In this way she departs from the per­ sonalized lyricism of My Antonia for the sort of modulated perspective that characterizes Flaubert’s Sentimental Education and the “impressionistic” style of narration she admired...

... sight and allowing readers to pick up the impressionistic details” Hemingway lays out for them (89). Through brilliant analysis of Nick Adams as focalizer, Lamb shows how “Indian Camp” became Heming- way’s first story masterpiece. In his equally incisive reading of “Cat in the Rain,” Lamb...

... to a broader philosophy of universality: these mixed-sensory impressions substantiate her intuitive conviction that all experience shares a fundamental unity once the “arbitrary” boundaries of “ordinary experience” are dissolved. The trajectory of Woolf’s thesis in “Bayreuth” is impressionistic, as she...

... Super Modernistic Comix” (1968) and Spiegelman’s densely anti-narrative Breakdowns pieces. “It did feel like this must have been what the cubists were going through,” Spiegelman remarks. “All the magic of being in Paris for the post-Impressionist mo- ment did feel somehow like being in San...

... of a stillborn sibling and a mother who later dies. Voigt relies upon an impressionistic strat- egy, rather than a linear plot, as though efforts at narrative break “down under the burden of mass death” (168). For example, “an early sonnet bitterly mourning the death of an infant precedes the bridal...

... the fact that, as literary impressionists, they were governed by a very different aesthetic than the one Richardson chose.17 Despite its subjective focus, impressionism undermines identity by striv- ing to represent discrete moments of subjective experience rather than unbroken flow...

... incoherent as the novel progresses. Rejecting realism, Rhys’s ephemeral style is recognizably modernist as it impressionistically tracks Marya’s movements in the hostile environs of the modern city. Stylistically, free indirect discourse incorporates both the mimetic, where the narrator shows...

.... An investigation of the social meanings of this un- derworld in the 1910s illuminates how sexual identities and communities are geographically constructed and how the spaces of those identities and communities are contested in the midst of a cultural sex panic. Barnes’s journalism (impressionistic...

... of animistic understandings of place, an approach informed by her engagements with literary modernism and metropolitan modernity. In her impressionistic childhood memoir The Crystal Cabinet , she traces her sense of the life and vitality present in apparently inanimate objects to her youth in Dorset...

..., Jacob is a fragmentary presence, lacking the easy visibility of that “gentleman with red whiskers who always went first through a doorway,” Ford Madox Ford’s exemplary case of impressionistic characterization in Guy de Maupassant. 13 Woolf displaces the Levinasian encounter with the persona...

... best be conceived in visual terms as a cubist portrait superimposed on an impressionist landscape; it is a decidedly postmodern vision. The recent addition of three mystery nov­ els to this particular corpus takes on special interest. Not only has the analogy between detective and either reader...