Art and the ‘Second Darkness’
This paper examines E. M. Forster’s crucial yet peripheral relationship with the Bloomsbury Group. A diffident, keen observer, Forster stressed the way in which Bloomsbury shattered Victorian conventions. He describes the Bloomsbury legacy in terms of aesthetic change, such as Virginia Woolf’s rhyth...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2005-12-01
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| Series: | Cahiers Victoriens et Edouardiens |
| Online Access: | https://journals.openedition.org/cve/13619 |
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| _version_ | 1832581335403724800 |
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| author | Catherine Lanone |
| author_facet | Catherine Lanone |
| author_sort | Catherine Lanone |
| collection | DOAJ |
| description | This paper examines E. M. Forster’s crucial yet peripheral relationship with the Bloomsbury Group. A diffident, keen observer, Forster stressed the way in which Bloomsbury shattered Victorian conventions. He describes the Bloomsbury legacy in terms of aesthetic change, such as Virginia Woolf’s rhythmical sensuous prose or Lytton Strachey’s ironic, revolutionary biographies. But he also helps us to define this legacy in more political terms, as the ethos of art and personal relationships was confronted with the rise of fascism. Today Bloomsbury is perceived in contradictory, controversial ways; yet its legacy discreetly survived the war, under new guises such as the B.B.C. Third programme. |
| format | Article |
| id | doaj-art-d8ec965ce0024e0e9a9ff15bbf0ea0ee |
| institution | Kabale University |
| issn | 0220-5610 2271-6149 |
| language | English |
| publishDate | 2005-12-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Cahiers Victoriens et Edouardiens |
| spelling | doaj-art-d8ec965ce0024e0e9a9ff15bbf0ea0ee2025-01-30T10:21:21ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492005-12-016210.4000/cve.13619Art and the ‘Second Darkness’Catherine LanoneThis paper examines E. M. Forster’s crucial yet peripheral relationship with the Bloomsbury Group. A diffident, keen observer, Forster stressed the way in which Bloomsbury shattered Victorian conventions. He describes the Bloomsbury legacy in terms of aesthetic change, such as Virginia Woolf’s rhythmical sensuous prose or Lytton Strachey’s ironic, revolutionary biographies. But he also helps us to define this legacy in more political terms, as the ethos of art and personal relationships was confronted with the rise of fascism. Today Bloomsbury is perceived in contradictory, controversial ways; yet its legacy discreetly survived the war, under new guises such as the B.B.C. Third programme.https://journals.openedition.org/cve/13619 |
| spellingShingle | Catherine Lanone Art and the ‘Second Darkness’ Cahiers Victoriens et Edouardiens |
| title | Art and the ‘Second Darkness’ |
| title_full | Art and the ‘Second Darkness’ |
| title_fullStr | Art and the ‘Second Darkness’ |
| title_full_unstemmed | Art and the ‘Second Darkness’ |
| title_short | Art and the ‘Second Darkness’ |
| title_sort | art and the second darkness |
| url | https://journals.openedition.org/cve/13619 |
| work_keys_str_mv | AT catherinelanone artandtheseconddarkness |