By A. Spiropoulou
This new research analyses the illustration of the previous and the perform of historiography within the fiction and demanding writings of Virginia Woolf, and attracts parallels among Woolf's historiographical mind's eye and the idea of Walter Benjamin, German thinker of historical past and key theorist of modernity.
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Extra resources for Virginia Woolf, Modernity and History: Constellations with Walter Benjamin
Example text
Com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-05 Modernity, Modernism and the Past Walter Benjamin’s theorization of modernity was indebted to both Marx and Baudelaire, among others. ’24 In this way he stressed the fact that capitalism tends to naturalize the modern present and obscure that things were not always the same, while in his own philosophy of history, to reflect on the past, ‘on what has been there’, means, inversely, to retrieve that context in which the new emerges, to become aware of the present in its difference and measure it against utopian visions expressed in the past.
The Passagen is primarily a history of modernity put together from different odds and ends of historical sources, literature, social theory, memoirs, social types and architecture of the period. It has been noted that Benjamin was not concerned with the emergence of modernity out of the nineteenth century, but rather with modernity’s origin within it. 35 Benjamin’s materialism, however, is imbued with a surrealist aesthetics which speaks to the concerns of the present. ’36 In fact, it has been argued that it is precisely by dint of Benjamin’s focus on the marginal and peripheral that he can best be claimed as a major theorist of the modern,37 in as much as modernism ‘prefers the unfinished: the syntactically unstable, the semantically malformed.
Com - licensed to Taiwan eBook Consortium - PalgraveConnect - 2011-03-05 Modernity, Modernism and the Past Another, related, difference of Woolf from other modernist writers lies in that, as we shall see in Chapter 6, she includes the ‘rubbish’ heaps of literature and the various testimonies of the obscure, as, for example, their memoirs and biographies, in her conceptualization of a cultural tradition. Such an inclusion gives her conception of literary heritage an anthropological dimension. For Woolf, the trash of literature and the writings of the obscure also prepare the ground for future masterpieces, not just because they register a historical era better than the professed classics but also because they vindicate the repressed desires and unacknowledged toil of past generations of obscurities.
