Harper Collins World Reader (Volume I)

Literature & Fiction

CAWS, Mary Ann

Literary

Longman Pub. Group

Harper Collins World Reader Volume II

Reference

Introduces the intermediate and advanced intermediate student of French to women writers.

Contre-Courants: Les femmes s'écrivent à travers les siècles

Miller, Nancy K.

Houlding, Elizabeth A.

Morgan, Cheryl

History & Criticism

Pearson

An illustrated account of the life one of the classic writers of twentieth-century literature; Virginia Woolf was one of the most significant novelists of the twentieth century and a leading figure in the Bloomsbury Circle. In her brilliant, experimental novels, among them To the Lighthouse and Mrs. Dalloway, she extended the boundaries of fiction writing. While Woolf delighted in the friendships and intrigues of her literary milieu, her life was marred by mental illness, and in 1941 she drowned herself. Her life and work reveal her feminist ideals, her modernism, and her acute sensitivity to the minute details of human life. In this volume, acclaimed scholar Mary Ann Caws examines the details of Woolf's career and haunted private life. Many of the accompanying illustrations showing Woolf and intimates from the Bloomsbury Circle - which included legendary economist John Maynard Keynes and biographer Lytton Strachey - are published here for the very first time, along with other rare photos and portraits providing rare insights into the mind of this enigmatic and influential writer.

Virginia Woolf (Penguin Illustrated Lives S.)

Biographies & Memoirs

Regional U.S.

Penguin Putnam~trade

"Bloomsbury on the Mediterranean," is how Vanessa Bell described France in a letter to her sister, Virginia Woolf. Remarking on the vivifying effect of Cassis, Woolf herself said, "I will take my mind out of its iron cage and let it swim.... Complete heaven, I think it." Yet until now there has never been a book that focused on the profound influence of France on the Bloomsbury group. In Bloomsbury and France: Art and Friends, Mary Ann Caws and Sarah Bird Wright reveal the crucial importance of the Bloomsbury group's frequent sojourns to France, the artists and writers they met there, and the liberating effect of the country itself. Drawing upon many previously unpublished letters, memoirs, and photographs, the book illuminates the artistic development of Virginia and Leonard Woolf, Clive Bell, David Garnett, E. M. Forster, Lytton Strachey, Dora Carrington, and others. The authors cover all aspects of the Bloomsbury experience in France, from the specific influence of French painting on the work of Roger Fry, Duncan Grant, and Vanessa Bell, to the heady atmosphere of the medieval Cistercian Abbaye de Pontigny, the celebrated meeting place of French intellectuals where Lytton Strachey, Julian Bell, and Charles Mauron mingled with writers and critics, to the relationships between the Bloomsbury group and Henri Matisse, Pablo Picasso, Gertrude Stein, Andre Gide, Jean Marchand, and many others. Caws and Wright argue that Bloomsbury would have been very different without France, that France was their anti-England, a culture in which their eccentricities and aesthetic experiments could flower. This remarkable study offers a rich new perspective on perhaps the most creative group of artists and friends in the 20th century.

Bloomsbury and France: Art and Friends

Wright, Sarah Bird

Arts & Literature

Oxford University Press

For Mary Ann Caws—noted translator of surrealist poetry—the most appealing translations are also the oddest; the unexpected, unpredictable, and unmimetic turns that translations take are an endless source of fascination and instruction. Surprised in Translation is a celebration of the occasional and fruitful peculiarity that results from some of the most flavorful translations of well-known authors. These translations, Caws avers, can energize and enliven the voice of the original. In eight elegant chapters Caws reflects on translations that took her by surprise. Caws shows that the elimination of certain passages from the original—in the case of Stéphane Mallarmé translating Tennyson, Ezra Pound interpreting the troubadours, or Virginia Woolf rendered into French by Clara Malraux, Charles Mauron, and Marguerite Yourcenar—often produces a greater and more coherent art. Alternatively, some translations—such as Yves Bonnefoy’s translations of Shakespeare, Keats, and Yeats into French—require more lines in order to fully capture the many facets of the original. On other occasions, Caws argues, a swerve in meaning—as in Beckett translating himself into French or English—can produce a new text, just as true as the original. Imbued with Caws’s personal observations on the relationship between translators and the authors they translate, Surprised in Translation will interest a wide range of readers, including students of translation, professional literary translators, and scholars of modern and comparative literature.

Surprised in Translation

Contemporary

University of Chicago Press

The Prose Poem in France

Riffaterre, Hermine

Columbia University Press

Columbia University Press, 1983 , First edition Paperback 237 pages

The Prose Poem in France: Theory and Practice

Columbia Univ. Pr.

Caws discusses the artist's paintings, drawings, and collages in relation to the wide variety of American and European literature, philosophy, and art which influenced Motherwell.

Robert Motherwell : What Art Holds

Arts & Photography

How we look at Surrealism, how it looks at the objects it encounters, and how it looks from here: all these looks intertwine in this study linking Surrealism and the Baroque. Le look (whatever it might be): you have it or you don't, and Surrealism had it all the way. The emotional charge Surrealism extended to the objects of its encounter makes itself felt as at least philosophically erotic. This charged look determines the atmosphere around the Surrealist text and its encounters—in the world of art and the world it made into art. In this unprecedented attempt to make sense of the way Surrealism sees, conceals, poses, and stares at its own self and the selves of others, Mary Ann Caws examines the decors, games, portraits, transformations, and mirrorings that establish Surrealism's links to Baroque forms of representation. "We have to learn to look and to read slowly," Caws writes. Her study begins with an exhortation to take one's time, for the figures in the carpet of this study are not easy, nor do they put one at ease. Take, for example, the self-portraits of Claude Cahum and Dorothea Tanning, Marcel Duchamp's creation Rrose Sélavy, the crossing of André Breton into Melusine. The constructions of Joseph Cornell and the fashionings by Man Ray meet in a space determined by the architecture of François de Nomé, Robert Desnos, and Antonin Artaud, pointed at by Marcel Duchamp in his crossings not just with Rrose but with Ludwig Wittgenstein. The game of the Exquisite Corpse has it own erotic charge, and the Baroque vanitas casts its shadow over everything from Cornell's Shadow Boxes to the game of chance. It all ends with two of Picasso's pipes, one by a skull and one in a frame play—signaling, perhaps, that Surrealism looks the way it looks and speaks the Baroque language it speaks because whoever is looking frames it that way.

The Surrealist Look: An Erotics of Encounter

Mit Pr

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