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Relevant bibliographies by topics / Djuna Barnes

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Academic literature on the topic 'Djuna Barnes'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Djuna Barnes"

1

Ricks, H. C., and Andrew Field. "Djuna Barnes." Contemporary Literature 26, no. 1 (1985): 114. http://dx.doi.org/10.2307/1208205.

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Richardson, Laura K. "Djuna Barnes’ antihumanist reproduction." Textual Practice 34, no. 9 (September 1, 2020): 1435–54. http://dx.doi.org/10.1080/0950236x.2020.1808299.

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Neilen, Deirdre, Phillip Herring, and Djuna Barnes. "Djuna: The Life and Work of Djuna Barnes." World Literature Today 70, no. 3 (1996): 702. http://dx.doi.org/10.2307/40042215.

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Fitch, Noel Riley, and Mary Lynn Broe. ""Lightning Bolts" for Djuna Barnes." Contemporary Literature 33, no. 1 (1992): 144. http://dx.doi.org/10.2307/1208378.

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Kaup, Monika. "The Neobaroque in Djuna Barnes." Modernism/modernity 12, no. 1 (2005): 85–110. http://dx.doi.org/10.1353/mod.2005.0043.

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Herring, Scott. "Djuna Barnes and the Geriatric Avant-Garde." PMLA/Publications of the Modern Language Association of America 130, no. 1 (January 2015): 69–91. http://dx.doi.org/10.1632/pmla.2015.130.1.69.

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Though her publications were slight after she permanently moved to Greenwich Village, in New York City, in 1940, Djuna Barnes labored over scores of literary and nonliterary typescript drafts from the 1940s to the 1980s. This unpublished artwork constitutes a geriatric avant-garde that deepened her earlier investments in modernist aesthetics. Archived documents record the elderly writer performing the principles of high modernism—innovation, experimentalism, and novelty—across an unprecedented array of genres, such as the poem, the pharmacy order, the grocery list, the medicine regimen, the memo, and personal correspondence. This article reassesses gerontophobic depictions of Barnes as an aged recluse who lived a creatively fruitless late life. The underex-plored works of her senior years are a unique version of what Eve Kosofsky Sedgwick calls “a senile sublime.”

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Shin. "Djuna Barnes, History's Elsewhere, and the Transgender." Journal of Modern Literature 37, no. 2 (2014): 20. http://dx.doi.org/10.2979/jmodelite.37.2.20.

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Komelj, Miklavž. "»Man che trema«." Ars & Humanitas 8, no. 2 (December 31, 2014): 149–77. http://dx.doi.org/10.4312/ah.8.2.149-177.

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Članek poskuša ob nekaterih pesniških zapuščinah dvajsetega stoletja spregovoriti o tisti funkciji rokopisne pisave, v kateri »manus propria« postaja »manus aliena«. S pojavom pisalnega stroja rokopisna pisava ni izgubila svojega pomena, ampak se je pokazala v novi funkciji, ki ni zvedljiva na manualnost, ampak naredi vidne psihične avtomatizme. V članku je posebna pozornost namenjena avtomatski pisavi pri nadrealistih in Fernandu Pessoi. Obenem je konceptualizirana funkcija neberljivosti, ki omogoča, da v območju zapisa vztraja nekaj, kar na ravni besednega pomena ni moglo doseči artikulacije. Če so nadrealisti od avtomatske pisave sprva pričakovali možnost osvoboditve od vezi simbolnega zakona, nas Djuna Barnes v svoji drami Antifona opozori, kako nas roka, ki jo začne od znotraj voditi neka tuja sila, postavi ravno v presečišče vseh napetosti simbolnega. Zadnji del članka je posvečen pozni pesniški zapuščini Djune Barnes, v kateri prav skrajna (a nikoli dokončna) rokopisna elaboracija natipkanih strani tekst prestavlja v nov način obstajanja, ki se upira berljivosti in transkripciji, obenem pa izničuje opozicijo med prisotnostjo in odsotnostjo, na kateri temelji logika označevalca.

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Komelj, Miklavž. "»Man che trema«." Ars & Humanitas 8, no. 2 (December 31, 2014): 149–77. http://dx.doi.org/10.4312/ars.8.2.149-177.

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Članek poskuša ob nekaterih pesniških zapuščinah dvajsetega stoletja spregovoriti o tisti funkciji rokopisne pisave, v kateri »manus propria« postaja »manus aliena«. S pojavom pisalnega stroja rokopisna pisava ni izgubila svojega pomena, ampak se je pokazala v novi funkciji, ki ni zvedljiva na manualnost, ampak naredi vidne psihične avtomatizme. V članku je posebna pozornost namenjena avtomatski pisavi pri nadrealistih in Fernandu Pessoi. Obenem je konceptualizirana funkcija neberljivosti, ki omogoča, da v območju zapisa vztraja nekaj, kar na ravni besednega pomena ni moglo doseči artikulacije. Če so nadrealisti od avtomatske pisave sprva pričakovali možnost osvoboditve od vezi simbolnega zakona, nas Djuna Barnes v svoji drami Antifona opozori, kako nas roka, ki jo začne od znotraj voditi neka tuja sila, postavi ravno v presečišče vseh napetosti simbolnega. Zadnji del članka je posvečen pozni pesniški zapuščini Djune Barnes, v kateri prav skrajna (a nikoli dokončna) rokopisna elaboracija natipkanih strani tekst prestavlja v nov način obstajanja, ki se upira berljivosti in transkripciji, obenem pa izničuje opozicijo med prisotnostjo in odsotnostjo, na kateri temelji logika označevalca.

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Fitch, Noel Riley, and Mary Lynn Broe. "Silence and Power: A Reevaluation of Djuna Barnes." Tulsa Studies in Women's Literature 10, no. 2 (1991): 323. http://dx.doi.org/10.2307/464030.

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Dissertations / Theses on the topic "Djuna Barnes"

1

Linttell, Anne E. Carleton University Dissertation English. "Darkness in the work of Djuna Barnes." Ottawa, 1994.

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Shin, Ery. "Modernism and the queer : Djuna Barnes/Gertrude Stein." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:71b77d1c-7981-497a-a5c5-8113f5d08c7f.

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Djuna Barnes and Gertrude Stein may appear unrelated to one another at first glance. We have an impoverished upstate New Yorker versus relatively comfortable Californian, bisexual romantic nomad versus lesbian monogamist, nihilist versus life-affirming enthusiast, and agnostic-atheist versus secular Jew. When they are referenced together (which happens rarely), it is usually in the context of their Parisian exploits. But a closer look reveals more vital affinities. Both writers remain problematically situated in the modernist canon. Both were inspired by visual art. Both struggled to get published during their lifetimes. Both disassociated themselves from mainstream feminist movements, preferring subtler, more idiosyncratic ways of questioning the status quo. Both held a sustained interest in the queer and, as this dissertation seeks to demonstrate, imagined that theme in original ways—Barnes, through loss; Stein, through phenomenology. Writing out of the spirit of Christian martyrdom, Barnes revels in queer suffering and its transfiguring potential: queers extravagantly lose (themselves), fail, and suffer, yet such ordeals aren’t without value. The first half of my dissertation, thus, appraises Barnes’ “queer negativity” in general before pondering how its masochistic energies push against those authorities that would negate the queer. Chapter One analyzes Barnes’ mythical-seeming transgendered figures who encounter profound failure, despite the imaginative freedom emanating from their ahistorical surroundings. Barnes’ sense of queer failure intensifies in Chapter Two, where same-sex desire invokes the abject by symbolically collapsing psychic boundaries between lovers and refusing reproductive futurity. Both chapters contextualize the moral inversion that becomes the focus of Chapter Three: how does such nihilism tragically ennoble the queer and endow it with insurgent impulses? Without taking a self-consciously queer activist stance, Barnes draws on what Gilles Deleuze would later enunciate as an inverted affect regime: the power of punishment to enforce repressive sexual regulations through pain and hence to bridle perversion becomes inverted when punishment opens the portal to pleasure, when pleasure relocates to sites of perversion. If Barnes writes as a romantic martyr, Stein looks at the queer through a phenomenologist’s eyes. The reciprocity between social conditioning and consciousness, in particular, remains an urgent concern throughout her career. To be “queer,” one often breaks away from a lifetime of habituated orientations toward sex and gender. But queerness cannot wholly bracket the norms that have been left behind. It exists in relation to what it queers. Foregrounding this discussion, Chapter Four examines how Stein’s modernism, phenomenology, and queer criticism intersect. Chapter Five investigates how “Miss Furr and Miss Skeene,” “Many Many Women,” and The Making of Americans reorient us from the “straight” and narrow. Yet this reorientation remains partial. Not all heteronormative biases can be shed, as is evident in The Making of Americans’ classist undertones running through its “singular” queer vision. The sixth chapter further tests the limits of reorientation as such. Ida’s Ida desperately wants to live a queer life, but discovers that she cannot if she approaches queerness as a radically separatist ideal. A solipsistic universe where she can entirely withdraw from society through sleep, silence, or soliloquy remains a fantasy. Ida’s internal conflict, in turn, mirrors Stein’s struggle to enact aesthetic modes that prove just as impossible to practice, being devoted to eliminating memory, emotions, personal identity, and social awareness.

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Frödin, Ellen. "Hatten, dockan, capen, byrån : ting och tinglighet hos Djuna Barnes." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-96807.

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The inhuman element in Djuna Barnes’s works has been widely acknowledged. So far the research has, however, concerned itself primarily with animality, thus neglecting the importance of things and thingliness in her texts. In this essay I outline a new way of approaching Barnes were things are taken into account as a vital element in her literary world, using theories on prostheses, fetishes and souvenirs. In Nightwood and four of the short stories, ”A Night Among the Horses”, ”Aller et Retour”, ”Cassation”, and ”The Grande Malade”, I examine clothing, interiors, collections, statues and dolls as objects that in different ways harbour meaning, dream, riddle, memory, history, longing and desire. The aim is not at translating these objects; my concern is not so much with what they mean, as how they mean; how they are used and thus how they interact with the characters.

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Armond, Kate. "Wyndham Lewis and Djuna Barnes : modernist writers and German expressionism." Thesis, University of East Anglia, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577645.

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This thesis considers the impact of German Expressionism on Anglo-American writers by focusing on the work of Wyndham Lewis and Djuna Barnes. Chapter One analyses Wassily Kandinsky's play Yellow Sound, and his theories of art, alongside Wyndham Lewis' Vorticist drama Enemy of the Stars. I trace similarities between the techniques used by both writers to develop awareness of spatial composition and non- representational form. Chapter Two rejoins Lewis in 1919 as he approaches the topic of art's potential to rehabilitate a war-torn society, and I argue that an examination of the work of Expressionist architects such as Bruno Taut and Paul Scheerbart allows insights into a particularly unusual moment in Lewis's career. By analysing the intellectual and ideological context of an architectural project with similar concerns, prejudices and goals, it is possible to see Lewis' pamphlet as an exceptional phase in his writing in which he teeters on the brink of approving political engagement for the arts and echoes many of the ideas promoted by Germany's Activist programme. These images of a revolutionary utopian architecture can be traced to Lewis' construction of the Magnetic City in The Human Age. Chapters Three and Four explore Djuna Barnes' novel Nightwood in the context of Waiter Benjamin's The Origin of German Tragic Drama, acknowledging connections between seventeenth-century and Expressionist aesthetic forms at the time of Barnes' arrival in Berlin. Chapter Five considers the details of the Weimar stage and Schrei performance techniques and their particular significance for Barnes' portrayal of Dr. O'Connor and Robin Vote. The study concludes by reappraising the connections discovered between modernism and Expressionism in the context of Georg Lukacs' critique of the movment.

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McDonaugh, Karen Louise. "Subjection and subversion : a critical reading of Djuna Barnes' 'Nightwood'." Thesis, Cardiff University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399234.

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McNeary, Nora K. "Performative Identity in Djuna Barnes' The Ladies Almanack and Nightwood." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/848.

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This thesis discusses performative identity in Djuna Barnes' The Ladies Almanack and Nightwood. Barnes' characters create and perform their identities as an attempt to escape or subvert patriarchal norms and societal prejudices. In analyzing the marginalized performative identity categories (race, class, gender, sexuality), one can glean an understanding of the complex social tensions present during Barnes' era, and understand the socially constructed, confining nature of identity itself.

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Niven, Debra L. "Fictive elements within the autobiographical project : necessary conflation of genres in Nightwood by Djuna Barnes /." Electronic version (PDF), 2007. http://dl.uncw.edu/etd/2007-1/nivend/debraniven.pdf.

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Hocking, Nick. "An insubstantial defence of the Father, incorporating Djuna Barnes' melancholy corpus." Thesis, Birkbeck (University of London), 2017. http://bbktheses.da.ulcc.ac.uk/288/.

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My thesis being a suitably rhizomatic proliferation of thematic obsessions, personal anecdotes, theoretical debates, political reflections, and close readings of several major works by Djuna Barnes, it feels like a particularly brutal kind of revisionary, reterritorialising horticulture would be required in order to state in a few hundred words what it is that I have tried to do, at root. But since I must, let’s say that the underlying preoccupation of my writing, oriented through a focus on various figures of the Father in Barnes’ writing, has been the (political, psychological and social) necessity of such en-tirpatory aggression: the selective, irreducibly ideological laying down of roots needed to construct an arborescent substance (such as a doctoral dissertation, or a social justice movement), and the role played in this kind of symbolic reordering by a retrospectively-posited legitimating figure (archetypally, the founding Father). In a vaguely Sedgwickian gesture I contest here that critical theory, and contemporary Leftist thought more generally, suffers by its one-sided approach to fantasies of substantial identity. Some of us steadily insist with heroic Stoicism on the phantasmic misrecognitions entailed in all stable identities, others are continually moving on from such passé essentialisms as Nation, Family, or Self, giddily repeating the same gestures at each vibrant new theoretical ‘turn’, with Sisyphean regularity. Critical theory therefore appears stuck with a body that it can neither internalise nor efface. Meanwhile the latest capitalist crisis has found the Left ready with convincing analyses, but a fractured and disorganised base; capable of mobilizing mass protest, but without the co-ordinated strategy or political will to ‘occupy’ dominant power structures or attract popular support beyond the embattled enclaves of academia and activism. A few years earlier, Wendy Brown diagnosed this situation as an endemic Leftist melancholia in which ‘the impulse to blame and complain tends to displace any impulse to develop strategies for the assumption of power’, but, paradoxically, she also suggested that we might yet successfully mourn the catastrophes of history while proleptically recognising that the objects of our mourning are insubstantial; ‘Something has died but we argue over what the body is (there will turn out not to be a body).’ Conversely, this thesis ultimately flirts with a post-Jungian mythopoetic ‘turn’ in arguing that we need to give substance back to our grief and expend a few lachrymose passages over our Father’s body, whoever he might turn out not to have been.

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Sepulveda, Maria C. "Centered Fluidity and the Horizons of Continuity in Djuna Barnes' Nightwood." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/746.

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Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.

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Jonsson, AnnKatrin. "Relations : ethics and the modernist subject in James Joyce's "Ulysses", Virginia Woolf's "The Waves", and Djuna Barnes's "Nightwood /." Frankfurt am Main : P. Lang, 2006. http://catalogue.bnf.fr/ark:/12148/cb40227023k.

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Books on the topic "Djuna Barnes"

1

Parsons, Deborah L. Djuna Barnes. Tavistock: Northcote House in association with the British Council, 2003.

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Causse, Michèle. Ontmoeting met Djuna Barnes. 2nd ed. Amsterdam: Furie, 1989.

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3

Warren, Diane. Djuna Barnes' consuming fiction. Aldershot, Hants, England: Ashgate, 2007.

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Djuna Barnes' consuming fiction. Aldershot, Hants, England: Ashgate, 2007.

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Herring, Phillip F. Djuna: The life and work of Djuna Barnes. New York: Penguin Books, 1996.

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Djuna: The life and work of Djuna Barnes. New York: Viking, 1995.

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1938-, Field Andrew, ed. Djuna, the formidable Miss Barnes. Austin: University of Texas Press, 1985.

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Djuna, Barnes. Poe's mother: Selected drawings of Djuna Barnes. Los Angeles: Sun & Moon Press, 1995.

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Stromberg, Kyra. Djuna Barnes: Leben und Werk einer Extravaganten. Berlin: Wagenbach, 1989.

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Decadent Djuna: Eine Untersuchung dekadenter Themen und Motive im Werk von Djuna Barnes. Frankfurt am Main: P. Lang, 1997.

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Book chapters on the topic "Djuna Barnes"

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Danzer-Radecker, Ina. "Barnes, Djuna." In The Palgrave Encyclopedia of Urban Literary Studies, 1–11. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-62592-8_214-1.

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Lemke, Sieglinde. "Barnes, Djuna." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4863-1.

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Gersdorf, Catrin. "Barnes, Djuna." In Metzler Autorinnen Lexikon, 41–42. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_29.

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Drews, Jörg, and Sieglinde Lemke. "Barnes, Djuna: Nightwood." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4864-1.

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Hurm, Gerd. "Barnes, Djuna [Chappell]." In Englischsprachige Autoren, 19–21. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_9.

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Loncraine, Rebecca. "Djuna Barnes: Nightwood." In A Companion to Modernist Literature and Culture, 297–305. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch33.

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Falkenberg, Betty, and Frank Kelleter. "Barnes, Djuna: The Antiphon." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4865-1.

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Busch, Alexandra. "Djuna Barnes (1892–1981)." In Frauenliebe Männerliebe, 47–51. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_10.

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Goody, Alex. "Becoming-Modernists: Djuna Barnes, Mina Loy and Gertrude Stein." In Modernist Articulations, 27–56. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230288300_2.

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de Lauretis, Teresa. "The Odor of Memory: On Reading Djuna Barnes with Freud." In Freud's Drive, 114–50. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583047_6.

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