Relevant bibliographies by topics / Nightwood (Barnes, Djuna)

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  2. Dissertations / Theses
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Academic literature on the topic 'Nightwood (Barnes, Djuna)'

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Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Nightwood (Barnes, Djuna)"

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Trendel, Aristi. "The Metaphors She Lived By: Language in Djuna Barnes’s "Nightwood"." Baltic Journal of English Language, Literature and Culture 4 (April 25, 2014): 94–101. http://dx.doi.org/10.22364/bjellc.04.2014.08.

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This paper inquires into how Djuna Barnes foregrounds language in Nightwood and then posits its limits through the intimation of a transcendent form of ineffability. Multiple strategies concur for language’s prominent position: a catachrestic use of metaphor, dense intertextuality and metafictional reflection on language. A hiatus marks the narrative in the last chapter which, stylistically different from the rest of the narrative, evokes the sublime. In this last chapter, Barnes conspicuously gives up the previous strategies that turn the reader’s attention to language in order to suggest the impossibility of language to convey the extreme joy and pain of love.
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Smith, Victoria L. "A Story beside(s) Itself: The Language of Loss in Djuna Barnes's Nightwood." PMLA/Publications of the Modern Language Association of America 114, no. 2 (March 1999): 194–206. http://dx.doi.org/10.2307/463391.

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Djuna Barnes's experimental text Nightwood offers a difficult narrative shaped around a sense of loss. Barnes outlines a loss of access to history, to language, and to representation in general for those consigned to the margins of culture. By using a torrential and Byzantine language—a language of indirection—Barnes creates a lexicon of loss that acts as a strategy for recuperating what has been unspeakable, particularly the culturally disempowered: in this text, Jews, women, and homosexuals. Her psychic and textual strategies work through analogy to recover unrecorded history and to show the unrepresented. Barnes reconfigures the culturally privileged discourse of melancholia and in doing so articulates a structure of loss for those whose histories have been effaced.
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Sobczak, Izabela. "Ostępy języka. Modernistyczna proza Djuny Barnes w polskim tłumaczeniu." Krytyka przekładu i okolice, no. 42 (December 29, 2021): 160–79. http://dx.doi.org/10.4467/16891864pc.21.022.14333.

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Backwoods of Language. The Modernist Prose of Djuna Barnes in Polish Translation No sooner than after eighty years since the moment of the original publication of Djuna Barnes’s Nightwood was Polish literary market enriched by a translation of one of the most peculiar novels of the Euro-American modernism. Marcin Szuster’s translation under Polish title Ostępy nocy has already managed to earn much praise and also some prizes and open a first Polish discussion about the work of the eccentric American writer. The paper’s focus is to analyze the Polish translation of Nightwood with a special interest in Barnes’s style as it becomes a central character in the novel which connects, according to feminist critics (K. Kaivola, S. Benstock), to its emancipatory potential. In my paper I follow a claim that the complex style of this prose writing is a (conscious) manifestation of a woman’s voice (as an affect), behind which one can discover a body – one that experiences and is experienced (J. Taylor). The body, both a structural and a rhetorical category in feminist criticism, in Barnes’s prose can be seen as an element organizing time and space – therefore, ambiguity of her terms and complexity of style are forming a true translation challenge. Marcin Szuster as a translator needs to follow Barnes’s “distinctive point of view,” which is a “feminine” one and distanced by the length of gender, experience and time.
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Kindig, Patrick. "Perverse Attention(s): Djuna Barnes, John Rechy, and the Queer Modernist Aesthetics of Entrancement." Twentieth-Century Literature 68, no. 3 (September 1, 2022): 273–94. http://dx.doi.org/10.1215/0041462x-10028070.

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This article examines the representational slippage between queerness and entranceability in two queer modernist novels, Djuna Barnes’s Nightwood and John Rechy’s City of Night. Highlighting the historical and conceptual overlap between early sexological work on inversion and early psychological work on trance, it argues that, in the late nineteenth and early twentieth centuries, queer desire was in part understood as a function of compulsively misdirected and pathologically fixed attention. Embracing rather than refuting this model of queerness, writers such as Barnes and Rechy drew on the language and imagery of homoerotic entrancement to cultivate a mesmerizing—and distinctly queer—aesthetic, incorporating entrancement into their writing at the levels of both form and content. The article thus suggests that sexology provided writers such as Barnes and Rechy with an unexpected method for capturing and holding the attention of their readers, shaping queer modernist aesthetics in an oft-overlooked way.
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Barnes, Djuna, and Aaron Yale Heisler. "Lament for the Left Bank." PMLA/Publications of the Modern Language Association of America 130, no. 1 (January 2015): 110–18. http://dx.doi.org/10.1632/pmla.2015.130.1.110.

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In 1940 Djuna Barnes, author of the notorious but weak-selling Nightwood (1936), received a commission from Harry A. Bull, editor of the New York-based society magazine Town & Country, to write a short reminiscence of Paris in the 1920s. The Nazi occupation of the erstwhile world capital of the avant-garde gave Town & Country's well-heeled readership reason to be nostalgic for Paris's glamorous recent past. As for Barnes, despite her dwindling book sales, she still had some celebrity—especially among those American readers who remembered her risqué onetime best seller Ryder (1928)—as an artist, journalist, and character of the Paris scene. Struggling with alcoholism and illness, and fiercely private, but desperate for money, she accepted the commission (Herring 242-50). Drawing on material in a notebook she had carried while working as a journalist in the 1920s (Caselli 116), as well as an unpublished 1939 essay, “Farewell Paris,” Barnes took her miniature memoir through several drafts over the course of 1940 and 1941.
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Armond, Kate. "Allegory and dismemberment: reading Djuna Barnes' Nightwood through the forms of the baroque Trauerspiel." Textual Practice 26, no. 5 (April 12, 2012): 851–70. http://dx.doi.org/10.1080/0950236x.2012.669400.

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Whitley, Catherine. "Nations and the Night: Excremental History in James Joyce's Finnegans Wake and Djuna Barnes' Nightwood." Journal of Modern Literature 24, no. 1 (2000): 81–98. http://dx.doi.org/10.1353/jml.2000.0033.

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Clarke, Tim. "Morbid Vitalism." Twentieth-Century Literature 67, no. 2 (June 1, 2021): 163–90. http://dx.doi.org/10.1215/0041462x-9084328.

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This essay frames Djuna Barnes’s 1936 novel Nightwood as an attempt to overcome an impasse between the discourses of hope and the discourses of despair in an interwar period in many ways preoccupied with questions of mortality. Synthesizing Decadent aesthetics and elements of Spinoza’s vitalist philosophy, Barnes produces a “morbid vitalism,” exemplified by Dr. Matthew O’Connor, by which life and death are conceived as variant expressions of a single force, and the subject is modeled as an assemblage of affects, impersonal but inherently social, that can be understood primarily through its pursuit of what Jack Halberstam has called “generative models of failure.” In exploring this mode of subjectivity, Barnes seeks to undermine a host of ostensible oppositions (hope and fear, ascendence and decadence, success and failure, morbidity and vitality), opening up a conceptual and affective space for thinking through—if not necessarily beyond—the ubiquity of despair in twentieth-century modernity. Ultimately, morbid vitalism points a way toward a broader conversation between life-oriented modernist scholarship on vitalism and affect, on the one hand, and ongoing inquiries into the relationship among death, Decadence, and modernism, on the other.
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Guillois, Christiane. "« The arrested step », Nightwood de Djuna Barnes : « Une image est une halte que fait l’esprit entre deux incertitudes »." Revue LISA / LISA e-journal, Vol. VII – n°3 (March 1, 2009): 319–32. http://dx.doi.org/10.4000/lisa.114.

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Solander, Tove. "Sinnlighetens slott. Eva-Marie Liffners Drömmaren och sorgen som queert allkonstverk." Tidskrift för genusvetenskap 34, no. 4 (June 13, 2022): 69–89. http://dx.doi.org/10.55870/tgv.v34i4.3343.

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This article is a close reading of Eva-Marie Liffner’s 2006 novel Drömmaren och sorgen (The Dreamer and the Sorrow). Drawing on theories of queer and lesbian literature and on the writings of Gilles Deleuze, I argue for a queer aesthetics of sensual excess. Liffner’s novel is a mystery without a solution, a beautiful enigma resisting reader expectations of plot and closure. Its labyrinthine or kaleidoscopic structure connects and reconnects a large amount of vivid, concrete figures. I read the novel through five of its key figures: the castle, the sea, the heart, the song and the knight. The castle is the architectural principle of the novel, which features gothic elements such as the trapdoor and the secret passage. The sea lends atmosphere to the novel and is best understood as an element in the humoural sense, permeating landscapes and characters alike. The heart exemplifies Liffner’s use of intensely sensual figures and connects to the genre of anatomical blazons. The song points to an alternative, musical organisation of the novel and works to transcend barriers of sex and species. The knight, finally, is identified as the androgynous hero(ine) of queer literary history riding through works such as Virginia Woolf’s Orlando and Djuna Barnes’ Nightwood before showing up in Liffner’s novel.
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Dissertations / Theses on the topic "Nightwood (Barnes, Djuna)"

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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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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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Bellman, Erica Nicole. "Spectacular Shadows: Djuna Barnes's Styles of Estrangement in Nightwood." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/353.

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This paper examines Djuna Barnes's Modernist masterpiece, Nightwood, by exploring the author's particular styles of writing. As an ironist, a master of spectacle, and a visual artist, Barnes's distinct stylistic roles allow the writer to construct a strange fictional world that transcends simple categorization and demands close reading. Through textual analysis, consideration of how Barnes's characterization, and engagement with key critical interpretations lead to the conclusion that Nightwood's primary aim is to present the reader with an image of his or her own individual estrangement.
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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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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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Frödin, Ellen. "Tänja tiden ur sin buk : Nattens skogar och historia." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15261.

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In this essay I trace the historical theme in Djuna Barnes’s Nightwood, stressing the importance of the concept of forgetfulness in the text. Read alongside Nietzsche’s On the Use and Abuse of History for Life as well as his later thoughts on genealogy, the novel can be seen to concern itself with that same dilemma of history that he articulates in his philosophy. That is: how not to be overburdened by historical knowledge to the point where it petrifies life and prevents any real and novel action, and how at the same time, to make oneself conscious of ones own historicity, so as not to be governed to much by the past. I argue that Robin inhabits what Nietzsche would call the unhistorical state, whereas the other characters, in contrast, struggle with their relation to the past. Their stories delineate how history is appropriated and the other made self through the use of masks, costumes, memorabilia, nesting, storytelling and bodily inscription.
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Sharp, Kellie Jean. "Convex Children: The Queer Child and Development in Nightwood and the Member of the Wedding." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277129748.

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Pollard, Jacqueline Anne. "The gender of belief: Women and Christianity in T. S. Eliot and Djuna Barnes." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10333.

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x, 175 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This dissertation considers the formal and thematic camaraderie between T. S. Eliot and Djuna Barnes. The Waste Land 's poet, whom critics often cite as exemplary of reactionary high modernism, appears an improbable companion to Nightwood 's novelist, who critics, such as Shari Benstock, characterize as epitomizing "Sapphic modernism." However, Eliot and Barnes prove complementary rather than antithetical figures in their approaches to the collapse of historical and religious authority. Through close readings, supplemented by historical and literary sources, I demonstrate how Eliot, in his criticism and poems such as "Gerontion," and Barnes, in her trans-generic novel Nightwood , recognize the instability of history as defined by man and suggest the necessity of mythmaking to establish, or confirm, personal identity. Such mythmaking incorporates, rather than rejects, traditional Christian signs. I examine how, in Eliot's poems of the 1920s and in Barnes's novel, these writers drew on Christian symbols to evoke a nurturing, intercessory female parallel to the Virgin Mary to investigate the hope for redemption in a secular world. Yet Eliot and Barnes arrive at contrary conclusions. Eliot's poems increasingly relate femininity to Christian transcendence; this corresponds with a desire to recapture a unified sensibility, which, Eliot argued, dissolved in the post-Reformation era. In contrast, Barnes's Jewish and homosexual characters find transcendence unattainable. As embodied in her novel's characters, the Christian feminine ideal fails because the idealization itself extends from exclusionary dogma; any aid it promises proves ineffectual, and the novel's characters, including Dr. Matthew O'Connor and Nora Flood, remain locked in temporal anguish. Current trends in modernist studies consider the role of myth in understanding individuals' creation of self or worldview; this perspective applies also in analyzing religion's role insofar as it aids the individual's search for identity and a place in history. Consequently, this dissertation helps to reinvigorate the discussion of religion's significance in a literary movement allegedly defined by its secularism. Moreover, in presenting Eliot and Barnes together, I reveal a kinship suggested by their deployment of literary history, formal innovation, and questions about religion's value. This study repositions Barnes and brings her work into the canonical modernist dialogue.
Committee in charge: Paul Peppis, Chairperson, English; Suzanne Clark, Member, English; John Gage, Member, English; Jenifer Presto, Outside Member, Comparative Literature
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Goodspeed-Chadwick, Julie Elaine. "Representations of war and trauma in embodied modernist literature : the identity politics of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364941.

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This study situates the literary works of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein in a genealogy of American modernist war writing by women that disrupts and revises patriarchal war narrative. These authors take ownership of war and war-related trauma as subjects for women writers. Combining the theories of Dominick LaCapra, Judith Butler, Elaine Scarry, and Elizabeth Grosz with close readings of primary texts, I offer feminist analyses that account for trauma and real-world materiality in literary representations of female embodiment in wartime. This framework enables an interdisciplinary discussion that focuses on representations of war and trauma in conjunction with identity politics.I examine Lowell's poetry collection Men, Women and Ghosts (1916), Barnes's novel Nightwood (1936), H.D.'s poem Trilogy (1944-1946), and Stein's novel Mrs. Reynolds (1952). The chapters highlight the progressively feminist and personal ownership of war and trauma embedded in the texts. Lowell and Barnes begin the work of deconstructing gendered binary constructions and inserting women into war narrative, and H.D. and Stein continue this trajectory through cultivation of more pronounced depictions of women and their bodies in war narrative.The strategies are distinct and specific to each author, but there are common characteristics in their literary responses to World War I and World War II. Each author protests war: war is destructive for Lowell, perverse for Barnes, traumatic for H.D., and disruptive for Stein. Additionally, each author renders female bodies as sites of contested identity and as markers of presence in war narrative. The female bodies portrayed are often traumatized and marked by the ravages of war: bodily injury and psychological and emotional distress. H.D. and Stein envision strategies for resolving (if only partially) trauma, but Lowell and Barnes do not.This project recovers alternative war narratives by important American modernist women writers, expands the definition and canon of war literature, contributes new scholarship on works by the selected authors, and constructs an original critical framework. The ramifications of this study are an increased awareness of who was writing about war and the shape that responses to it took in avant-garde literature of the early twentieth century.
Department of English
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Books on the topic "Nightwood (Barnes, Djuna)"

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Djuna, Barnes. Selected works of Djuna Barnes: Spillway, The antiphon, Nightwood. London: Faber, 1998.

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Stange, Martina. Modernism and the individual talent: Djuna Barnes' Romane Ryder und Nightwood. Essen: Verlag Die Blaue Eule, 1999.

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Djuna Barnes, T.S. Eliot and the gender dynamics of modernism: Tracing Nightwood. New York: Routledge, 2010.

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Djuna, Barnes. Nightwood. New York: Modern Library, 2000.

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Djuna, Barnes. Nightwood: The original version and related drafts. Normal, IL: Dalkey Archive Press, 1995.

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Carlston, Erin G. Thinking fascism: Sapphic modernism and fascist modernity. Stanford, Calif: Stanford University Press, 1998.

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Djuna Barnes's Nightwood: The World and the politics of peace. London, England: Bloomsbury, 2014.

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Faltejskova, Monika. Djuna Barnes, T. S. Eliot and the Gender Dynamics of Modernism: Tracing Nightwood. Taylor & Francis Group, 2010.

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Faltejskova, Monika. Djuna Barnes, T. S. Eliot and the Gender Dynamics of Modernism: Tracing Nightwood. Taylor & Francis Group, 2010.

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Djuna Barnes, T. S. Eliot and the Gender Dynamics of Modernism: Tracing Nightwood. Routledge, 2010.

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Book chapters on the topic "Nightwood (Barnes, Djuna)"

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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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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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Mann, Molly. "Queer Hunger: Human and Animal Bodies in Djuna Barnes’ Nightwood." In The Palgrave Macmillan Animal Ethics Series, 195–212. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53280-2_8.

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Nair, Sashi. "‘On her lips you kiss your own’: Theorizing desire in Djuna Barnes’ Nightwood." In Secrecy and Sapphic Modernism, 69–94. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230356184_3.

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Smith, Patricia Juliana. "“The Woman That God Forgot”: Queerness, Camp, Lies, and Catholicism in Djuna Barnes’ Nightwood." In Catholic Figures, Queer Narratives, 129–48. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230287778_9.

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Snyder-Körber, MaryAnn. "14. Djuna Barnes, Nightwood (1936)." In Handbook of the American Novel of the Twentieth and Twenty-First Centuries, edited by Timo Müller. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110422429-016.

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"Tragedy I: Nightwood and the Eschatological Body." In Djuna Barnes and Theology. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350256057.ch-4.

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"Chapter 3 ‘The Infected Carrier of the Past’: Nightwood, Shame and Modernism." In Djuna Barnes and Affective Modernism, 110–44. Edinburgh University Press, 2012. http://dx.doi.org/10.1515/9780748646760-006.

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Schmidt, Michael. "Belonging and Unreadability in Djuna Barnes´s Nightwood." In Modernism and Unreadability, 169–80. Presses universitaires de la Méditerranée, 2011. http://dx.doi.org/10.4000/books.pulm.13745.

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Shelden, Ashley T. "Lesbian Fantasy." In Unmaking Love, 28–56. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231178228.003.0002.

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This chapter reads the figure of the lesbian in both psychoanalysis and modernism as the indicative figure of love itself. Psychoanalysis depicts the lesbian as loving, without desire. Djuna Barnes' modernist classic, Nightwood, builds on this notion of the lesbian, ambivalently situating this figure as both representing amorous fusion and troubling the possibility of such fusion. Barnes' novel paves the way for contemporary rewritings of love and lesbians, which is evidenced by Zadie Smith's and Eleanor Catton's contemporary approaches to negative forms of lesbian love.
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