Visual Evocation Of English Novels

Visual Evocation of English Novels considers three groups of comparatively related English classical novels from their respectively social, aesthetic and ideological perspectives, published between the 1860 and 1920 by Thomas Hardy, George Eliot, D. H. Lawrence, E. M. Forster, Conrad, Henry James, Virginia Woolf and the like, who either use actual paintings to form a symbolic core of meaning in their works to represent their historical coincidence and aesthetic allusions by means of the authors'visual experiences, that is language descriptions, or employ artistic media, such as light and shade, color sensation, perception of line, unity and variety to indicate the evocation of passions in readers. Visual sensation tends to act as a calling or summoning a memory, intuition or other supernatural agents to evocate human emotions both vividly and reasonably to reflect reality of art in a certain space and time, of which the study attempts to disclose the influence of visual experience on the creations of novels.Aesthetic analogies express this inherent relationship of the arts, and add a new dimension of richness and complexity to the novel by extending the potentialities of fiction to include the representational characteristics of the visual art. Ten chapters follow a rough historical movement of English novel from examining Dutch paintings reflected in Hardy's and in Eliot's works, the influence of Lawrence's and Forster's visual experience upon their creation, Forster's application of visual media to probing into visual metaphors in Conrad's and Woolf's works, A grotesque modernist triptych configured in the Works of James, Mann, and Manet to illustrate the relationship between painting and literature has been reborn as the field of cultural studies.Based on the heated discussion of the ending of literature in our "pictorial turn", the dissertation shed light on the close reading into and mainly exploring the artistic features of the English novels from Thomas Hardy to Virginia Woolf, contending that the fictionalized employment of visual art as a special narrative strategy endows the novel with sensibility and intellectuality. Thus the novel is romanticized and pluralized. Moreover, the marriage of the two genres reflects a paradox or appropriation between reality and imagination. Hopefully, the research into the relationship between painting and the novel will play an active role in broadening academic perspective.