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18 mars 2024
- doi: 10.4000/cve.13619
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info:eu-repo/semantics/reference/issn/2271-6149
Ce document est lié à :
info:eu-repo/semantics/reference/issn/0220-5610
info:eu-repo/semantics/openAccess , https://creativecommons.org/licenses/by-nc-nd/4.0/
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Western art (Western countries) Fine arts Iconography Arts, Fine Art, Occidental Arts, Visual Visual arts Occidental art Art, Visual Art, Western (Western countries) ArtsCiter ce document
Catherine Lanone, « Art and the ‘Second Darkness’ », Cahiers victoriens et édouardiens, ID : 10.4000/cve.13619
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Résumé
This paper examines E. M. Forster’s crucial yet peripheral relationship with the Bloomsbury Group. A diffident, keen observer, Forster stressed the way in which Bloomsbury shattered Victorian conventions. He describes the Bloomsbury legacy in terms of aesthetic change, such as Virginia Woolf’s rhythmical sensuous prose or Lytton Strachey’s ironic, revolutionary biographies. But he also helps us to define this legacy in more political terms, as the ethos of art and personal relationships was confronted with the rise of fascism. Today Bloomsbury is perceived in contradictory, controversial ways; yet its legacy discreetly survived the war, under new guises such as the B.B.C. Third programme.