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Sentencing OrlandoVirginia Woolf and the Morphology of the Modernist Sentence$
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Elsa Högberg and Amy Bromley

Print publication date: 2018

Print ISBN-13: 9781474414609

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9781474414609.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 31 May 2020

and nothing whatever happened’: Orlando’s Continuous Eruptive Form

and nothing whatever happened’: Orlando’s Continuous Eruptive Form

Chapter:
(p.80) Chapter 6 ‘… and nothing whatever happened’: Orlando’s Continuous Eruptive Form
Source:
Sentencing Orlando
Author(s):

Suzanne Bellamy

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474414609.003.0007

In this chapter, Suzanne Bellamy draws attention to the density of reference encompassed by a single sentence from Orlando, alighting on intertextual resonances between Woolf, Sackville-West, Stein and Laurence Sterne. The sentence on which Bellamy focuses is ‘a very long and daring exercise in linguistic implosion’; through its many-layered parody – notably of Woolf’s own writing in To the Lighthouse – this sentence undermines the narrative contract sustaining nature writing and mimetic description. However, as Bellamy’s reading reveals, it also enacts a Steinian process of composition as explanation, thus shedding light on Orlando as a modernist textual and visual experiment that enables new modes of perception.

Keywords:   intertextuality, Gertrude Stein, Laurence Sterne, modernism, nature, parody, perception, poetics, visual art

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