Au confluent exactement : Deadlock (1921), Revolving Lights (1923) et The Trap (1925) de Dorothy Richardson
The word ‘confluence’ refers both to the place where two or more rivers meet and the fact that they start to flow together. This term is particularly apt to capture some of the paradoxes that characterize the three following chapters of Pilgrimage: Deadlock, Revolving Lights and The Trap. These chap...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2017-06-01
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| Series: | Études Britanniques Contemporaines |
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| Online Access: | http://journals.openedition.org/ebc/3520 |
| Summary: | The word ‘confluence’ refers both to the place where two or more rivers meet and the fact that they start to flow together. This term is particularly apt to capture some of the paradoxes that characterize the three following chapters of Pilgrimage: Deadlock, Revolving Lights and The Trap. These chapters are situated in London at the turn of the twentieth century (1900-1905). The capital was a place where a lot of immigrants had settled and where diverse cultural worlds coexisted. No wonder the young protagonist, Miriam Henderson, is attracted to this place and the text itself reflects the diversity and the cosmopolitanism of the metropolis. Miriam, however, is fearful to see her own individuality diluted by these multifarious flows. Thus she sticks to a modernist conception of her own self, a meeting place where her potential and successive ‘I’s can appear and she renounces neither movement nor stability as made obvious by the stream of consciousness technique that was being used for the first time in Great-Britain but that was exclusively that of Miriam’s. |
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| ISSN: | 1168-4917 2271-5444 |