David GarnettとBloomsbury
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概要
- 論文の詳細を見る
David Garnett's autobiographical Golden Echo trilogy (1953-1962) and his recent memoirs Great Friends (1979) disclose the hitherto unknown circumstances in which he became a full-fledged member of the innermost circle of Bloomsbury during the second and third decades of this century. According to these books, the famous 'Bloomsberries' were not in any formal sense a strictly organized 'group', but actually an amorphous set of very intimate friends of men and women who lived and met in the Bloomsbury district of London between the two world wars. Their common interests in art and literature, together with their independent and intelligent points of view in matters of life, mutually attracted themselves very closely, combining them in 'jolly hearty good-fellowship'. Secondly, they each and all tacitly believed in the superiority of their own communal way of life in varied fields of creative art when compared with any other style of individual life no matter how materially successful or how socially influential it might be. Thirdly, David Garnett with characteristic nonchalance makes frequent mention of small casual gatherings at 46 Gordon Square in London or at Charleston in Sussex. On these occasions, frankly penetrating, albeit cordially appreciative, criticism as well as discussions usually ensued for the sole benefit of each writer then still in embryo. Fourthly, one cannot gloss over something 'queer' of Blooms-bury ambiance, namely, the sexual climate of the 'dirty' Bloomsberries. All things considered, however, they were an intimately associated group of very talented young painters and writers, to whom the following epithets (in italics) may be deemed singularly appropriate: they were creative, original, unorthodox, unconventional, independent, irreverent (for traditional authority), secular yet unworldly. Furthermore, by temperament and inclination, most, if not all, of them, were disposed towards sexual amorality.
- 中京大学の論文
- 1982-01-20