By Noritake Tsuda
A historical past of jap Art bargains readers a complete view of jap paintings via eastern eyes—a view that's the so much revealing of all views. whilst, it offers readers with a consultant to the locations in Japan the place the easiest and such a lot consultant creations of eastern paintings are to be noticeable.
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Additional info for A History of Japanese Art: From Prehistory to the Taisho Period (Tuttle Classics)
Indeed, it is Peter who interrupts the kiss between Clarissa and Sally on the terrace at Bourton. Peter's approach to a relationship with Clarissa thus would not have allowed her the space to preserve the Clarissa who once "had walked on the terrace at Bourton" (185). But this leaves us with perhaps the most complex sentence of that passage, a sentence that seems to resist clear explication: "No pleasure could equal, she thought, straightening the chairs, pushing in one book on the shelf, this having done with the triumphs of youth, lost herself in the process of living, to find it, with a shock of delight, as the sun rose, as the day sank" (185).
Dalloway repeatedly insists on the significance of this moment. For this reason, I think it is important to investigate the moment of the kiss specifically as a moment, a moment that is counter to the normal flow of time in narrative. Though a number of Woolf critics have tried to assimilate Clarissa's and Sally's kiss to a conventional stage in Clarissa's development toward adulthood, the moment of the kiss ultimately deviates from the temporal movement toward marriage. Instead, the kiss, as constructed in Woolf s text, offers strange and unpredictable forms of See GLQ: A Journal of Gay and Lesbian Studies's special issue on Queer Temporality.
In order to make sense of Richard's appearance at this moment in the text, it is important to consider why Clarissa married Richard in the first place. Clarissa does not marry Richard because her love for him is more intense than her love for her 47 other suitors. Her love for Peter is most certainly a more intense love. But Clarissa finds herself "still making out that she had been right—and she had too—not to marry [Peter]. For in a marriage a little license, a little independence there must be between people living together day in day out in the same house; which Richard gave her and she him.