By Virginia Woolf
The ultimate novel of 1 of the 20 th Century's maximum voices.
On the garden of an English state property, a festival goes to be played. Attended via lots of the locals, it truly is an outline of English background in different components. Interspersed one of the arrangements, the viewers engage, serving as a moment microcosm of English lifestyles. The looming spectre of global warfare II serves as a backdrop to novel's motion.
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Additional info for Between the Acts
Jolas’s distancing of himself and his magazine from formal politics can be seen in this light. It is not politics which can remake the world, it is poetry, because only poetry can remake the world magically. Poetry, a term used by Jolas to mean any art which powerfully recreates the world rather than just reproducing ‘the photography of events’ (p. 178), is inherently magical. As he argued in a later article: The poet passes from the natural order of things into the supernatural.
Indd 23 23/10/2012 14:37 MODERNISM AND MAGIC too, in The Golden Bough, sees magic as a structure of thinking, as science is a structure of thinking; not only that, but magic and science, unlike religion, are concerned with a systematic investigation of the matter of the world: Wherever sympathetic magic occurs in its pure unadulterated form, it assumes that in nature one event follows another necessarily and invariably without the intervention of any spiritual or personal agency. Thus, its fundamental conception is identical with that of modern science; underlying the whole system is a faith, implicit but real and firm, in the order and uniformity of nature.
For Adorno, as for Tylor, magic’s central characteristic is error. While magic may point to crises in capitalism, it misreads them. If it no longer misread them, it would not be magic. The twin danger of magic and positivism is, of course, precisely that which Adorno warns Walter Benjamin against in their important exchange of letters in the second half of the 1930s. These letters contain issues central to debates about the relation between capitalism, aesthetic form and Marxist critique. The general consensus since has been that Adorno won that particular argument (see Adorno et al.
Between the Acts by Virginia Woolf