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The Unapproved History of Percival: A Creative-Critical Reading of Virginia Woolf’s The Waves

The Unapproved History of Percival: A Creative-Critical Reading of Virginia Woolf’s The Waves The Unapproved History of Percival: A Creative-Critical Reading of Virginia Woolf ’s The Waves Emily Martins This text is a post-critical engagement with Virginia Woolf ’s experimental novel The Waves (1931) that attempts to reanimate the novel’s central and yet most enigmatic figure, namely Percival. He is in many ways the absent centre of the novel, and so here I seek to make him present. I am above all concerned with exactly that which Woolf so manifestly denies both reader and, indeed, Percival – his identity. I do so by working endlessly with and through the one word he speaks within the whole novel, which is “No.” This “No” leads me through various literary and historical labyrinths as I go off in search of Percival. Along the way I encounter three particular Percivals – one in Chrétien de Troyes’ unfinished Story of the Grail, one in nineteenth-century British imperial India, and one in Nazi Germany. CounterText 8.2 (2022): 301–327 DOI: 10.3366/count.2022.0272 © Emily Martins www.euppublishing.com/count 301 CounterText THE o.” “No.” “No.” “ ” “No.” “No.” “No.” o.” “No.” “No.” “No. “No.” o.” “No No.” “N o.” “No.” ” “No.” “No.” .” “No. No.” “N “ ” “No.” ” “No.” http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Countertext Edinburgh University Press

The Unapproved History of Percival: A Creative-Critical Reading of Virginia Woolf’s The Waves

Countertext , Volume 8 (2): 27 – Aug 1, 2022

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Publisher
Edinburgh University Press
Copyright
Copyright © Edinburgh University Press
ISSN
2056-4406
eISSN
2056-4414
DOI
10.3366/count.2022.0272
Publisher site
See Article on Publisher Site

Abstract

The Unapproved History of Percival: A Creative-Critical Reading of Virginia Woolf ’s The Waves Emily Martins This text is a post-critical engagement with Virginia Woolf ’s experimental novel The Waves (1931) that attempts to reanimate the novel’s central and yet most enigmatic figure, namely Percival. He is in many ways the absent centre of the novel, and so here I seek to make him present. I am above all concerned with exactly that which Woolf so manifestly denies both reader and, indeed, Percival – his identity. I do so by working endlessly with and through the one word he speaks within the whole novel, which is “No.” This “No” leads me through various literary and historical labyrinths as I go off in search of Percival. Along the way I encounter three particular Percivals – one in Chrétien de Troyes’ unfinished Story of the Grail, one in nineteenth-century British imperial India, and one in Nazi Germany. CounterText 8.2 (2022): 301–327 DOI: 10.3366/count.2022.0272 © Emily Martins www.euppublishing.com/count 301 CounterText THE o.” “No.” “No.” “ ” “No.” “No.” “No.” o.” “No.” “No.” “No. “No.” o.” “No No.” “N o.” “No.” ” “No.” “No.” .” “No. No.” “N “ ” “No.” ” “No.”

Journal

CountertextEdinburgh University Press

Published: Aug 1, 2022

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