Kim, Daniel2024-02-082024-02-08http://hdl.handle.net/11603/31574In the summer preceding the writing of my paper I watched the films of Bergman and read the novels of Woolf and came away with the feeling that there were resonant qualities between the two that were worth exploring. The resonances were hard-to-pin down and inarticulable at the time but they remained in my head throughout Professor Juliette Wells’s course on Woolf that fall and eventually took shape in the form of this paper. The paper is largely an attempt to explicate these similarities between Woolf and Bergman’s works and show how both artists move in increasingly radical and self-reflexive directions throughout their careers. Chief among these similarities is a thematic focus on individual communication in the modern world as well as a shared usage of monologue and soliloquy as a primary structural element.In a broad and personal sense, my paper is a sort of testament to things I believe about art and our engagement with it: the inextricable nature of form and content, the thin barriers between our interiors and exteriors, the endless interplay between various forms and mediums, that sort of thing. There’s no real “theory” underlying the paper beyond just: all art is connected, all art modifies both itself and other works of art, and the degree to which this modification takes place is directly correlated to the forms and degrees of attention we can apply to it. In other words, art is magical, it contains an infinite number of potential connections, and we actively manifest these connections by engaging with it.en-USCollection may be protected under Title 17 of the U.S. Copyright Law. To obtain information or permission to publish or reproduce, please contact the Goucher Special Collections & Archives at 410-337-6347 or email archives@goucher.edu.Research -- Periodicals.Text