Ella Ophir
Biographic Data
| ID | 2057234 |
|---|---|
| NAME | Ella Ophir |
| GIVEN NAMES | Ella |
| FAMILY NAME | Ophir |
| SIGNATURE | OPHIR E |
| AFFILIATIONS | University of Saskatchewan |
| ORCID | 0000-0002-2992-4341 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Introduction
On the cover of this issue is Elise Ansel’s Fire Feathers (2022), a painting in defiant and joyful dialogue with the work of one Old Master and one modernist colossus: its composition derives from
Rev. of Templates for Authorship
Additional informationNotes on contributorsElla OphirElla Ophir is Associate Professor of English at the University of Saskatchewan. Her most recent work focuses on Rachel Cusk's neomodernism, and on Virginia Woolf and life writing, and has appeared in Critique, Woolf Studies Annual, and Biography: An Interdisciplinary Quarterly
The Diary and the Commonplace Book
The Note Books of a Woman Alone (1935), the posthumously published notebooks of an impoverished London clerk, provokes reconsideration of what counts as an individual voice. More than half the text is comprised of quotations and extracts; Evelyn Wilson's textual collecting, however, was deeply enmeshed with her diary writing. Blurring transcription and expression, her practice of self-inscription lays bare the intersubjective nature of self-defin…
All Our Stammerings”
Notes1. 1See, for example, Billy, Harpham, Hollywood, Ray, Rumbarger, and Wexler. More recently, Stephen Skinner has proposed that Marlow’s struggle with words in Heart of Darkness can be read as a practice of “apophasis”—“a way of reaching towards the unsayable through a reflexive emphasis on language’s failure in the face of the ineffable” (95)
Modernist Fiction and “the accumulation of unrecorded life”
Offering a thoughtful consideration of the everyday in modernist literature and art, Ella Ophir (University of Toronto) situates modernist literature in a ‘long and broad aesthetic trend’ beginning with the Romantic glorification of the commonplace. Suggesting that everyday objects, exchanges and actions function beyond the concept of ‘defamiliarization’, Ophir reframes modernism's engagement with the quotidian to include ‘the reclamation of undi…
No prominent works on this page.
Modernist Fiction and “the accumulation of unrecorded life”
Offering a thoughtful consideration of the everyday in modernist literature and art, Ella Ophir (University of Toronto) situates modernist literature in a ‘long and broad aesthetic trend’ beginning with the Romantic glorification of the commonplace. Suggesting that everyday objects, exchanges and actions function beyond the concept of ‘defamiliarization’, Ophir reframes modernism's engagement with the quotidian to include ‘the reclamation of undi…
All Our Stammerings”
Notes1. 1See, for example, Billy, Harpham, Hollywood, Ray, Rumbarger, and Wexler. More recently, Stephen Skinner has proposed that Marlow’s struggle with words in Heart of Darkness can be read as a practice of “apophasis”—“a way of reaching towards the unsayable through a reflexive emphasis on language’s failure in the face of the ineffable” (95)
The Diary and the Commonplace Book
The Note Books of a Woman Alone (1935), the posthumously published notebooks of an impoverished London clerk, provokes reconsideration of what counts as an individual voice. More than half the text is comprised of quotations and extracts; Evelyn Wilson's textual collecting, however, was deeply enmeshed with her diary writing. Blurring transcription and expression, her practice of self-inscription lays bare the intersubjective nature of self-defin…
Rev. of Templates for Authorship
Additional informationNotes on contributorsElla OphirElla Ophir is Associate Professor of English at the University of Saskatchewan. Her most recent work focuses on Rachel Cusk's neomodernism, and on Virginia Woolf and life writing, and has appeared in Critique, Woolf Studies Annual, and Biography: An Interdisciplinary Quarterly
Introduction
On the cover of this issue is Elise Ansel’s Fire Feathers (2022), a painting in defiant and joyful dialogue with the work of one Old Master and one modernist colossus: its composition derives from
Art (5 works) · Literature (4 works) · Computer Science (3 works) · History (3 works) · Philosophy (3 works) · Poetry Analysis and Criticism (3 works) · Aesthetics (2 works) · Art history (2 works) · Autobiographical and Biographical Writing (2 works) · Linguistics (2 works)