Jenessa Kenway
Biographic Data
| ID | 5985641 |
|---|---|
| NAME | Jenessa Kenway |
| GIVEN NAMES | Jenessa |
| FAMILY NAME | Kenway |
| SIGNATURE | KENWAY J |
| AFFILIATIONS | University of Nevada, Las Vegas |
| ORCID | 0000-0002-0105-2596 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
To “write as a woman who has forgotten that she is a woman”
Virginia Woolf's exploration of feminine aesthetics in A Room of One’s Own (1929) involves understanding the role of the female body and embodied cognitive processes. I argue that Woolf’s aesthetic moments are activated and shaped by the body’s embodied cognitive processing, which reveals nonconscious feelings of sexual difference. Through embodied cognitive aesthetics, Woolf creates spaces that reveal nonconscious feminine moments of being. Far …
Lost in Thought
The blurring of life and art is at the center of Karl Ove Knausgaard's explorations in his memoir, My Struggle, Book 1. Like life, Knausgaard's book is filled with boring tasks, objects, and events, through which he sifts attempting to locate intrinsic significance. Rendering in hyperreal detail aestheticizing mundane domestic moments positions him as the literary inheritor of the visual art movements of realism and superrealism, alongside artist…
No prominent works on this page.
Lost in Thought
The blurring of life and art is at the center of Karl Ove Knausgaard's explorations in his memoir, My Struggle, Book 1. Like life, Knausgaard's book is filled with boring tasks, objects, and events, through which he sifts attempting to locate intrinsic significance. Rendering in hyperreal detail aestheticizing mundane domestic moments positions him as the literary inheritor of the visual art movements of realism and superrealism, alongside artist…
To “write as a woman who has forgotten that she is a woman”
Virginia Woolf's exploration of feminine aesthetics in A Room of One’s Own (1929) involves understanding the role of the female body and embodied cognitive processes. I argue that Woolf’s aesthetic moments are activated and shaped by the body’s embodied cognitive processing, which reveals nonconscious feelings of sexual difference. Through embodied cognitive aesthetics, Woolf creates spaces that reveal nonconscious feminine moments of being. Far …
Aesthetics (2 works) · Art (2 works) · Epistemology (2 works) · Philosophy (2 works) · Visual arts (2 works) · Art history (1 work) · Computer graphics (images (1 work) · Computer Science (1 work) · Contemporary Literature and Criticism (1 work) · Digital Media and Philosophy (1 work)