London Impressions in Poetry
In this article, the author wants to theorise the dialectical images of London as signs, by using an Impressionist way of reading the visual and the verbal representations. Through reading three poems of London: William Wordsworth’s ‘Composed Upon Westminster Bridge, September 3, 1802’, Oscar Wilde’s ‘Impression du Matin’, and Carol Ann Duffy’s ‘Woman Seated in the Underground, 1941’, the author intends to show an awareness of the Impressionist narrative technique in terms of the spatial representations of the city. The impressions – in both visual and verbal terms, come to show the way in which London is a gendered space, synthesising masculine and feminine metaphors into a sequence of unique narrations. Each moment represents a personal, a specific, and a dramatic London, which is depicted in colours, shapes, lines and emotions.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with Journal of Narrarive and Language Studies (NALANS) agree to the following terms:
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in NALANS.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in NALANS.
Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.