Bi-Polarity in Dance: Widmerpool as the Negative Image of Jenkins.

Ball, D., 2011. Bi-Polarity in Dance: Widmerpool as the Negative Image of Jenkins. In: Anthony Powell's Literary London: Sixth Biennial Anthony Powell Conference, 2-4 September 2011, London. (Unpublished)

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There is a general perception of a void at the centre of Dance. Critics have variously described Jenkins as ‘curiously vague or shadowy’, or a voyeur – one who sees without being seen. This paper delineates Jenkins by identifying Widmerpool as the negative image of him; it thus helps reveal the bi-polar nature of Dance, which is obscured by Jenkins’s apparent lack of presence. There are many domains in which this bi-polarity is seen. Sex is one. This paper however focuses on the arts, particularly literature. While Jenkins’s passion for them is almost all-consuming, Widmerpool was ‘totally unimpressed by the arts. He was even accustomed to show open contempt for them’. His custodianship of the Modigliani, whose name he never remembers, is almost disastrous. In terms of literature, Widmerpool does become involved in Fission, but only in order to propagate his political views. In the resulting encounters he scores a victory over Trapnel, but other members of the world of the arts bring about his personal humiliation and destruction.

Item Type:Conference or Workshop Item (Paper)
Uncontrolled Keywords:Anthony Powell; Narrator
Group:Academic Services
ID Code:19251
Deposited By:Mr David Ball LEFT
Deposited On:27 Jan 2012 10:29
Last Modified:15 Jan 2014 11:58

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