Who Was Vanessa Bell?
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It Is Time for Virginia Woolf
TREBALL DE FI DE GRAU Tutor/a: Dra. Ana Moya Gutierrez Grau de: Estudis Anglesos IT IS TIME FOR VIRGINIA WOOLF Ane Iñigo Barricarte Universitat de Barcelona Curso 2018/2019, G2 Barclona, 11 June 2019 ABSTRACT This paper explores the issue of time in two of Virginia Woolf’s novels; Mrs Dalloway and To the Lighthouse. The study will not only consider how the theme is presented in the novels but also in their filmic adaptations, including The Hours, a novel written by Michael Cunningham and film directed by Stephen Daldry. Time covers several different dimensions visible in both novels; physical, mental, historical, biological, etc., which will be more or less relevant in each of the novels and which, simultaneously, serve as a central point to many other themes such as gender, identity or death, among others. The aim of this paper, beyond the exploration of these dimensions and the connection with other themes, is to come to a general and comparative conclusion about time in Virginia Woolf. Key Words: Virginia Woolf, time, adaptations, subjective, objective. Este trabajo consiste en una exploración del tema del tiempo en dos de las novelas de Virginia Woolf; La Señora Dalloway y Al Faro. Dicho estudio, no solo tendrá en cuenta como se presenta el tema en las novelas, sino también en la adaptación cinematográfica de cada una de ellas, teniendo también en cuenta Las Horas, novela escrita por Michael Cunningham y película dirigida por Stephen Daldry. El tiempo posee diversas dimensiones visibles en ambos trabajos; física, mental, histórica, biológica, etc., que cobrarán mayor o menor importancia en cada una de las novelas y que, a su vez, sirven de puntos de unión para otros muchos temas como pueden ser el género, la identidad o la muerte entre otros. -
Bloomsbury Scientists Ii Iii
i Bloomsbury Scientists ii iii Bloomsbury Scientists Science and Art in the Wake of Darwin Michael Boulter iv First published in 2017 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.ucl.ac.uk/ ucl- press Text © Michael Boulter, 2017 Images courtesy of Michael Boulter, 2017 A CIP catalogue record for this book is available from the British Library. This book is published under a Creative Commons Attribution Non-commercial Non-derivative 4.0 International license (CC BY-NC-ND 4.0). This license allows you to share, copy, distribute and transmit the work for personal and non-commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: Michael Boulter, Bloomsbury Scientists. London, UCL Press, 2017. https://doi.org/10.14324/111.9781787350045 Further details about Creative Commons licenses are available at http://creativecommons.org/licenses/ ISBN: 978- 1- 78735- 006- 9 (hbk) ISBN: 978- 1- 78735- 005- 2 (pbk) ISBN: 978- 1- 78735- 004- 5 (PDF) ISBN: 978- 1- 78735- 007- 6 (epub) ISBN: 978- 1- 78735- 008- 3 (mobi) ISBN: 978- 1- 78735- 009- 0 (html) DOI: https:// doi.org/ 10.14324/ 111.9781787350045 v In memory of W. G. Chaloner FRS, 1928– 2016, lecturer in palaeobotany at UCL, 1956– 72 vi vii Acknowledgements My old writing style was strongly controlled by the measured precision of my scientific discipline, evolutionary biology. It was a habit that I tried to break while working on this project, with its speculations and opinions, let alone dubious data. But my old practices of scientific rigour intentionally stopped personalities and feeling showing through. -
Author's Name
Cross-Cultural Management Journal Volume XVI, Issue 2 / 2014 Dana BĂDULESCU Alexandru Ioan Cuza University of Iaşi BLOOMSBURY AND Theoretical article SPACE BOUNDARIES Keywords Bloomsbury Monk’s House Charleston Rooms The Omega Workshops Abstract The purpose of this paper is to explore the complex ways in which Bloomsbury artists approached space, challenging and blurring the boundaries between the domestic/private domain and the public sphere, and also between life and art. Looking deep into the private space, these artists posited the self, which was of utmost importance to them, at the intersection between two previously distinct spheres. With their metaphorically charged symbolism of rooms, windows, houses, gardens, on the one hand, and streets, parks, and squares, on the other, Virginia Woolf's novels, diary and essays, E. M. Forster's novels and essays, the paintings of Vanessa Bell and Duncan Grant, and the Omega Workshops organized by the Bloomsbury artists suggest an ambivalent contrast and fusion between the most intimate aspects of the self and the public space. 247 Cross-Cultural Management Journal Volume XVI, Issue 2 / 2014 In her essay “Mr. Bennett and Mrs. sake. What artists like Oscar Wilde and Aubrey Brown” Virginia Woolf famously stated that the Beardsly, or art historians like Walter Pater human character changed around the year 1910. highlighted was a need of the human mind and soul What she meant by this is that a whole set of to be surrounded by beauty. Two decades or so values, norms, customs, attitudes, even life style before the Bloomsbury Group lived up to the same and fashion took a dramatic turn at the end of the principle, the late nineteenth century artists had first decade of the twentieth century. -
South East England & the Bloomsbury Group July 10-18
South East England & The Bloomsbury Group July 10-18, 2021 In the early part of the 20th century a group of writers, intellectuals, philosophers and artists who lived and worked in Bloomsbury were perhaps best known for their liberal views on politics and social conventions as well as their infamous love triangles. Luminaries including Virginia Woolf, John Maynard Keynes, Vanessa Bell, Duncan Grant, E. M. Forster and Lytton Strachey also undertook an experimental attitude to ways they decorated their homes, resulting in highly original and inspired designs. We uncover the finest examples of their work as we visit the houses where they lived and loved. Saturday, July 10: Arrival On arrival at Heathrow airport, a private transfer will take you to our overnight hotel, the Castle Hotel Windsor – MGallery. In the evening, join the group for a welcome drink, followed by dinner. (D) Sunday, July 11: Knole House and Standen After breakfast, we check out of our hotel and journey to visit Knole House in Kent where we enjoy a guided tour*. One of Britain’s most important and complete historic homes, the property is now cared for by the National Trust and here we can discover more about its colorful past. Knole House was home to the Sackville family for 400 years, including novelist Vita Sackville-West who used the house as inspiration for her novel The Edwardians. Next we visit Standen, a fine Arts and Crafts property, which combines the skills of architect Philip Webb and his friend William Morris. The light, airy rooms are decorated with Morris’ wallpapers and textiles with William de Morgan pottery. -
John Halperin Bloomsbury and Virginia W
John Halperin ., I Bloomsbury and Virginia WooH: Another VIew . i· "It had seemed to me ever since I was very young," Adrian Stephen wrote in The Dreadnought Hoax in 1936, "that anyone who took up an attitude of authority over anyone else was necessarily also someone who offered a leg to pull." 1 In 1910 Adrian and his sister Virginia and Duncan Grant and some of their friends dressed up as the Emperor of Abyssinia and his suite and perpetrated a hoax upon the Royal Navy. They wished to inspect the Navy's most modern vessel, they said; and the Naval officers on hand, completely fooled, took them on an elaborate tour of some top secret facilities aboard the HMS Dreadnought. When the "Dread nought Hoax," as it came to be called, was discovered, there were furious denunciations of the group in the press and even within the family, since some Stephen relations were Naval officers. One of them wrote to Adrian: "His Majesty's ships are not suitable objects for practical jokes." Adrian replied: "If everyone shared my feelings toward the great armed forces of the world, the world [might] be a happier place to live in . .. armies and suchlike bodies [present] legs that [are] almost irresistible." Earlier a similarly sartorial practical joke had been perpetrated by the same group upon the mayor of Cam bridge, but since he was a grocer rather than a Naval officer the Stephen family seemed unperturbed by this-which was not really a thumbing·of-the-nose at the Establishment. The Dreadnought Hoax was harder to forget. -
The Posthumanistic Theater of the Bloomsbury Group
Maine State Library Digital Maine Academic Research and Dissertations Maine State Library Special Collections 2019 In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group Christina A. Barber IDSVA Follow this and additional works at: https://digitalmaine.com/academic Recommended Citation Barber, Christina A., "In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group" (2019). Academic Research and Dissertations. 29. https://digitalmaine.com/academic/29 This Text is brought to you for free and open access by the Maine State Library Special Collections at Digital Maine. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Digital Maine. For more information, please contact [email protected]. IN THE MOUTH OF THE WOOLF: THE POSTHUMANISTIC THEATER OF THE BLOOMSBURY GROUP Christina Anne Barber Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy August, 2019 ii Accepted by the faculty at the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. COMMITTEE MEMBERS Committee Chair: Simonetta Moro, PhD Director of School & Vice President for Academic Affairs Institute for Doctoral Studies in the Visual Arts Committee Member: George Smith, PhD Founder & President Institute for Doctoral Studies in the Visual Arts Committee Member: Conny Bogaard, PhD Executive Director Western Kansas Community Foundation iii © 2019 Christina Anne Barber ALL RIGHTS RESERVED iv Mother of Romans, joy of gods and men, Venus, life-giver, who under planet and star visits the ship-clad sea, the grain-clothed land always, for through you all that’s born and breathes is gotten, created, brought forth to see the sun, Lady, the storms and clouds of heaven shun you, You and your advent; Earth, sweet magic-maker, sends up her flowers for you, broad Ocean smiles, and peace glows in the light that fills the sky. -
Virginia Woolf and the Tools of Visual Literacy. Janice M
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 The Thousand Appliances: Virginia Woolf and the Tools of Visual Literacy. Janice M. Stein Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Stein, Janice M., "The Thousand Appliances: Virginia Woolf and the Tools of Visual Literacy." (1994). LSU Historical Dissertations and Theses. 5906. https://digitalcommons.lsu.edu/gradschool_disstheses/5906 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced frommicrofilm the master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,margins, substandard and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Virginia Woolf's to the Lighthouse: Toward an Integrated Jurisprudence
Virginia Woolf's To the Lighthouse: Toward an Integrated Jurisprudence Lisa Weilt I. INTRODUCTION Since the publication of Virginia Woolf s novel To the Lighthouse in 1927, a significant volume of critical commentary has grown to surround the work. These critical interpretations come in two types: some consider Woolf's technical experiments in style and form;' others consider her ideology. Commentaries which address Woolf's ideology include discussions of her views on philosophy, aesthetics, relations between the sexes, and feminist issues.2 In recent years, scholars have approached the novel with the insight of Woolf's autobiographical writings and have taken a particular interest in feminist and psychoanalytical themes in the work. This Article's analysis differs from the existing body of commentary by exploring another dimension of Woolf's ideology: her legal philosophy. Existing commentaries interpret the celebrated expedition to the Lighthouse as a quest for psychological maturity, truth, harmonious social relations between men and women, and aesthetic harmonies. This Article adds another dimension to the symbolic voyage and interprets the expedition as a quest for justice. Critics have often placed Woolf within the intellectual aristocracy of her time and judged her as an elitist who avoided themes of social and political importance.4 This Article counters that criticism and concludes that Woolf's t B.A. University of Pennsylvania, 1989; J.D. Georgetown University Law Center, 1993. 1 would especially like to thank my research advisor, Professor Robin West, whose scholarship and teaching, and insightful comments enriched this essay and this author. I would also like to thank Professor Mari Matsuda for her exemplary integration of feminist method and theory in the classroom. -
Curriculum Vitae
CV/September 2017 1 Curriculum Vitae SUZANNE RAITT Office address: College of William & Mary Department of English PO Box 8795 Williamsburg Virginia 23187-8795 Office phone: 757-221-1832 Cell phone: 202-262-7356 Fax: 757-221-1844 E-mail: [email protected] Home address: 1820 Ontario Place NW Washington, DC 20009 Home phone: 202-483-1604 Academic Qualifications 1985-1988 Jesus College, University of Cambridge, England PhD, English (awarded May 1989) Thesis title: The Texture of a Friendship: V.Sackville-West and Virginia Woolf 1983-85 Yale University MA, English 1980-83 Jesus College, University of Cambridge, England BA Hons., English Part I: First Class Part II: First Class Academic and Administrative Appointments 2016-19 Chair, English Department, College of William and Mary 2015-present Chancellor Professor of English 2014-16 Faculty Representative on the Board of Visitors, College of William and Mary 2011-14 Secretary; then Vice-President; then President of Faculty Assembly, College of William and Mary 2004-2008 Director, Women’s Studies Program, College of William and Mary 2002-2005 Margaret L. Hamilton Professor of English, College of William and Mary [term professorship] 2000-present Professor with tenure, Department of English, College of William and Mary 1995-2000 Associate Professor with tenure, Department of English Language and Literature/Program in Women’s Studies, University of Michigan CV/September 2017 2 1989-1995 Lecturer [Assistant Professor with tenure] and then Senior Lecturer [Associate Professor] in English, Queen Mary -
Virginia Woolf Miscellany, Issue 62, Spring 2003
NUMBER 62 SPRING 2003 Letter to the Readers: Reader” as well as reviews of books by Jessica Berman, Donald J. Childs, Katherine Dalsimer, and David Ellison. “Never has there been such a time. Last week end we were at Charleston and very gloomy. Gloom increased on Monday. In London it was hectic and gloomy and at the same time This issue of the Virginia Woolf Miscellany represents a new phase in the history of despairing and yet cynical and calm. The streets were crowded. People were everywhere talking this publication. The Miscellany has moved across the country from sunny Sonoma loudly about war. There were heaps of sandbags in the streets, also men digging trenches, lorries to snowy New Haven, from a California State University to a Connecticut State delivering planks, loud speakers slowly driving and solemnly exhorting the citizens of Westminster Go and fit your gas masks. There was a long queue of people waiting outside the Mary Ward University. After nearly 30 years of publishing this small but vital periodical, J.J. settlement to be fitted. [W]e sat and discussed the inevitable end of civilization. [Kingsley Wilson has handed the torch to a new editorial board. The publication itself has a Martin] said the war would last our life time[.] . Anyhow, Hitler meant to bombard London, new future as a soon-to-be subscription periodical with a web presence. Members of probably with no warning; the plan was to drop bombs on London with twenty minute intervals the International Virginia Woolf Society will continue to receive the Miscellany as a for forty eight hours. -
Things to Look Out
NATIONAL TRAIL © Property of The Charleston Trust Exploring Bloomsbury Country; the Downs between Rodmell and Berwick Wander the Wide Green Downs Green Wide the Wander The Bloomsbury by the same route. route. same the by meadows to Virginia Woolf’s House at Rodmell. It returns It Rodmell. at House Woolf’s Virginia to meadows Group of artists, Ouse, then follows the riverbank and across the flood the across and riverbank the follows then Ouse, writers, and intellectuals From Southease station this route crosses the River the crosses route this station Southease From included Virginia Woolf, Vanessa Bell, Clive Bell, About 4 miles (6 km), 2 hours 2 km), (6 miles 4 About EM Forster, Duncan A Stroll Stroll A Grant, Lytton Strachey, and the economist John come prepared! prepared! come Maynard-Keynes who especially in rain or low cloud, so cloud, low or rain in especially lived at Tilton. Many of exposed in cold windy weather, windy cold in exposed the Bloomsbury Group of the Downs can be surprisingly be can Downs the of Firle if preferred. if Firle formed a small and appropriate footwear. The tops The footwear. appropriate Station. There is a short cut back to back cut short a is There Station. unique community in can be muddy, so wear so muddy, be can South Downs Way back to Southease to back Way Downs South the Rodmell/Firle area winter parts of all the walks the all of parts winter Downs to Bopeep then follows the follows then Bopeep to Downs between the two world wars - ironically they became longer walks. -
The Painter in the Novel, the Novelist in the Painting: to the Lighthouse and Vanessa Bell’S Portraits of Virginia Woolf
35 The Painter in the Novel, the Novelist in the Painting: To the Lighthouse and Vanessa Bell’s Portraits of Virginia Woolf ANNALISA FEDERICI, UNIVERSITY OF PERUGIA Abstract: This essay explores the implicit connection between Virginia Woolf’s To the Lighthouse (1927), a novel featuring the figure of a painter as one of its protagonists, and the Post- Impressionist portraits of Woolf painted by her sister Vanessa Bell between 1911 and 1912. I will posit that this relation is based on a series of analogous aesthetic principles that manifest the closeness of the professional and private relationship between the sister artists. Moreover, I propose a reading of To the Lighthouse that, although taking into account the influence of Roger Fry’s Post-Impressionist dichotomy between ‘vision and design’, especially highlights Woolf’s metanarrative commentary on her own aesthetic principles, as variously discussed in both her private and her public texts. I also suggest that the artworks in question are distinct and at the same time closely connected manifestations of Woolfian ideals, that often conceive of crossing the boundaries between literature and painting. On the one hand, the presence of the painter Lily Briscoe in To the Lighthouse allows Woolf to explore manifold aesthetic and psychological issues that represent serious concerns for herself as a writer, and can be seen as an opportunity to consider the fundamental aspects of her own artistic vision; on the other hand, the presence of a novelist (Woolf herself) in some of Vanessa Bell’s paintings may be interpreted as a prefiguration of her sister’s mature aesthetic principles, which are surprisingly reflected – along with the tenets of Post-Impressionism that fascinated them both – in her own painterly technique.