South East England & the Bloomsbury Group July 10-18
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Copyright Statement
COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources. -
Elements of Innovators' Fame
Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. -
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. -
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. -
100 Years of the London Group the English Are an Essentially
Moving with the times: 100 years of the London Group The English are an essentially conservative people, their suspicion of anything new or innovative, unless it can be seen to have an immediate usefulness or purpose, innate. The arts, whose lifeblood depends on precisely those qualities, have not been immune to its effects, as the current plight of the arts in the school curriculum makes only too plain while the history of the visual arts in England, certainly over the last two hundred years or more and probably since the Reformation, has been dogged by its influence. The response has nearly always been the determination of a small group of artists to set up new societies or artistic groupings; first and foremost, of course, there was the Royal Academy of Arts in 1768 and, in the 19thC., when that institution had slipped back into full-blown academic conservatism, there were first the Pre-Raphaelites and then, in 1886, the New English Art Club on hand to stir things up once again. Indeed the history of English Modernism could, from this point on, almost be written in terms of constant reaction and renewal through such associations of artists, culminating in that heady period, just before the First World War when the flurry of new artistic associations stirred up by the response of younger artists to the Modernist revelations of Roger Fry’s two great French Post-Impressionist exhibitions of 1910 and 1912 – the Camden Town Group, the Fitzroy Street Group and the Allied Artists’ Association in particular - in their turn reacted against the by now largely establishment New English. -
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. -
Book Reviews Applied Design
...a society of artists who devote themselves to Book Reviews applied design. Their most important work lies in the application of pictorial designs to the decora- Deborah Sugg-Ryan tion of walls, and the designing of various hang- ings.4 Bloomsbury Rooms: Modernism, Subculture, and Domesticity by Christopher Reed (New Haven & The Daily Mail called the Omega Workshops’ London: Yale University Press for The Bard Graduate exhibit a “Post-Impressionist room:” Center for Studies in the Decorative Arts, Design, The wall panels surrounded by plain rectangular and Culture, New York, 2004) ISBN 0-300-10248-8, surfaces of blue, strawboard colour, and dark 324 pages, B/W and color illustrations, index. (hard- chocolate, represent—if so crude a word may be cover) $45.00. used for an art that tries to avoid the representa- tion of anything approaching reality—dancing Footnotes begin on page 100. figures, or rather, the abstract rhythm and volume of dancing figures, expressed in systems of The Idol is still Prettiness, with its mid-Victorian languish spheric intersecting curves tinted in rose-colour of the neck, and its skin is “greenery-yallery,” despite and light green. the Post-What-Not fashionableness of its draperies. This family party of strayed and Dissenting Aesthetes, It described the furniture as “severe in line and star- however, were compelled to call in as much modern tling in colour and applied decoration.” The marquetry talent as they could find, to do the rough and masculine was “of distinctly cubist character” and the carpet was work without which they knew their efforts would not “geometrically patterned in daring though tastefully rise above the level of a pleasant tea-party or command contrasted colours.” 5 The Arts and Crafts movement more attention.1 influenced the clean lines and stark simplicity of the In 1913 the artist Wyndham Lewis, best known room’s furniture. -
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. -
Now If Any Item Will Fit Into the Permanent Collection of the Leeds City Art Galleries
LEEDS ART S CALENDAR LEGACIES TO THE LEEDS ART COLLECTIONS FUND The LAC F depends for its income entirely on members and supporters. Please consider leaving the LAc F a legacy in your will: it is a charitable organization and all legacies to it are exempt from Capital Transfer Tax and aggregation without limit. Bequests can take the form of a lump sum or the residue or a fraction of your estate. Some members might prefer to consider leaving works of fine or decorative art but if you contemplate doing this it would be helpful if you could please seek the advice of the Secretary who can let you know if any item will fit into the permanent collection of the Leeds City Art Galleries. The following would be a suitable form of words to send to your solicitor for inclusion in your will: 'I bequeath to the Leeds Art Collections Fund of Temple Newsam House, Leeds, a legacy of free of all ........................ taxes'he Hon Solicitor of the LAc F is always very happy to advise potential benefactors. THE LEEDs ART co LLEcTIDNs FUND is one of the oldest supporting bodies for the visual arts in Great Britain, a source of regular funds for buying works of art for the Leeds collections. Why not identify yourself with the Art Gallery, Temple Newsam House and Lotherton Hall, receive your Arts Calendar free, receive invitations to all functions, pnvate views and organized visits to places of interest. Membership is open to everyone on payment of a minimum annual subscription of fiio; those under 3o years of age can become a Young Friend for EI. -
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.