DOCSLIB.ORG

1 Number 93 Spring/Summer 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Number 93 Spring/Summer 2018 NUMBERVirginia 93 Woolf Miscellany SPRING/SUMMER 2018 To the Readers: That Woolf would become a central figure in You can read the VWM contemporary biographical novels makes sense online on WordPress The first biofiction boom happened in the 1930s. since many of her aesthetic innovations and https://virginiawoolfmiscellany. Well-known authors like Robert Graves, Thomas experimentations set the stage for what would wordpress.com/ and Heinrich Mann, Lion Feuchtwanger, Arna evolve into the contemporary biographical novel. Bontemps, and Zora Neale Hurston are just a few – TABLE OF CONTENTS – But, ironically, Woolf could not imagine her way who published noteworthy biographical novels See page 11 to the aesthetic form. As Michael Lackey argues during the decade. But the surge waned, in part INTERNATIONAL in his essay, for Woolf, naming a character after an because the Marxist literary critic Georg Lukács VIRGINIA WOOLF actual historical person mandates that the author condemned the aesthetic form as an irredeemable SOCIETY COLUMN represent the figure with as much precision and mistake in his landmark study The Historical See page 60 accuracy as possible. This stands in stark contrast Novel (1937). This decline led many, especially IVWS OFFICERS AND to what contemporary biographical novelists do, academics, to dismiss the biographical novel as MEMBERS-AT-LARGE which is to appropriate the life of the biographical a frivolous and/or inferior “literary” form. As See page 60 subject in order to express their own vision of life the critic Carl Bode says in a 1955 essay: “the and the world. In other words, authors of biofiction EVENTS AND CFPS: biographical novel deserves more to be pitied use rather than represent the biographical subject, so than censured” (269). Irving Stone was extremely IVWS panel MLA Chicago 2019 they are very comfortable changing facts about the sensitive to this criticism, which only stands to IVWS Panel—2019 Louisville Conference historical figure, which is something Woolf could reason, as he published many popular biographical not do. novels from the 1930s through the 1980s. Note CFP for the 2020 Louisville Conference Stone’s frustrated tone in his 1957 lecture “The 29th Annual Conference on Todd Avery clarifies how epistemological and Biographical Novel”: “I would like at this moment Virginia Woolf aesthetic innovations among Bloomsbury writers to interject, with less bitterness than puzzlement, See page 3 contributed to the rise of biofiction. According I hope, the question of why the historical novel, CFP and the Essay for the IVWS Annual to Avery, history came to be defined as a science with its accurate background but fictional Undergraduate Angelica Garnett Essay during the nineteenth century. But for someone characters, should have been more acceptable to the Prize like Lytton Strachey, this scientific approach to academicians than the biographical novel, which is See page 7 history would only give readers access to the accurate not only in background but in the people About the mechanical operations of societies and cultures. involved?” (129). Virginia Woolf Miscellany To access and represent human minds, it is art See page 5 for Editorial Policies rather than science that is necessary, which is why Having died in 1989, Stone did not witness the Strachey concludes that “the only possible way Call for Assistant and Associate Editors biofiction boom of the 1990s, which featured works of narrating the characteristics of human minds is from luminaries like Joanna Scott, J.M. Coetzee, for the Virginia Woolf Miscellany See page 9 by the aid of—not the scientific—but the artistic Margaret Atwood, Charles Johnson, Russell Banks, method” (15). Thinking of history more in terms SPECIAL TOPICS & CFPS and Joyce Carol Oates, just to mention a notable of art than science set Strachey on an aesthetic Issue 95 Spring 2019 few. But it was Michael Cunningham’s 1998 journey that would move increasingly more. towars biographical novel about Virginia Woolf that marks Collecting Virginia Woolf Guest Editor: Catherine Hollis biofiction, a point that is seen most clearly from a major turning point. Cunningham won the Pulitzer the preface of Strachey’s landmark study Eminent Prize in fiction and the PEN/Faulkner Award for [email protected] Submisisons due Victorians: “Human beings are too important to be Fiction, and The Hours was made into an Oscar- 31 October 2018 treated as mere symptoms of the past.” Strachey winning film in 2002. Since then, biofiction has would develop this idea further over the course Issue 96 Fall 2019 become a dominant literary form. Therefore, when of his career, culminating in the book Elizabeth Reading, Fast And Slow: discussing the rise and legitimization of biofiction, and Essex, which, as Avery claims, “Strachey Centennial Musings Woolf is a figure of central importance, and this is deliberately approached […] in a biofictional spirit” the case for many reasons. on The Early Novels Guest Editor: Rebecca Duncan by “intentionally” manipulating and inventing “historical facts in the service of an intensely Gillian Freeman, Susan Sellers, Priya Parmar, [email protected] personal vision” (16). Norah Vincent, and Maggie Gee have published Submissions due 1 May 2019 biographical novels about Woolf. But Woolf’s An intensely personal vision of Virginia Woolf is presence is not restricted to works with her as the Issue 97 Spring 2020 precisely what Sandra Inskeep-Fox offers in her protagonist. In 1997, Anita Diamant published The Virginia Woolf: Mobilizing Emotion, contribution, the poem “Angels Musing at My Red Tent, a novel about the figure of Dinah from the Feeling, and Affect Expense.” In this poem, the speaker’s mother and Guest Editor: Celiese Lypka Old Testament. In an interview, Diamant explains Virginia Woolf, the eponymous “angel muses,” [email protected]. how her novel was the logical product of Woolf’s “enjoy [...] yet another comfortable chat / At work: “My book tries to answer the questions Submissions due: 29 September 2019 my expense.” As these muses talk in an endless Virginia Woolf posed in A Room of One’s Own. conversation, the speaker experiences an epiphany See page 10 for more information What was life like for her [Dinah]? How many that elegantly and cleverly captures the driving children? Did she have a room of her own, which is If you have questions, please contact Vara Neverow at [email protected] impulse behind contemporary biofiction: both to say, time and space to reflect?” (110). mother and Woolf are “part and part of me.” This 1 is a metabiofictional moment that, in blurring any presumed boundary assumes that vital “truth” resides not only in a life, but in the writing between writer and subject, also reveals Inskeep-Fox’s incisive of that life: “we read biofiction,” she writes, at the conclusion of this awareness of how biofiction serves the writer’s, and not the subject’s, inventive take on both “trans” and “bio,” “not as fiction about a life personal vision. lived but as part of the writing of that life.” Both Orlando and Man into Woman confirm that “life writing is not about—or not primarily about— Michael Schrimper takes up this same theme, but from a different the ‘factually correct’ but about the imaginatively and emotionally true.” angle. He wonders how Woolf would have responded to her presence in contemporary biofiction. The tendency for scholars of biofiction could If biofiction captures truths unavailable to documentary evidence or be to focus on the celebrated author. But taking his cue from Woolf, to scientific methods of historiography, it also engages in a retroactive Schrimper argues that the primary subject of biofiction about Woolf shaping of the past. Using Anne Freadman’s work on “uptake,” which is should not be the character but the author’s work, because, for Woolf, a process of appropriating and thereby inflecting an originary author and what really matters in literature is not the personality or mystique or text, Olivia Wood clarifies not how Woolf and her novelMrs. Dalloway celebrity or even the identity of the writer. Rather, it is the “work work,” determine the shape and form of Cunningham’s The Hours, but how as Woolf says. Schrimper reminds us of biofiction’s prerogative to The Hours impacts and refigures Woolf and Mrs. Dalloway. Wood’s express the vision of its author, but he asks readers to heed Woolf’s tacit, argument recalls T. S. Eliot’s claim about the relationship of past and anticipatory advice to readers of biofiction, and to focus our attention present in “Tradition and the Individual Talent,” where he observes that not on the subject, even when the subject is Woolf, but on contemporary with genuinely new work “the past [is] altered by the present as much as authors’ use of and engagement with the subject’s “work work.” the present is directed by the past” (50). Wood illustrates how this genre theory can open up new ways of thinking about the role biofiction plays Biofiction appropriates a subject’s life and works by way of revealing in engaging and even reshaping both precursor authors and texts. a personal vision, regardless of the factual accuracy of the portrayal. But is such appropriation morally acceptable? On the other hand, is the Many biofictions about Woolf have been authored since 1998. But the question of morality even the right question to ask, if the very act of scholarship is only now starting to register what writers have done speaking or writing about, or performing, the subject belies even the with Woolf’s life and to clarify how Woolf and her contemporaries possibility of perfect factual accuracy? Is it fair to accuse a writer of contributed to the making and subsequent valorization of biofiction.The factual infidelity if the expressive act always inevitably transforms the contributions to this special issue about Woolf and biofiction are merely historical subject, making each new representation of Virginia Woolf the beginning of what promises to be a lively and rich field of study.
Load more

Recommended publications
  • Angelica Garnett, Ou Le Difficile Héritage De Bloomsbury, Florence Noiville, Le Monde, 8 Juin 2001 a Forcalquier, on L'appelle « L'anglaise »
    Angelica Garnett, ou le difficile héritage de Bloomsbury, Florence Noiville, Le Monde, 8 juin 2001 A Forcalquier, on l'appelle « l'Anglaise ». Pour la trouver, il faut gravir des rues aux noms fanés – rue Mercière, rue Violette –, continuer vers la citadelle, marcher en direction d'une chapelle romane à demi enfouie sous les coquelicots et les orties, jusqu'à ce que surgisse enfin une maison basse contemplant tranquillement la chaîne du Lubéron. Une maison qui sent la peinture et l'essence de térébenthine. Il y a des couleurs, des craies partout, des huiles fines de chez Sennelier, des fusains épars, des pots de vernis « bistrot » et de fixatif, des pinceaux en bataille sur un exemplaire du TLS... « Excusez-moi, je dois emballer ce dessin. C'est pour une exposition que je fais à Londres. » Elle lève les yeux vers vous, deux grands yeux bleus très pâles : c'est alors qu'on la reconnaît... « l'Anglaise ». Ce que l'on voit à cet instant, c'est cette fameuse photo de Virginia Woolf par Gisèle Freund : la transparence, la mélancolie du regard, l'ovale si bien dessiné du visage. Fille de l'artiste Vanessa Bell, l'aînée de la famille Stephen, et du peintre Duncan Grant, Angelica Garnett est la nièce de Virginia Woolf. A 82 ans, elle vit en Provence depuis 1984 : « Je connaissais bien la France, j'avais déjà eu une maison dans le Lot et j'avais toujours voulu y vivre. Je voulais aussi me séparer de Charleston qui me prenait trop et m'empêchait de peindre. Je voulais échapper à ça, échapper à tout, aux Anglais aussi.
    [Show full text]
  • 1 NUMBER 96 FALL 2019-FALL 2020 in Memoriam
    Virginia Woolf Miscellany NUMBER 96 FALL 2019-FALL 2020 Centennial Contemplations on Early Work (16) while Rosie Reynolds examines the numerous by Virginia Woolf and Leonard Woolf o o o o references to aunts in The Voyage Out and examines You can access issues of the the narrative function of Rachel’s aunt, Helen To observe the centennial of Virginia Woolf’s Virginia Woolf Miscellany Ambrose, exploring Helen’s perspective as well as early works, The Voyage Out, and Night and online on WordPress at the identity and self-revelation associated with the Day, and also Leonard Woolf’s The Village in the https://virginiawoolfmiscellany. emerging relationship between Rachel and fellow Jungle. I invited readers to adopt Nobel Laureate wordpress.com/ tourist Terence. Daniel Kahneman’s approach to problem-solving and decision making. In Thinking Fast and Slow, Virginia Woolf Miscellany: In her essay, Mine Özyurt Kılıç responds directly Kahneman distinguishes between fast thinking— Editorial Board and the Editors to the call with a “slow” reading of the production typically intuitive, impressionistic and reliant on See page 2 process that characterizes the work of Hogarth Press, associative memory—and the more deliberate, Editorial Policies particularly in contrast to the mechanized systems precise, detailed, and logical process he calls slow See page 6 from which it was distinguished. She draws upon “A thinking. Fast thinking is intuitive, impressionistic, y Mark on the Wall,” “Kew Gardens,” and “Modern and dependent upon associative memory. Slow – TABLE OF CONTENTS – Fiction,” to develop the notion and explore the thinking is deliberate, precise, detailed, and logical.
    [Show full text]
  • 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.
    [Show full text]
  • ENC 1145 13606 Carper
    ENC 1145 – Writing About the “Other” Bloomsbury (Class #13606; Section 3337), Fall 2018 Instructor Name: Kelsey Carper Course meeting times & locations: T 8 – 9, R 9; MAEB 0238 Office Location and Hours: TUR 4317 TBA Course website: Canvas Instructor Email: [email protected] Course Description: Undoubtedly, Virginia Woolf is the most notable and recognized figure within the Bloomsbury Group, but its impact on art and culture extends further than Woolf alone. The other figures within and on the fringe of the Bloomsbury circle have immense value to the study of Modernism. In this course we will look at how this “lost” set of people came together to form an eccentric band of misfits that quickly rose to literary and artistic distinction. Students will consider how the Bloomsbury Group channeled WWI into their work, and how the Group’s resistance to rigid societal standards shaped their respective lifestyles and fragmented identities. Mapping this network of writers and artists, the course will challenge students to consider non-traditional as well as traditional works of art. This class will include a variety of short and novel length works of fiction, as well as political and economic writings. The course will include readings from David Garnett, Vita Sackville-West, Lytton Strachey, John Maynard Keynes. Visual art will also play a vital role in this class, including artists Vanessa Bell, Duncan Grant, Dora Carrington, and Mark Gertler. We’ll take trips to view the Harn’s collection of post-impressionist paintings within the Modern Collection. Assignments include creative projects that allow students to understand the Bloomsbury Group’s artistic processes as well as papers that expect students to discuss a selected piece of visual art in relation to a written text.
    [Show full text]
  • Anne Lister on Gentleman Jack: Queerness, Class, and Prestige in “Quality” Period Dramas
    International Journal of Communication 15(2021), 2397–2417 1932–8036/20210005 The “Gentleman-like” Anne Lister on Gentleman Jack: Queerness, Class, and Prestige in “Quality” Period Dramas EVE NG1 Ohio University, USA This article examines the significance of queerness to class and prestige illustrated by the series Gentleman Jack (BBC/HBO, 2019–present). Although previous scholarship has discussed LGBTQ content and network brands, the development of “quality” television, and the status of period (heritage) drama, there has not been significant consideration about the relationships among all these elements. Based on the life of the 19th-century Englishwoman Anne Lister, Gentleman Jack depicts Lister’s gender and sexual nonconformity—particularly her romantic interactions with women and her mobility through the world—as a charming, cosmopolitan queerness, without addressing how this depended on her elite status. The cachet of GJ’s queer content interacts with both the prestige of the period genre and the BBC’s and HBO’s quality TV brands, with the show illustrating how narratives in “post-heritage” drama can gesture toward critique of class, race, and nationality privileges while continuing to be structured by these hierarchies. This article points to new avenues for theorizing how prestige in television is constructed through the interaction of content, genre, and production contexts. Keywords: BBC television, class representation, HBO, heritage drama, LGBTQ media, period drama, post-heritage drama, quality television, queer representation Gentleman Jack (hereafter GJ), a British Broadcasting Corporation (BBC) television series coproduced with Home Box Office (HBO),2 has attracted critical attention for exuberantly depicting how the 19th-century Englishwoman Anne Lister challenged the norms of gender presentation and sexuality as “the first modern lesbian” (Roulston, 2013), with the series taking its title from a derogatory nickname that Lister earned from her masculine appearance and demeanor.
    [Show full text]
  • Virginia Woolf and Vanessa Bell: Figuring Sisterhood Jenni Råback
    Virginia Woolf and Vanessa Bell: Figuring Sisterhood Jenni Råback Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy 1 I, Jenni Råback, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below, and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Jenni Råback Date: 2 September 2019 2 Abstract This thesis argues that Virginia Woolf’s writing must be understood as enacting her sororal relationship with her sister Vanessa Bell. The argument is grounded in theorisations of kinship that regard relationships as actively performed and constructed and therefore allow interpretations of creative work as a site of ‘doing sisters’, or sistering. A focus on siblings provides a lateral alternative to conventional figurations of familial and social life, which tend to follow Oedipal models.
    [Show full text]
  • Virginia Woolf Interviews and Recollections MACMILLAN INTERVIEWS and RECOLLECTIONS
    Virginia Woolf Interviews and Recollections MACMILLAN INTERVIEWS AND RECOLLECTIONS Morton N. Cohen (editor) LEWIS CARROLL Philip Collins (editor) DICKENS (2 vols) THACKERAY (2 vols) A. M. Gibbs (editor) SHAW J. R. Hammond (editor) H.G. WELLS David McLellan (editor) KARL MARX E. H. Mikhail (editor) THE ABBEY THEATRE BRENDAN BEHAN (2 vols) JAMES JOYCE SHERIDAN GOLDSMTIH Harold Orel (editor) KIPLING (2 vols) SIR ARTHUR CONAN DOYLE GILBERT AND SULLIVAN Norman Page (editor) BYRON HENRY JAMES DR JOHNSON D. H. LAWRENCE (2 vols) TENNYSON Martin Ray (editor) JOSEPH CONRAD J. H. Stape (editor) E. M. FORSTER VIRGINIA WOOLF R. C. Terry (editor) TROLLOPE VIRGINIA WOOLF Interviews and Recollections Edited by J. H. STAPE Professor of English Japan Women's University, Tokyo palgrave macmillan Selection and editorial matter © J. H. Stape 1995 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1995 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world ISBN 978-0-333-62921-5 ISBN 978-1-349-23807-1 (eBook) DOI 10.1007/978-1-349-23807-1 A catalogue record for this book is available from the British Library.
    [Show full text]
  • Virginia Woolf Miscellany, Issue 92, Fall 2017/Winter 2018
    NUMBERVirginia 92 Woolf Miscellany FALL 2017/WINTER 2018 To the Readers: You can read the VWM online on some years, his/her racial identity remains static. Woolf and Indigenous Literatures Wordpress Discussing the emphasis in Orlando on the importance of clothing to the performance of https://virginiawoolfmiscellany. The call for papers for this issue of the Virginia gender, for instance, Sprouse notes how Orlando’s Woolf Miscellany invited contributors to consider wordpress.com/ “altered clothing reveal[s] an identity entangled Woolf’s writings alongside works by Native with essentialized race.” In Flight, Sherman American, First Nations, Australian, and New – TABLE OF CONTENTS – See page 8 Alexie’s adolescent protagonist, Zits, experiences Zealander authors, among others. Intriguing racial fluidity when inhabiting white and Indigenous questions arise in embarking on such an endeavor: INTERNATIONAL bodies in the past and present United States, yet What kind of dialogic emerges when placing VIRGINIA WOOLF his male gender identity never changes, even Woolf’s writings alongside those of Indigenous SOCIETY COLUMN developing into a harmful hyper-masculinity. writers? How does colonialism continue to have See page 52 Alexie’s novel, Sprouse writes, “seems to undo the an impact across the globe today? How might fixedness of race even as it reweaves gendered and Indigenous literatures enhance interpretations of IVWS OFFICERS AND sexual identities.” She reads these novels together to Woolf’s modernist, feminist, and pacifist poetics? MEMBERS-AT-LARGE
    [Show full text]
  • The Bloomsbury Group
    THE BLOOMSBURY GROUP Mgr. Velid Beganović PERSONAL AND COLLECTIVE GEOGRAPHIES • European modernist hotspots of the first half of the 20th century: Paris London Berlin Munich Prague Vienna Moscow PARIS • Fine Arts: (among others) Impressionists, Fauvists, Cubists, etc. • Literature: The Left Bank community & The Lost Generation BERLIN • Fritz Lang‘s circle & • The 30s poets A still from Lang‘s Metropolis (1927) PRAGUE Rossler FUNKE MOSCOW Russian Futurists, Constractivists and Suprematists LIUBOV POPOVA MALEVICH LONDON THE ROOTS OF THE BLOOMSBURY GROUP The four Stephen Siblings: Adrian, Thoby, Vanessa and Virginia JULIA PRINSEP STEPHEN, FORMERLY DUCKWORTH (1846 – 1895) LESLIE STEPHEN (1832 – 1904) 51 GORDON SQUARE, BLOOMSBURY THE BLOOMSBURY GROUP TIMELINE • 1904-1914: „Old Bloomsbury“ • 1914-1919: Conscientious Objectors, Garsington, Charleston Farm House and Monks House • 1920-1941: Fruitful years; „Us old and them new“; 1930s decline; deaths TIMELINE • 1900s • 1904 • Vanessa Stephen (Bell) moves to Gordon Square, Bloomsbury with her brothers and sister. • 1905 • ‘Friday Club’ founded by Vanessa Bell. With the literary ‘Thursday Evenings’ organised by her brother Thoby, these groups formed the origins of the Bloomsbury Group. • 1906 • Duncan Grant spends a year in Paris studying at La Palette, the art school run by Jacques- Emile Blanche. • 1907 • Vanessa marries Clive Bell. • 1910s • 1910 • Roger Fry meets Vanessa and Clive Bell. • Manet and the Post-Impressionists exhibition at Grafton Galleries, organised by Roger Fry. • 1911 • Borough Polytechnic Murals. • Vanessa Bell and Roger Fry become lovers. • 1912 • Second Post-Impressionist Exhibition, organised by Roger Fry opens at Grafton Galleries. • 1913 • Opening of the Omega Workshops. THE DREADNAUGHT HOAX Virginia Stephen • 1914 • Beginning of relationship between Vanessa Bell and Duncan Grant.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details THE POLITICS OF PARTNERSHIP: VANESSA BELL AND DUNCAN GRANT, 1912-1961 Darren K. Clarke A thesis submitted in fulfilment of the requirements for the degree of DPhil in the Department of Art History University of Sussex September 2012 2 Declaration: I hereby declare that this thesis has not been and will not be submitted in whole or in part to this or any other University for the award of any other degree. Darren K. Clarke 3 UNIVERSITY OF SUSSEX Darren K. Clarke The degree of DPhil, September 2012 The Politics of Partnership: Vanessa Bell and Duncan Grant, 1912-1961 Summary This thesis analyses the relationship of Vanessa Bell and Duncan Grant, artists that were central to the visual culture of the Bloomsbury group. The title of this project positions ‘partnership’ as a connecting force between the two artists, a term I interpret as a series of layers, boundaries, and thresholds that are in a constant state of flux, over-lapping, layering and leaking.
    [Show full text]
  • A NARRATIVE in RELIEF the Historiography of English Modern Painting (1910-1915), from the 1910S to the 1950S
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2010 A NARRATIVE IN RELIEF The Historiography of English Modern Painting (1910-1915), from the 1910s to the 1950s BRAND, CAROL FRANCES http://hdl.handle.net/10026.1/2249 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. A NARRATIVE IN RELIEF The Historiography of English Modern Painting (1910-1915), from the 1910s to the 1950s. by CAROLFRANCESBRAND A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts Faculty of Arts July 2010 ii Carol Frances Brand A NARRATIVE IN RELIEF The Historiography of English Modern Painting (1910-1915), from the 1910s to the 1950s. Abstract The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past.
    [Show full text]
  • Download Download
    ISSN: 2514-0612 Journal homepage: http://briefencounters-journal.co.uk/BE Vanessa Bell’s Creation of Charleston’s Attic Studio and its Influence on her Later Paintings Author(s): Diana Wilkins Email: [email protected] Source: Brief Encounters, Vol. 3 No. 1 (March 2019), pp. 48-63. URL: http://briefencounters-journal.co.uk/BE/article/view/135 DOI: http://dx.doi.org/10.24134/be.v3i1.135 © Diana Wilkins License (open-access): This is an open-access article distributed under the terms of the Creative Commons Attribution License 4.0, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. No warranty, express or implied, is given. Nor is any representation made that the contents will be complete or accurate or up to date. The publisher shall not be liable for any actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Brief Encounters is an open access journal that supports the dissemination of knowledge to a global readership. All articles are free to read and accessible to all with no registration required. For more information please visit our journal homepage: http:// briefencounters-journal.co.uk/BE. In association with Brief Encounters | Vol.3, No.1 Vanessa Bell’s Creation of Charleston’s Attic Studio and its Influence on her Later Paintings Diana Wilkins Introduction From 1916 to 1978, Charleston was home to members of the Bloomsbury Group of artists and writers. At the heart of its changing mix of residents and visitors were the painters Vanessa Bell and Duncan Grant.
    [Show full text]